Author: Stefany Fisher

Mariko Kusumoto, Take Akari sculptures grace the Morikami

Mariko Kusumoto, “Light as Air,” fiber-based, translucent, and crafted through tsumami‑zaiku techniques.

The buoyant sculptures of Mariko Kusumoto. Occupying the Morikami Museum and Japanese Gardens’ main gallery through April 5, expect an immersive, contemplative experience where light and proximity matter integrate. Fine detail is prevalent and parallels the authentic, methodical organization characteristic of a kimono. When viewed closely, the work is consuming.

Mariko Kusumoto. This Japanese-born artist is known for her delicate, floating fabric sculptures that blend traditional Japanese craft with contemporary installation. She creates whisper‑light fabric sculptures that seem to hover between craft and contemporary artistry. Raised in a 400‑year‑old temple as the daughter of a Buddhist priest, Kusumoto developed a keen attunement to subtle light, tactile surfaces, and the hush of carefully ordered space.

Mariko Kusumoto, “Ethereal Garden,” mixed-media sculpture (polyester and wire), 2024.

Kusumoto’s “Ethereal Garden” is an intricate, modular installation evoking underwater ecosystems through fabricated coral, sea anemones, and marine flora. The work explores themes of biodiversity, emotional fragility, and poetic buoyancy through textile manipulation and sculptural choreography.

Kusumoto’s practice is intensified by time‑honored Japanese handicrafts, especially the delicate folding and pinching of tsumami zaiku, with modern sculptural thinking. From tiny, exacting manipulations, she builds larger, translucent forms that evoke drifting blossoms, jellyfish, or underwater plants, inviting viewers to watch how shifting light and gentle motion reshape surface, depth, and perception.

Marine biodiversity as emotional landscape. While inspired by real marine life, Kusumoto’s forms are not literal replicas. Instead, they’re imaginative hybrids, blending both botanical and anatomical references, color radiation and molecular symmetry, as well as subatomic weight and poetic buoyancy where fantasy meets biology.

Mariko Kusumoto, pencil cases, 2011, mixed-media sculpture (hinged human‑form containers with embedded objects).

Mixed-media sculpture. Kusumoto, who is also a metalsmith and former printmaker, celebrates her earlier works with this sculpture, which features two hinged, human-shaped forms filled with miniature objects, including a clock, a ruler, a vanity, a flower, and cut‑out figures. They are arranged as internal “compartments” that explore themes of identity, memory, time, and personal ritual. It is a striking example of her narrative container series, where the body becomes a vessel for memory, identity, and symbolic layering.

Psychologically, the body represents a container for time, memory, and ritual. It is sociocultural, objectively gendered as a commentary on formation and subjective narrative—each of which, an artwork demonstrates a chapter in a personal or objective story.

Mariko Kusumoto, “Bamboo Garden,” mixed-media installation (polyester and wire), 2025.

A bamboo-inspired aesthetic. In “Bamboo Garden,” a vertical arrangement of vibrantly colored bamboo stalks of green, yellow, blue, and orange is presented as an immersive sculptural display. The work explores repetition, texture, and chromatic variation, transforming natural forms into stylized patterns that evoke both serenity and visual rhythm. Handcrafted by Kusumoto, whose signature practice involves delicate textile manipulation and organic sculptural forms, it’s an originally crafted, site‑specific installation for Tiffany’s. Kusumoto was inspired by Kabuki theater for Tiffany’s six‑story flagship in Ginza, Tokyo. It is an elegiac homage to Kabuki, one of Japan’s most stylized and dramatic performance traditions. Kusumoto has also collaborated with other notable names, such as Elizabeth Arden, Jean Paul Gaultier, and La Mer, and is represented in several museums around the world, including the Victoria & Albert Museum in London and the Smithsonian American Art Museum.

Take Akari: Bamboo Lights. The Morikami’s “Take Akari: Bamboo Lights” exhibit features expansive, glowing bamboo sculptures curated by Akihiro Mashimo, celebrating tradition, craft, collaboration, and sustainable management. Mashimo, a master bamboo artisan known for revitalizing community‑based illumination festivals in Japan, brings a contemporary sensibility to this centuries-old material practice. He is a leading figure in contemporary bamboo craft and is recognized for his large‑scale light installations that merge artisanal technique with ecological awareness and community engagement. Mashimo’s practice centers on hand‑carved bamboo illumination and collaborative making, which has helped shape the modern Take Akari movement through his commitment to sustainable harvesting and local participation.

