EDGAR SANCHEZ CUMBAS'
Edgar's Full Site

PO Box 7066
Tampa, FL 33673

studio@edgarsanchezcumbas.com

NEWS


EVENTS

While creating initial sketches for the upcoming exhibition at the Gulf Coast Museum of Art, the foreground and background relationships of each image began to identify how the use of the circle could create visual emphasis in two ways. At times, I chose to make the image break the circular composition so the viewer could experience an intimate encounter with each piece; similar to a dioramic function. The opposite, where the image is solely defined within the circle, is used to designate a specific moment within the narrative like a peek-hole or telescope effect. With the large empty space surrounding both methods, my intent is to create a balanced counterpart of openness and potentiality for the viewer.

The imagery in these paintings explores our egoistic intricacies by way of personal relationships, spirituality, humanity, environment, and interaction and observation of others in a modern society.

ESC

BIOGRAPHY

Born in Puerto Rico in 1971, and raised in seven east coast US cities that shortly followed, Sanchez developed keen observation skills needed to adapt to constantly changing surroundings. Continuous exposure to new environments and cultures pressed Sanchez to explore his own inner landscape and plumb it for the rich narratives he would employ to entertain himself during solitary childhood afternoons and much later in the interpersonal scenarios that unfold from his memory onto the picture plane.

His exposure to graphic storytelling began with the mural paintings for the Pan American Games held in San Juan in 1979 and escalated to the more permeating influence of graffiti on his everyday visual life in the Bronx. On his way to P.S. 86 every school day, this reticent elementary school student saw faded and forgotten building walls and handball courts turned to clean slates for the furtive and ever colorful graffiti artists. As Sanchez perfected his technical drawing skills and learned to get it right, he also admired the bright colorations and sensibilities of our modern urban muralists and carefully observed the social dynamics that were occurring within his family, his neighborhood and the outside world. At the age of 13, his young ardor and skill won him second place in the New York State Art Competition celebrating the 100th anniversary of the Statue of Liberty.

Later, continuing with his education and artistic development, Sanchez attended the Savannah College of Art and Design and graduated magna cum laude with a BFA in Illustration in 1994 and a minor in Art History. While studying in Savannah, Sanchez focused on perfecting his storytelling through editorial illustration. With so much energy overflowing from the work, and the promise of a unique visual vocabulary, artists/professors Marshall Arisman (current MFA Illustration Chair at the School of Visual Art, NYC) and Patrick McCay (current academic Dean at the New Hampshire Institute of Art, NH) encouraged Sanchez to refine the expression of his own imaginings; during the early 90s when Illustration was hardly defined as a fine art in the contemporary art world setting.

In the past few years while living in Florida, Sanchez has been invited to participate in two of the Tampa Museum of Art's annual UnderCurrent/Overview exhibitions hosted by guest curators, he received the individual artist grant from the Arts Council of Hillsborough County, has participated in nearly a dozen collaborative exhibitions spanning the bay area, and has been featured in the media including print and television. Sanchez has curated several local exhibitions including Gala Corina, Clair de Lune, and other independent projects.

Although most of Sanchez's work spawns from his unique vision, some of his artistic influences include the work of British figurative painters Francis Bacon, Lucian Freud, Tony Bevan, and Stanley Spencer for their figurative approach, the aforementioned graffiti artists of New York, the aesthetic of many 1960s illustrations and graphics, the foreground/background relationships of cartoons in the late 1970s, the compositional sensibilities of Neo Rauch, Francesco Clemente, and Arnando Roche, and recently, Ming landscapes of the 17th century, the "suggestive art" of French symbolist Odilon Redon, and the study of religion, political science, and the effects of news media in American culture.

Ultimately, the exploration of identity has driven the underlying content of Sanchez's work and how our differences in perspective directly relate to our own mental physiology and interpretation of our environment as living beings. His pictures circulate in an unending narrative, a chronic state of possibility and flux that examines the human spirit and more often himself.

