Gallery at The Boca Raton

Working in both monumental and small dimensions since the 1970s, sculptor Gino Miles  (b. 1952) is inspired primarily by 20th Century European masters such as Moore, Brancusi, Archipenko, and Marini. Gino distills his love of the classical figure and objects found in nature, working with a sparse and contemporary language that embodies tranquility. Stripped of an overt narrative, Miles’ abstract forms achieve a poetic harmony of man and nature, with subtle references to both the human form and ancient cultures.

Gino Miles became interested in painting and sculpture in the early 1970s at the University of Northern Colorado, where he also earned a Master of Arts degree in Sculpture. He studied at università per i stranieri in Perugia, Italy, and at the accademia di belle arti in Florence, Italy.  He lived in Italy for ten years in the 1970’s and 1980’s. A profound love of teaching inspired Miles to help establish Italart, a school for American and German students in the Chianti region outside Florence.   After many years of study and work in Europe, the artist and his wife returned to the US and settled in Santa Fe, NM, where they raised three children, who are without doubt Miles’ greatest works of all and the source of immense and never-ending pride.

Working in both monumental and small dimensions since the 1970s, sculptor Gino Miles  (b. 1952) is inspired primarily by 20th Century European masters such as Moore, Brancusi, Archipenko, and Marini. Gino distills his love of the classical figure and objects found in nature, working with a sparse and contemporary language that embodies tranquility. Stripped of an overt narrative, Miles’ abstract forms achieve a poetic harmony of man and nature, with subtle references to both the human form and ancient cultures.

Gino Miles became interested in painting and sculpture in the early 1970s at the University of Northern Colorado, where he also earned a Master of Arts degree in Sculpture. He studied at università per i stranieri in Perugia, Italy, and at the accademia di belle arti in Florence, Italy.  He lived in Italy for ten years in the 1970’s and 1980’s. A profound love of teaching inspired Miles to help establish Italart, a school for American and German students in the Chianti region outside Florence.   After many years of study and work in Europe, the artist and his wife returned to the US and settled in Santa Fe, NM, where they raised three children, who are without doubt Miles’ greatest works of all and the source of immense and never-ending pride.

Roger Reutimann is a Swiss born sculptor, living and working in Boulder, Colorado. 

Reutimann's sculptures carry the imprints of our time. He shapes and forms the materials of the modern age, often using the methods of the past, and in the end leaves us something new to contend with. Our response to his work cannot be axiomatic. Forms have been distilled down to their base elements, leaving only pure geometrical lines behind, oftentimes suggestive of the human form. It is easy to be lulled by the apparent simplicity of it all, but it is in this moment of tranquil regard that the work fully reveals itself.

"My disciplined upbringing, my rigorous piano practicing, my aim for excellence, my sculptures are a reflection of all these things. I strongly believe in perfection." Knowledge and technique are hard earned guiding tools, to help navigate through the chaos of creative thinking. All this is reflected in an uncompromising and meticulous execution. Refining the surface and painting it with high gloss automotive finishes that leave no texture or unnecessary details to distract the eyes. It is condensed to pure and simple form.

Donald Martiny's paintings look straightforward--dramatically expressive gestural works, some small and invitingly intimate, most grand and intimidatingly large, all blatantly colorful, sometimes with a singular color in a sweeping shape, at other times with contrasting colors and intersecting shapes, dialectically interacting however at odds, subliminally reconciled however ostensibly irreconcilable--but that is deceptive, for they are as much abstract sculptures as abstract paintings, sometimes suspended in space, sometimes stranded on a wall, as though they were fragments of some grand mural.  If, as Hans Hofmann wrote, "the mystery of plastic creation is based upon the dualism of the two-dimensional and the three-dimensional,"(3) then the mystery of Donald Martiny's plastic creations is that they are two-dimensional and three-dimensional--paintings and sculptures--at once, and as such paradoxically monistic rather than dualistic.  For Martiny painting and sculpture--traditionally separated however often a sculpture may be given a skin of paint, and painterly texture may give a painting sculptural resonance--are implicitly the same.  Martiny's works are subjectively expressive--convey feeling, often intense, as the abruptness of the gestures suggest (they have a meteoric presence, as though articulated on the spur of the visual moment)--even as they show a mastery of the material medium of paint that makes them exemplary modernist works.

Working in both monumental and small dimensions since the 1970s, sculptor Gino Miles  (b. 1952) is inspired primarily by 20th Century European masters such as Moore, Brancusi, Archipenko, and Marini. Gino distills his love of the classical figure and objects found in nature, working with a sparse and contemporary language that embodies tranquility. Stripped of an overt narrative, Miles’ abstract forms achieve a poetic harmony of man and nature, with subtle references to both the human form and ancient cultures.