The Morikami Museum first debuted “Bamboo Lights” on July 7, 2024. Following the exhibition, the museum commissioned the illuminated bamboo installations crafted by Akihiro Mashimo for long‑term stewardship and preservation within its collection.

Tanabata is Japan’s Star Festival, celebrating the once‑a‑year meeting of the lovers Orihime, the weaver princess (Vega), and Hikoboshi, the cowherd (Altair). Vega and Altair are the two stars at the heart of the Tanabata legend. Legend has it that they fall deeply in love, neglect their duties, and then are separated by the sky deity (the Milky Way) as punishment. Moved by Orihime’s sorrow, the deity allows them to reunite once a year, on the seventh day of the seventh lunar month. This reunion is the heart of the Tanabata festival mythology. It is marked by hanging colorful wish‑strips on bamboo and local festivals held between July and August.

“Take Akari” literally means bamboo light. It uses cut and drilled bamboo tubes fitted with candles or LEDs to create patterns of light and shadow across gardens and public spaces. Take Akari began as a grassroots response to abandoned bamboo groves and the social need to bring communities together. Makers harvest overgrown bamboo, carve decorative perforations, and light the pieces to form “lightscapes” that are both aesthetic and civic.

This practice has grown into community festivals and site-specific installations that celebrate local craft, reconnect people with nature, and draw attention to bamboo forest management issues.

Visitors can experience the world of illuminated bamboo at the Morikami Museum.

Akihiro Mashimo. Born in 1977 in Yokohama, Mashimo is a Japanese bamboo craftsman and artisan recognized for his mastery of takezaiku, traditional bamboo craft. He grew up in Nagaoka, Kyoto Prefecture, where bamboo was a constant presence. He was formally trained at the Traditional Arts School of Kyoto, graduating in 1998. Mashimo is known internationally for demonstrations, workshops, and collaborations in the U.S., Italy, and the U.K., where he promotes sustainable bamboo practices and contemporary applications of traditional techniques.

I had to stop for a lemonade while my husband and I strolled along Delray Beach’s art festival on Atlantic Avenue, passing by each of the booths until we finally stopped to view Steven Kummer’s work down the way. At first glance, I saw marble, but as I looked closer, it was the actual canvas I was staring at. Kummer’s process is deeply tactile, building layer upon layer, with resin binding it all. Ninety percent of his work involves painting with his fingers, guiding the movement of color to create compositions from predetermined themes or spontaneous inspiration. He describes his art as stress-free, evolving organically into form and meaning.

After a distinguished 40‑year career in information systems design and development, Kummer turned to painting, discovering a new medium for his lifelong creativity. Though new to the art world, his technical background informs his approach. He studies the chemistry of paints and media to understand their interactions, insisting on the highest-quality materials and craftsmanship.

Kummer’s work is driven by a desire to evoke strong visual responses. Shock, movement, balance, and depth are just some of the feelings often expressed through his bold color compositions and metallic accents. Influences from his wife’s Chinese heritage appear in the form of embedded characters, each carrying profound meaning that connects directly to the themes of each piece. Kummer’s attention to detail can be both powerful and even overwhelming, perhaps, as he recalls one viewer moved to tears by the symbolism in his work, an experience that reshaped how he channels energy into his art.

Beyond painting, Kummer is a martial artist with 15 years of training, having retired while preparing for his fourth‑degree black belt. Teaching, competing, and judging honed his discipline, yet he remains humble, likening himself to a gardener, rather. Where his professional life demanded aggression, art provides him balance—a practice he considers essential to his well‑being.

“Achievements,” 30″ x 30″ heavyweight canvas with a 2.5″ profile; acrylics, metallics, and epoxy resin. First in a series of three. 

“Achievements.” This work  was created using vibrant acrylics and metallic paints to embody the “gold stage of life.” The work is painted largely by Kummer’s fingers, building upon it layer after layer, until it is formed to represent the building blocks of success bonded by the richness of achievement. Gold metallic acrylic symbolizes the knowledge gained along the way, while iridescent colors reflect the fruitfulness of an achiever’s journey. Within the composition are two Chinese characters, handwritten by the artist’s wife, that translate to “work hard” and “prosper,” reinforcing the theme of accomplishment.