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REVIEWS
Megan Voeller
SHADOW DANCING: Puzzles and deceptions at GCMA
Weekly Planet, Art & Culture p. 25
July 19, 2006

If you watched the PBS program art:21 last season, you may have seen painter Laylah Ali talking about her work -- in particular, about the role of race and skin coloration in her paintings. Her figures sport green, pink, and russet faces -- shades that don't exactly correspond to conventional ideas of skin color -- frustrating our unconscious tendency to type them as individuals according to race.

In fact, Ali hesitates to use the term "race" at all. "...sometimes I think of them as having a skin condition rather than a race. Like when your skin gets burned, it turns a different color or has a different texture -- somewhere between race and skin condition," she said in comments on the art:21 website.

I mention this because figures in paintings by Edgar Sanchez Cumbas, on display at the Gulf Coast Museum of Art, hover in some similar limbo between identity and affliction. Bled dry of color except where red splotches suggest tender, raw surfaces, the figures exhibit a tantalizing ambiguity when it comes to guessing who or what they are.

Twenty or so paintings in two galleries at the museum present a fragmented narrative centered on the figures as they go about their daily lives, meandering through a sometimes desolate landscape that reflects their own simultaneous embodiment of the familiar and the alien.

Simple dress, primitive technology and crumbling shelters suggest both the pre-modern and the post-apocalyptic. Scale, both established and obfuscated by the round disc of color that recurs as a kind of window into each painting, alternately suggests larger-than-life beings and hobbit-sized creatures. Blankly innocent facial expressions in some scenes convey a childlike personality. A world-weary frown or an outright scowl in others hints at a disturbance contained not far beneath the surface -- a monster potentially about to erupt. And the floating disembodied heads that hover throughout the scenes certainly raise unanswered questions.

Absent familiar visual clues suggesting what to make of these individuals -- whether human or divine, man or child, grotesque or beautiful, idiot or savant -- we're left mired in our own mixed feelings. Like Shelley's Frankenstein, these sweet freaks inspire gentle waves of revulsion, fear, and profound empathy. In a manner perhaps as writerly as painterly, Cumbas succeeds in creating a compelling enough story (or haunting lack thereof) that makes us want to know more.

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Megan Voeller
Art Writer
Tampa
May 17th, 2006

"The figures, always an eerie white with tender splotches of red skin aflame, wander through a desolate landscape as if trying to reconstruct the human relationship with primitive technology after some apocalyptic event. Three different figures (in different paintings) here give the impression of being stranded on opposite sides of some tiny planet, unable to connect."

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Elaine D. Gustafson
Curator of Contemporary Art, Tampa Museum of Art
2001

Personifying insomnia and bipolar disorders, Cumbas' figures emerge hesitantly from the background and wear expressions of confusion, doubt, and weariness. Surrounding them, and at times enclosing them, are industrial containers that act as emotional icons. The surfaces and edges of Cumbas' paintings likewise appear rough, worn, and tattered, furthering this feeling of fragility.

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Adrienne M. Golub
Art Critic

he layers his canvas with pathos, joy, figuration and abstraction- all rolled into one luminous surface.

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Kevin Costello
Herald Tribune, Southwest Florida
2005

ST. PETERSBURG -- No style, medium or philosophy dominates contemporary art.

Abstraction, realism, naturalism, performance and conceptual art have each had their moments, only to be superseded by subsequent styles. This trajectory transforms original visions into generalizations, as they enter popular culture and influence it in ways the original artists could not have imagined.

Expressionism, however, remains a constant and viable language. Its volatile, cathartic nature is a true reflection of our time.

Expressionism does not have a unilateral hold on contemporary art nationally, but in this region, because of our cultural links with the Caribbean, it plays a significant role in the development of painting and sculpture.

"From the Ground Up: Donna Gordon and Edgar Sánchez Cumbas," opening Friday at The Arts Center, provides evidence of the continuing importance of expressionism in the clay and bronze sculpture of Gordon and in the drawings and paintings of Cumbas.

For all their stylistic differences, the two share a fundamental thematic presumption: that the cycle of life is an inexhaustible subject for portraying collective and individual aspirations and anxieties...

