Author: Jan Engoren

Selected as Parkland Library’s “Artist of the Month” in September, Parkland resident David Haley, 79, had more than 20 of his more recent paintings, many of them award winners, on exhibit.

“We are all enjoying David Haley’s artwork,” says Lenore Russo, program coordinator at the Parkland Library. “Each one of his paintings is mesmerizing and very detailed. His paintings add color and life to our gallery walls.”

The artist who moved to Parkland two years ago from Indiana is a former CEO of two major healthcare management companies, including Walter Reed National Military Medical Center. He worked in all aspects of health care, spending the last 15 years with the largest hospice group in Indiana.

With a family, three kids, enlisting in the Navy, going to graduate school, and running a hospital, Haley had a full life with not much time for extracurricular activities. It wasn’t until he divorced in 2007 that he found he had some time on his hands.

He sold his first painting for $150 in 2011 from the trunk of his car when his now-wife, Rhona, took the car to a car wash and someone spotted the painting in the trunk when she went to get her purse.

Since then, Haley’s work has gone on to win at least eight major art competitions, including First Place in the “Nature 2022” international juried painting competition conducted by Artorful for his painting “Intrepid,” depicting a froth of white water engulfing a lighthouse in a storm; Finalist Award in the 2022 Color International Juried Art Competition for “Wire Fence,” a barbed-wire fence in the foreground of a pink and orange crepuscule sky; and “Enduring,” which won third place out of hundreds of submissions in Artorful’s BlueOrGrey 2022 Art Competition. It now belongs to a collector in Naples.

Other paintings featured in the library’s exhibit included “Blue Cap,” acrylic on canvas, a realistic portrait of a man in cold, snowy weather, with ice crystals on his beard and eyebrows; and “Broken Treaty,” oil on canvas, a portrait depicting an indigenous man realizing his people will have to go to war.

Haley’s works have been exhibited in the South Bend Indiana Art Museum, in Walter Reed Medical Center, in a juried regional gallery in Plymouth, Indiana, and in a pop-up gallery in the Chicago area.

With no formal training or art education, he says about his success, “I can’t believe it. I’m amazed.”

He says, “I paint landscapes, seascapes, animals, or portraits that speak to me. I don’t have a particular style like Van Gogh or Picasso. There is no recognizable Haley style. I try to stretch myself.”

In his artist’s statement, he explains, “I seek to produce emotion in the images I create.”

Haley paints from a studio in his third bedroom in Cascata whenever he has the opportunity. “That’s where all the magic takes place,” he jokes.

With family and seven grandkids nearby, he has other responsibilities and paints when the opportunity strikes, sometimes painting until 4 a.m., although he prefers painting in solitude with the natural light.

Haley’s personal favorite is “Drink a Beer,” an oil-on-canvas painting inspired by Luke Bryan’s song of the same name, which recounts the story of personal loss, sitting at the end of a pier, drinking a beer, and reflecting on life.

In his own life, he credits his stepfather, John Haley, for being a role model.

“He was a big foundation for me,” Haley remembers, growing up with two brothers and a single mom. “He was the most pivotal person in my life. He gave me values, showed me right from wrong, and taught me about hard work.”

Apparently, those values took hold. When asked about the quality he values most in himself, his wife Rhona jumped in: “Integrity,” she said.

With many career highlights, including his work in end-of-life care and being a part of so many touching stories, Haley’s painting brings new highlights.

“I like to watch the reactions of the viewers to my art,” he says. “Each person sees the same image, but each takes away something different.”

With so many accomplishments under his belt, what goals would he still like to achieve? “I’d love to have a solo exhibit and showcase my work at a museum.”

 For more information: www.facebook.com/DavidHaley.Art. www.saatchiart.com/account/artworks/742692.

Many stories have been written about Boca Raton’s first community and historically Black neighborhood, Pearl City, but none have included photographs and first-person accounts of the descendants of the original residents and their neighborhood, built in 1915, before the incorporation of Boca Raton 10 years later in 1925.

The Boca Raton Museum of Art, which stands two blocks from the original neighborhood, located south of Glades Road between Dixie and Federal highways, commissioned Washington, D.C.-based photographer Reginald Cunningham for a series of photographs, titled “Black Pearls,” in honor of Pearl City.

“We want to tell the story of Pearl City through the current residents whose parents and grandparents were the original Pearl City settlers,” says Irvin Lippman, executive director of the Boca Raton Museum of Art. “The Pearl City residents are our museum’s closest neighbors, and we want to celebrate our neighbors with this exhibition.”