Gino Miles became interested in painting and sculpture in the early 1970s at the University of Northern Colorado, where he also earned a Master of Arts degree in Sculpture. He studied at università per i stranieri in Perugia, Italy, and at the accademia di belle arti in Florence, Italy.  He lived in Italy for ten years in the 1970’s and 1980’s. A profound love of teaching inspired Miles to help establish Italart, a school for American and German students in the Chianti region outside Florence.   After many years of study and work in Europe, the artist and his wife returned to the US and settled in Santa Fe, NM, where they raised three children, who are without doubt Miles’ greatest works of all and the source of immense and never-ending pride.

Miles’ large-scale works are prominently featured in many permanent and private collections throughout the United States, Europe, and South America, including:   the Evansville Museum in Evansville, Indiana; the Polk Museum in Lakeland, FL; Disney Corporate Headquarters in Burbank, California; the Cities of Cerritos and Napa, CA, and the City of Edmond, OK; and Western Kentucky University, Bowling Green, Kentucky, among others.

Bernar Venet is a Conceptual artist best known for his versatility in multiple mediums, including painting, drawing, sculpture, installation, as well as stage design and musical composition. Venet became well known in the 1960s for his amorphous installations made by piling up loose gravel, coal, or asphalt; and “industrial paintings” from cardboard reliefs or tar. (Around that time, he decided to drop the last letter from his given name, Bernard.) Shortly after, inspired by the works of Minimalist sculptors like Donald Judd, Dan Flavin, and Carl Andre, Venet began to produce wall-mounted and freestanding metal sculptures. Among the best known are his torch-cut steel plates and beams resembling scribbles, lines, and arcs. Venet says that his sculptures are about “how metal resists. They are a test of strength—a battle between myself and the piece of metal.”

One of the leading sculptors in Britain after World War II, Lynn Chadwick is well known for both abstract and figurative works that embodied the tensions of the post-war era. His precariously balanced and monumental geometric figures have brought him international renown.

Lynn Chadwick was born in London in 1914.  He worked as an architectural draftsman in the late 1930’s and served as a pilot during World War II.  Though his family appreciated the arts, they dissuaded him from pursuing formal training in sculpting, pointing out the difficulty of making a living in the arts in Depression-era England.

Chadwick’s art career began in 1950 at his first solo exhibition in London which featured mobiles similar to those by Alexander Calder, whose work at the time was unknown to him. He soon eliminated the kinetic element of his sculpture but continued to use construction and assemblage methods rather than carving or modeling.

Mauro Perucchetti was an only child, born in Milan in 1949. His early career in the arts began when he enrolled for classes in theatre studies and began acting in film. He worked with Elizabeth Taylor and Andy Warhol in the 1974 film, The Driver’s Seat.

Changing courses, he relocated to London and threw himself into interior design work.  In 2000, Perucchetti sold his design and architectural practice so he could become a full-time artist. Dedicating himself to art, he spent the next three years experimenting with materials before perfecting the formulation of the plastic he wanted to use.  It was lustrous and transparent, forever changing under different lighting conditions.  His use of polyurethane resins is pioneering and utterly original. 

When asked in early 2009 why he makes art, he explained: ‘I wish I could be a politician to govern fairly, a religious leader to guide pragmatically and a powerful entrepreneur to serve as an example and inspiration to others, but I can’t. However what I can do hopefully is create art that makes people think about global issues.’

Carole Feuerman’s sculptures are like minutes from a slice of life, frozen for pause and contemplation. And unlike looking at real people you get the chance for an up-close, unblinking gaze.

Feuerman says that her “work inspires the viewer to look closely at what stands before them.”  She wants the viewer to “complete the story, to reflect and feel touched”.   She explores universal feelings and emotions that are captured in a single, fragmented moment of time. Carole Feuerman’s sculptures are just too believable and she doesn’t forget a single detail. Casting figures from live models in her studio, she then adorns them with every attribute of life-likeness, applying tiny eyelashes, wisps of hair and painting the most convincing skin tones, freckles and veins. 

Because of its faithfulness to reality, her life-size and realistic sculptures are uncanny in that they are simultaneously familiar in their lifelike appearance and yet strange as static works of art.

Over the years Peter’s work has evolved from the simple concept of space being defined by a single line into sculptures that depict the structure of living form. He pushes the boundaries of his material, creating sculptures from intricately woven surfaces that look more like spun sugar than iron blended with carbon. It is the fluidity of the hand-bent rods that give the pieces a strikingly soft organic feel. Positive and negative space allows the viewer to pass through it, incorporating the surrounding environment. The sculptures feel both full and empty, and invite the viewer to complete the volume that the framework suggests.

He approaches the concept of public art from the perspective of inclusion and strives to appeal to and interact with a broad spectrum of viewers while inspiring the imagination on many levels. The body of his work expresses a commentary about the nature of the world we live in.