Cumbas evokes what appears on the he surface to be a quieter world, yet his figures seem to have physical composure but mental unrest. His art is an unfolding story of the consequences of having been uprooted in his childhood and brought to a different culture, a situation of alienation compounded by shyness.

In some respects, the reason for his interest in figurative painting is that he can create his own friendships, an orientation in art that has made the painter a keen observer of human nature.

Medieval artists, Chinese Ming landscapes of the 15th century, the "suggestive art" of the French Symbolist Odilon Redon and Tibetan Buddhism all influence Cumbas.

Redon invited viewers to enter into and complete the visual and mental images depicted. Cumbas' cloudy terrain invites in the same way, but what is often found there is an atmosphere balanced between light and dark emotions.

In "Protector 2," a mixed-media on panel, a monklike figure sits on a stone bench surrounded by tufts of grass beneath a terra cotta–colored sky. His hands rest firmly on his knees, while penetrating eyes stare directly at the viewer.

The artist writes that he is interested in "the relationships between man and the environment, as well as research into the philosophy of Chinese paintings and Tibetan Dzogchen meditation, where beings are in harmony with nature and each other."

Our collective and individual psyches as expressed by these two artists endure pressures and anxieties new to human history. But both offer the salve that our spirits are nonetheless equal to our dilemmas, and will continue to endure and keep us human."

http://www.heraldtribune.com/apps/pbcs.dll/article?AID=2005509040434

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Janice T. Paine
Contemporary artists confront portraiture
Naples News
April 14, 2006

Portraiture is a chameleon-like critter, as art genres go. Conceptually speaking, it can be conservative or adventurous, about putting the best face on things or blowing the buttons off conventional notions of what a person's likeness ought to be.

The early Cubist painters, for instance, rendered human subjects as intricate spatial diagrams, reducing three-dimensional form to geometric analysis. And the Dadaists liked to depict people as inanimate objects- a microscope, a camera or a fantastic concoction of mechanical parts.

More recently, contemporary artists have explored the ephemeral dimensions of portraiture. In 1991, Felix Gonzalez-Torres created an abstract portrait of his friend, artist Julie Ault, consisting of a list of words indicating important names, places, organizations and events in her life, arranged in random order.

"Evocative Portraits," an exhibit of work by four contemporary artists currently on view at the von Liebig Art Center, explores the quirky side of the genre. Acting curator Jack O'Brien has assembled a group of artists who interrogate the public mask of the human face, looking for the vulnerable, transient emotions that lie behind.

The least flashy but ultimately most satisfying work in the show is a series of psychologically revealing portraits by Edgar Sanchez Cumbas. Based in Tampa, the Puerto Rican-born Cumbas is pictorially obsessed with his personal muse, who takes the shape of a diminutive Asian monk.

Serving as a surrogate for the artist, this character is painted in rich colors with oils and acrylics on scarred wooden panels. In several works, he is depicted with delicate wisps of landscape in the background, reminiscent of classical Chinese painting.

Rendered with a bit of British painter Lucien Freud's attention to the moldering tonalities of human flesh, Cumbas's robed seeker has some Yoda in him, too. He squats in the landscape, peering quizzically out at the viewer.

Cumbas describes the emergence of this figure in his art as a reflection of his own immersion in Tibetan Buddhist thought. In these paintings, he said during a visit to the gallery, "I'm trying to capture a time and a moment that is very internal."

Less obvious, the artist noted, is a political dimension to his work. He sees the monk as a protector of the natural world, an environmental guardian as well as a spiritual figure. In the painting "Protector III," Cumbas portrays the little fellow isolated on a blank ground, clutching a heap of earth that he seems to be both holding and pushing against at the same time.

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Adrienne M. Golub
Art Writer
Tampa, Florida
September 18, 2003

Inside Out
The (extra)personal visions of Edgar Sanchez Cumbas

One of the enduring challenges facing contemporary artists is maintaining the will to work from the inside out, to pursue their own aesthetic instincts while avoiding the lure of trendy styles.

Tampa painter Edgar Sanchez Cumbas fits this paradigm perfectly.