To do so, Lippman invited Imani Cheers, associate professor of digital storytelling in the School of Media and Public Affairs at George Washington University, and Candace Cunningham, assistant professor of history at Dorothy F. Schmidt College of Arts and Letters at Florida Atlantic University, to tell the full historical story of Pearl City.

Photographer Cunningham (BePureBlack.com), a social activist, was selected in 2020 to photograph the cover of British Vogue’s special issue titled “Activism Now: The Faces of Hope,” which featured his wife, activist Brittany Packnett Cunningham, on the cover.

Inspired by photographer Gordon Parks’ motto—“I chose my camera as a weapon against all the things I dislike about America: poverty, racism, discrimination”—Cunningham set out to find out as much as he could about Pearl City, its original residents, and their descendants.

“Through the lens of my photography I’m always trying to create affinity for and uplift Black people and the Black experience in this country,” says Cunningham.

“One of the things I always aim to do is inspire people to feel something when they look at my work. To have an emotional, physiological response,” he says. “Being commissioned by the Boca Raton Museum of Art to photograph the residents and cultural emblems of Pearl City—one of the South’s most beloved and enduring Black districts—is an amazing experience.”

Cunningham captures not just images of Pearl City residents, but also the physical and ephemeral elements that make up the community, including street signs, the community garden, the Little Food Pantry, and the Martin Luther King monument located at Ebenezer Missionary Baptist Church, 200 NE 12th Street.

As Candace Cunningham writes in the accompanying catalog, “On April 26, 1915, a land auction was held to create ‘a brand-new colored city’ that would be governed exclusively by colored people. African Americans purchased thirty lots that day.

“Those disparities [racial and social] pushed African Americans out of Georgia and the Carolinas and pulled them into South Florida,” she says about that time in history. “It was by no means the land of opportunity for Blacks, but it did offer more options than they were finding elsewhere.”

In more recent times, the neighborhood faced threats from developers and other outside forces. “What we’re trying to do is we’re trying to keep a sense, or an aura, or a feel for this community,” said the Rev. Henry Willis at the time.

Pearl City was known for being a safe, close-knit community where everyone knew one another.

“The people out of this area, the children, and the grandchildren out of this area have become professionals—athletes, doctors, lawyers, and teachers,” notes Pastor Calvin Davis. “They have become politicians and police officers. They have become productive citizens because of this area. That’s why this area deserves to be recognized as an area that developed many [generations] and is still developing people in so many ways.”

Life was hard in that era, especially for Black people, who worked in the fields picking beans for 17 cents a day, faced discrimination, and suffered through the segregated South.

The exhibit includes 24 photographs, including images of pastors Ronald Brown and Calvin Davis, Anne Blutcher, John Martin, the Anderson family, Katie Mae, Gladys Bettis, Geraldine and George Spain, Irene Rufus, Annette Ireland, Marie Hester and Dorothy Overstreet, Barbara Griffin, Eva Cunningham (Griffin), and Willie Jenkins. Stories in the subjects’ own words are also included.

Pearl City leaves a legacy of good memories and strong moral values with its inhabitants. The closeness of the community, the neighborliness, and the mentality of respecting and helping one another has stayed with its residents to this day.

Descendant George Spain Jr., who comes from an original family in Pearl City, remembers, “One of the founding principles of Pearl City to me was family. We had a deep sense of spirituality. We all had that foundational spiritual growth that was imparted in us to believe and trust in God.”

“That’s the only reason why it hasn’t been dispersed,” he says in the exhibit. “God blesses you to be a blessing to other people. In our house that is something that has been instilled. That’s one of the things that Pearl City was fond of—neighbor would look after neighbor. It’s a very close-knit community.”

“Black Pearls” runs through Jan. 22, 2023. Visit Bocamuseum.org.

For Gretchen Scharnagl, a Miami-based environmental artist and professor in the Art History department at Florida International University, her art and subject matter are her way of connecting — connecting herself to others, and others to her art.

For her exhibit “Terra Ephemera,” at the Coral Springs Museum of Art running through Oct. 8, Scharnagl, 64, brings a number of “stepping into her subject works,” some more mature works, and pieces created specifically for this show.

“Terra Ephemera” makes use of traditional and nontraditional media in a way that provokes visual, conversational, human, and scientific interest.

“Gretchen is a risk taker,” says Jill Brown, executive director of the Coral Springs Museum of Art. “This translates into an important component of her creative process. Gretchen’s art transcends the familiar and leans heavily into difficult and unknown territory, leaving viewers to think and rethink what they are seeing.