His current exhibition, which just opened at Ybor's Brad Cooper Gallery, consists of paintings and mixed-media drawings, the latest in his evolving series centered around an unconventional figure posing as a stand-in for the artist's alter ego.

Complex central themes trace the way Cumbas' outer experiences reflect on his inner life. When he speaks of an invasion into the sanctuary of his Seminole Heights home, of pure terror, we understand intuitively that real fear expands daily into global concepts. His fears come perilously close to ours. Real or imagined.

In order to project these personal/universal narratives, he situates his little character within recognizable or abstracted landscape elements, loosely based on his fascination with 17th-century Chinese landscape forms (gnarled trees, flat-top plateaus, etc.). He's also revived the vessel, a symbol he first used in his last series, The Insomniacs, as a visual motif representing sanctuary. He occasionally adds his little white dog, Pearl, representing attachment or responsibility. A few small monkeys add a touch of exotic flavor to the wonderful drawings of his dark-robed figures. In this artist's visual language, monkeys symbolize the unexpected, a perfect choice to convey the fear factor.

While all of these components might suggest the formulaic, the painter's work is anything but.

Cumbas' art draws from his ability to burrow deep into his own psyche and convert these psychological impulses and wounds into visual realities and metaphors. This doesn't set him apart from legions of other artists intent on exposing their inner selves. But fortunately he has a lot more up his aesthetic sleeve than releasing the kind of private, powerful, gut-wrenching angst of, for example, Francis Bacon, an artist Cumbas admires.

At this stage of his career, Cumbas is smart in avoiding the pitfalls of over-personalizing his personal message.

His universalizing mechanism centers on the little robed character who cavorts in and around imaginary landscapes, "a symbol of me in my own environment," Cumbas says. The robe still signifies the insomniac, based on the artist's own dilemma. Now bulked-up from his earlier form, the creature is still not quite a warm fuzzy, though his expressions of vulnerability make him oddly endearing as he reappears in a variety of poses. In "Last Man Standing," an ironic title for a figure crouched close to the ground, he's huddled within his long garment, his hands clasped to the side of his head. A single Oriental-style tree branch does little to protect the pained fellow from the weight of a dangerous world. To counterbalance lurking terror, the artist surrounds him, paradoxically, with a minimally painted beautiful blue sky.

Sometimes only eyes and part of the face stare out from the painted luan panel Cumbas uses instead of canvas, as, for example "Las Colossos II," where the face peers out from the side of a vessel. The impact of these partial faces or eyes is less b than the full figures, though "Fall" (2002), a beautifully composed mystical painting with eyes cast on the viewer, is ironically one of the best works in the show. Circling linear strands lead us through a spatial vortex of blues and deliver us to the safe central area. Here, the gaze of a hidden face oversees a vessel filled with a miniature landscape. The effect is pure magic.

When I first noticed this young painter's work about four years ago, his Victims and Giants series exhibited some of the same wonderfully rich coloration he's using today. "All Latino artists are attracted to rich color," the Puerto Rico-born, New York-raised artist said when I asked about the influence of his heritage on his art. Aside from seductive color, the faces bordered on caricature. Still, their appeal and memorability factor were b enough motivation for me to keep an eye on this artist and anticipate more of his work. I have not been disappointed.

Presumably, some of Cumbas' early choices grew out of his years at the Savannah College of Art and Design where his studies centered on editorial illustration. In his final year, after favorable faculty recognition, he switched to painting, minored in art history, and graduated with honors.

From those early works, I was pleased to see Cumbas' little fellows evolving into The Insomniacs. Originally based on the artist's own bout with sleep deprivation, they have now become a "symbol of our general mentality, people on the go." Their recent interaction with the vessel motifs occurred after the artist began observing shipyard containers in Tampa's Channelside district. If you look closely, many of his vessels maintain an angular configuration patterned after these containers.

Vessels also have long and complex art historical associations. As ancient artifacts, they're a staple of anthropological or art exhibitions. In Voces y Visiones, the current TMA show, they're encased in glass in the main gallery where they announce Latino cultural origins. Art history doesn't stop there; vessels were endowed with profound 20th-century associations after feminist pronouncements that women had long been reduced to mere vessels for male satisfaction.

Cumbas is negotiating alternative interpretations. In his hands, the vessel symbolizes private sanctuary for himself and his character. In the recent works the vessel and landscape often fuse, as in "Last Man Standing" or "Pressed," where the character actually becomes the landscape. His monumentalized form and tiny head are pressed into the safety zone of excavated land, now transformed into an earthen vessel. The tiny figure of Pearl rests on his master's knee.

Though the painter's forms are based on Chinese landscapes, his renewed interest in landscape was spurred when he visited Seattle and viewed miniature Vietnamese landscapes (HON Non Bo) grown in small pots. In his hands, these environments function as outdoor stage sets, thus grounding the little wandering protagonist with elements of reality, albeit artificially constructed.

Cumbas explored some of these aesthetic motivations and choices during the well-attended opening night artist's talk and dialogue at Brad Cooper Gallery. Such bonus events are fast becoming marvelous additions to our entire cultural scene. My advice is to take advantage of these freebies, support our artists, and by all means, keep an eye on the evolving career of Edgar Sanchez Cumbas.

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Brad Cooper
Brad Cooper Gallery
2003

I met Edgar Sanchez Cumbas a year or so before he finished his education at SCAD (1994, Savannah College of Art & Design). On completing school we began to exhibit work; in fact, he was passionately dedicated to the path he was on. He was hungry to communicate to an audience.

Driven by a deep, hidden impulse, Edgar¹s first significant body of work formed during the middle to late 90¹s. Painted with a sensitive layering technique, the character (figure) in his mind emerged, reflecting his occupation with numerous, psychological aspects of the human condition. The Œfigure in his environment¹ became the metaphor for his testimony.

These bizarre individuals confront the viewer in a satirical sense and resemble someone you saw on the street at some time in the past. As if a genetic mutation had occurred, his animal /human like figures embody a universal sensibility. Each character seems to be addressing man¹s most pressing concerns of the day, and at the same time, they are suffering from their awkward decision-making.

In 2000, Edgar wanted a change, and he began weaving a more intricate web into the work. With his evolving vocabulary and technique, the usual cast of characters remain, but are somewhat more elusive. The figure has strayed into a new, psychological landscape competing for attention. Now, you never meet face to face. This animation of the figure in the landscape has become less legible, but more heartfelt.  Edgar¹s visual elements affirm the personal, and the context of action creates the condition for his illusion. 

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William Zimmer
Contributing Critic, New York Times
New York

Six of Edgar Sanchez Cumbas's recent paintings are titled "Sporadic Narrative," but in truth his whole output is a continuing epic story, and the subject matter is close to the bone. In several interviews, and in his own artist statement, he has talked of the effect of having been uprooted in his childhood and brought to a different culture.  His sense of alienation was compounded by his profound shyness.

That's a large part of why Cumbas became a figurative artist... he could manufacture his own companions.  But the upside is that he also became a keen observer of all aspects of life.  He has presided over a menagerie of the human condition, although his figures are clearly reminiscent of animals, and on the monstrous side. Obviously Bosch and other medieval art was a major inspiration, but Cumbas makes that horrific vision contemporary by featuring a mailman with the US Postal Service as one of his protagonists. He is a sharp satirist and therefore has always found the graphic arts especially congenial.

Cumbas deals in something timeless: benign versus malevolent.  Several writers have noted how the dark and light sides of existence exist simultaneously in his work.  It is as if he has become both of the classic drama masks, the frowning tragic one and the smiling comic one.

Another appealing aspect of his paintings in recent years is that they include elements that are repeated over and over in different contexts.  One of these is an object that has fascinated him, a local discovery, the kind that most people overlook.  But Cumbas has made a versatile metaphor out of a large ship's container found on a dock.  He refers to it as a vessel and depicts it as a sharp-angled parallelogram - appearing as something mysterious and apparitional. Essentially, it is the locus and repository for the myriad forces and powers that affect us.