“‘Terra Ephemera’ tackles the mundane while exploring the environment with a strong sense of place,” Brown says. “It makes us think about our relationship with the world and each other from the present, past, and future.”

Scharnagl lives with her husband, Robert, 64, a carpenter/contractor who often plays a role as her art assistant; two large Dobermans; and three cats.

From her backyard studio in suburban Miami, where she has lived for 40 years, Scharnagl examines common artifacts from her environs, reads copious amounts of scientific environmental studies, and is fascinated by her own compulsions, leading her to discover and explore little-known phenomena.

While visiting the Field Museum in Chicago, Scharnagl became fascinated by the story of migrating birds who collided with urban architecture and died. Her raison d’etre is to highlight little-known environmental issues — such as this and other facts like a worldwide sand shortage — through her art-making.

The mother of two women scientists, Scharnagl reads about science, the earth, and the environment and finds inspiration for her art.

She cites Edward Humes’s “Garbology: Our Dirty Love Affair with Trash,” Susan Strasser’s “Waste and Want: A Social History of Trash,” Anna Lowenhaupt Tsing’s “Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene,” and David Wallace-Wells’ “Uninhabitable Earth: Life After Warming” as influences.

“I feel an urgency that art should take a responsibility,” Scharnagl says. “Art that is speaking of something important has to jump the fence and speak to those that would not necessarily have exposure to it.”

For someone intensely committed to her art and teaching, Scharnagl came to her calling in her 40s, calling herself “a reluctant artist.”

“I did not consider myself an artist for the majority of my life,” she says. She was prodded into it by a comment she overheard by a mother saying she was wasting her talents by volunteering in her children’s school.

“She could be right,” thought Scharnagl, who hasn’t looked back since.

Her series “The Anthropocene” consists of eight works depicting climate change, water-level rise, and other “planetary boundaries” we are crossing, such as crimes against animals (think wet markets and COVID-19). “Elegy for Earth,” a melancholic lament about the state of the earth, includes three parts, “Earth Retold,” “Earth Tracings,” and “Earth Remains,” which are designed to make the audience think about the state of our earth.

A performance piece scheduled for the opening reception on Sept. 22, “The Earth Piñata Performance,” symbolizes mankind’s treatment of Mother Earth. Participants will break open the 28-inch, earth-like piñata, releasing 2,000 plastic animals, plants, and fungi, creating a new piece of work.

“The Globe Maker” (“a labor of love”) consists of 20 papier-mâché globes that Scharnagl created with her husband, born out of an “obsession” with the word “biophilia” (an innate and genetically determined affinity of human beings with the natural world, a theory developed by biologist E. O. Wilson).

The littlest globe, made from pages from her collection of National Geographic magazines, is titled “Little Blue Marble” — an homage to astronomer Carl Sagan. The globes are cradled in vintage camera and transit tripods used for surveying the earth’s surface that Scharnagl found online, a synergy she couldn’t resist.

“Every part has something to say,” she says. “What you make it with, what kind of papers, graphite, glue, or other media you use. I consider the art-making a way to think, a way to discover and explore. It’s a way to discover things about your subject and yourself.

“When I create art, it’s a personal narrative embedded in a universal idea,” she says. “I identify with the bird who hits the building, with the earth itself, and identify with poetry and cultural mythologies about Mother Earth.”

Scharnagl credits German painter Albrecht Durer as an influence and her professors at FIU, including Clive King, Manny Torres, and Bill Burke, for teaching her to self-critique.

She admires African-American artist Mark Bradford for his large-scale abstract collages; Jamaican-born American artist Nari Ward for his sculptural installations addressing consumer culture, poverty, and race; and art writer Linda Weintraub for her writings on environmental consciousness.

In her spare time, Scharnagl admits to being a “total Trekkie.” “If push comes to shove, I call ‘Star Trek’ my martini — it feeds my soul.”

Future plans include a possible residency at the Deering Estate in Miami and continuing to create art.

“I don’t want to sound like I’m blowing my own horn,” Scharnagl says, “but people have told me, ‘You’re giving a gift to the world.’”

Exhibition Dates
Aug. 23–Oct. 8, 2022

“Ask the Artist” Talk
Thursday, Sept. 8, 6:30 p.m., mingle/gallery view; 7 p.m., talk

Opening Reception
Thursday, Sept. 22, 5:30–8:30 p.m.
“Earth Piñata” Performance Piece

Live during reception