More recent paintings on wood panel continue his perennial concern with extremes, but the means of presentation are both simplified and complicated.  There is a new protagonist, a small boy who must surely be a surrogate for Cumbas.  In many of his painterly adventures, he is accompanied by a white dog.  A boy and his dog are the paradigm of bright-eyed innocence and are a b foil to the perilous landscape in which they find themselves.

The paintings have an immediate brightness and allure that momentarily masks their disquieting content.  They are full of light and air.  Cumbas's living in Florida has invigorated his art and in one way has helped put it decidedly in the American grain. Landscape permeated with intense light has been a staple of American painting since the early 19th century.  It has meant something unique: it means the country is blessed with hope and optimism.  It's an aspect of Cumbas's penchant for irony that perilous things happen in such a luminous ambience.

The new complication is Cumbas's keen interest in texture.  A variety of mixed media often produces a rough surface, appropriate to the context of disturbance and difficulty that marks the work as a whole.  The leitmotif of recent work has been the landscape used to define internal states.  An overwhelming nature is the arena that Cumbas has chosen; titles like "Fear of Heights", and "Fall", underscore this.  But as always, there is a flip side, witness "Internal Perception" or "Neutral Ground" in which the boy character is a contemplative. The upside of loneliness and solitude is the opportunity for meditation and contemplation and the resulting insight that Cumbas mines.

The natural settings in these paintings have their source in Chinese painting. Those improbably shaped tall mountains, their tops often emerging from a cloud of mist, are appropriate vehicles for Cumbas's vision.   This vision contains mystery and a sense of awe, as well as moments of repose where the character takes it all in.  It must be said that he often just hints at landforms; it's all he has to do to evoke his special realm.

An artist with a vision will find something in his own tradition to stimulate his work, the way that Cumbas has turned to Chinese painting.  But it's also obvious he must have absorbed the example of an artist who is culturally closer, Francisco de Goya. Goya's triumph is to have fused a sense of gaiety with one of melancholy, one that late in his life turned to terror. This blend of emotion obviously suits Cumbas.

The eyes have it.  As Cumbas continues to refine his work it is getting sparer. There is a lot of sky in which faces appear ephemerally.  Pairs of eyes have always indicated menace or ominous feelings; the eyes on these barely discernible faces are riveting.  They don't exactly follow you around the room, but they are dominant and convey a sensation of omniscience.  Edgar Sanchez Cumbas's expanding vision is a universal one.

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ACADEMIC

1994
B.F.A. Savannah College of Art and Design

Magna Cum Laude

Savannah, GA

1991
A.A. Liberal Arts,
Hillsborough Community College
Tampa, FL

TEACHING EXPERIENCE

1999
The Portfolio Center
Atlanta, GA

LECTURES & WORKSHOPS

2006
USF Fine Art Dept., Drawing Students

2004
Tampa Museum of Art
Artists on Art Series, June

2003
Brad Cooper Gallery
Artist Lecture, September

Tampa Museum of Art
Texture & Tension, September

2002
Hillsborough Community College
Ybor Art Gallery
Scraching the Surface, October

COLLECTIVE

2006
-Tampa Museum of Art, underCURRENT/overVIEW 8: May 7 - July 9, Tampa, FL

-The von Liebig Art Center, Evocative Portraits: March 31- May 20, Naples, FL

2005
- Gulf Coast Museum of Art, Les Fauves, Largo, FL

- Webber Center Gallery, Central Florida Community College, Nuevas Voces Latinas, Oct 20 - Dec 10, Ocala, FL

2004
- Bleau Acier, New Editions, Tampa, FL

- Covivant Gallery, Carry On, Biennial, Tampa, FL

- Brad Cooper Gallery, 20 years/ 20 artists, Tampa, FL

- Peninsula Fine Arts Center, Biennial 2004, New Port News, VA. Juror: Carrie Przybilla, Curator, High Museum of Art, Atlanta, GA

- Biaggi Faure, San Juan, PR

- Project Creo, Solo Creo II, St. Petersburg, FL

- Arts Center, All Florida Juried Exhibition, St. Petersburg, FL. Juror: William Zimmer, Art Critic, NY. **award

- Industrial Carnival, Bustillo y Diaz Cigar Factory, Tampa, FL

2003
- Tampa Museum of Art, selected works from the permanent collection, Tampa, FL

- Gala Corina, Milagro, Tampa, FL

- Biaggi Faure, San Juan, PR

- Savannah College of Art & Design, Rush Hour Atlanta, Atlanta, GA

2002
- Arts Center, St. Petersburg, FL

- Gala Corina, Sanctuary, Tampa, FL

- Brad Cooper Gallery, 7 Latino Voices: Side by Side, Tampa, FL

2001
- Arts Center, St. Petersburg, FL

- Brad Cooper Gallery, International Voices, Tampa, FL

- Red Gallery, Doppelgangers, Savannah, GA

- Gala Corina, Tampa, FL

- Tampa Museum of Art, Under Current/ Over View IV, FL

- MacArthur Galleries, Figurative Dialog, Tampa, FL

- Fusion Gallery, Odyssey, St. Petersburg, FL

2000
- Gala Corina, Tampa, FL

- Brad Cooper Gallery, Tampa, FL

- Covivant, Blender, Tampa, FL

1999
- Gallery 157, Sporadic Germination, New York, NY

- Society of Illustrators, Annual Juried Exhibit 41, New York, NY

1998
- Modern Primitive Gallery, Atlanta, GA

1997
- Lowe Gallery, Atlanta, GA

- Brad Cooper Gallery, Tampa, FL

1996
- Murray Feldman Gallery, Los Angeles, CA

1995
- Arts on the River, Annual Juried Exhibit 15, Savannah, GA

- All Media National Exhibition, Chair, Miami, FL

- Center for Contemporary Arts, Annual Juried Exhibit 15, Tampa, FL

INDIVIDUAL

2006
- Gulf Coast Museum of Art, Poetical Observations, Largo, FL: July 14- September 3

- Visual Arts Center of Northwest Florida, Panama City, FL: January 27 - February 24

2005
- Art Center, St. Petersburg, FL: September 9 - October 30

- Biaggi Faure, San Juan, PR: April 7 - May 2

2003
- Brad Cooper Gallery, Los Colossos, Tampa, FL: September 6 - October 11

- La Galerie Bleue, Savannah College of Art & Design, Internal Perception, GA: March 13-May 5

2002
- Hillsborough Community College, Scratching the Surface, Tampa, FL: October 3-31

2001
- Covivant, Avant Garde, Tampa Museum of Art, Tampa, FL

1999
- Brad Cooper Gallery, Special Victims Unit, Tampa, FL

1998
- Raymond Lawrence Gallery, Giants vs. Victims, Atlanta, GA

AWARDS

2007

- City Of Tampa Public Arts Program, Hillsborough County, FL

2005
- Individual Artist Grant, Hillsborough County, FL

2004
- John Brown Memorial Award, All Florida Juried Exhibition, Arts Center, St. Petersburg, FL. Juror: William Zimmer, contributing critic to the NY Times.

1997
- Society of Illustrators, Award of Merit, NY

1994
- Outstanding Achievement in Illustration, Savannah College of Art and Design, GA

1994
- Who's Who among College and University Students

1993
- Spencer International Mural Project

COLLECTIONS
Von Liebig Art Center, Naples, FL
Daniele Perna Designs, NYC
Wachovia Bank, GA
Mute Records, UK
Savannah College of Art and Design, GA
Alltel Communications, FL
Tampa Museum of Art, FL
Toenut/ Hartley, GA
Via Group, FL
Baseline Interactive, FL

Artwork



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LINKS
Links

Academic
-Savannah College of Art & Design
-School of Visual Arts

Art Fairs
-NADA
-Scope
-AAFNYC
-Pulse
-CIRCA

Arts Center
-Visual Art Center of NW Florida
-The Arts Center
-Peninsula Fine Art Center
-The von Liebig Art Center

Associations
-Society of Illustrators
-Portfolio Center

Gallery
-Allyun Gallup Comteporary Art
-Biaggi Faure

Misc
-Saatchi Gallery

Museum
-Gulf Coast Museum of Art
-Tampa Museum of Art