The painting’s texture was achieved through a process of layering and metallic spray, as Kummer describes, pulling the lower layers forward while the paint is still wet. It is a technique that he experimented with for the first time. The piece itself conveys strength, stability, and pride in one’s accomplishments. It is the first in a series of three works—“Achievements,” “Beautiful Life,” and “Strength”(not pictured)—each defined by a metallic theme, with gold emphasizing richness (“Strength” is in silver for clarity).

“Beautiful Life,” 30″ x 30″ heavyweight canvas with a 2.5″ profile; acrylics and metallic copper tones, epoxy resin. Second in a series of three.

“Beautiful Life.” This work is saturated with vibrant acrylics and metallic copper tones. The painting celebrates vitality and joy, inspired by the artist’s relationship with his wife. The embedded Chinese characters, written in her hand, translate to “beautiful life,” embodying their shared journey. Layers of imagery include trees with green leaves in the background, setting the symbolic foundation of a meaningful life, while a waterfall of vivid colors represents the energy, happiness, and support found in companionship. Copper serves as the metallic theme for this work, and it represents vitality. As the second in the series, “Beautiful Life” builds upon the richness of “Achievements” and precedes “Strength,” which features silver to symbolize clarity.

“A Walk in the Park.” This work, capturing the quiet beauty of seasonal change, is a must-see. The uniqueness of this piece is that the “park” can be easily overlooked if not aware of it (the photo doesn’t do it justice). Soft sky blues form the background, while layers of rich, shifting colors mirror the transformation of leaves in autumn. The painting evokes the serenity of a peaceful stroll, encouraging viewers to look upward and embrace the natural palette of life.

“A Walk in the Park,” 30″ x 40″ heavyweight canvas with a 2.5″ profile; acrylics, metallic tones, and epoxy resin.

“Nature’s Yin Yang.” This work explores the balance between ambition and peace. Golds and reds symbolize drive and aggression, while blues, grays, and whites counterbalance with stability and calm. Kummer started the piece on opposite edges, articulately bringing it to form. The composition reflects the constant clash and reconciliation of these forces, a theme rooted in Kummer’s 15 years of Tang Soo Do martial arts training. The work embodies the discipline’s philosophy of balance, translating martial practice into visual form.

“Nature’s Yin Yang,” 24″ x 48″ heavyweight canvas with a 2.5″ profile; acrylics, metallics, and epoxy resin.

Steven Kummer is a local of South Florida; his origins root from New York. For more information about him and his artwork, go to www.artfullydonellc.com.

Haiti’s deep history is one of resilience, revolution, and cultural richness. It endured the 15th-century Spanish colonialization, the 17th-century French takeover of the western part of the island that led to its revolution in 1804, isolation from global powers, economic struggles, and internal conflicts. It has faced political turmoil and natural disasters. Despite the challenges, Haitian culture has flourished, influencing the world by its artistic magnetism in music, literature, and the visual arts.

Sophia Lacroix brings focus to Haiti in her true-to-life paintings by her cultural reminiscence. Lacroix, who was born in Haiti, migrated to South Florida at the age of 15. Since then, she has used her talent in oil paints and charcoal drawings to keep the scenes alive from her memories of everyday life, Haiti’s people, and her culture.

Currently on display at the Pompano Beach Cultural Affairs Department is “Ede’m Poté Li,” or “Help Me Carry It” (2024), a 31.5-inch by 40-inch, limited-edition, hand-embellishment Giclée print. It is among the many paintings garnished with sapphire-symbolic detailed blends of norms that encompasses Haitians’ daily lifestyle. In Pompano Beach’s exhibition, “Roots and Realism: A Haitian Artist’s Reminiscence,” traditional methods of daily customs are alive and vibrant in a variety of ways, echoing Haitian ethos through compositional transcendency of principle. The exhibit runs through June 21 at the Ali Cultural Arts Center.

Realism. In this style, the principles of art play a crucial role in capturing life as authentically as possible. The threads that twine Lacroix’s experiences to voice these echoes are emphasized in sharp details and light techniques. Light censors are by sources that are clearly complimented by their opposing shadows. Lacroix applies cohesion to colors and proportions to grow rhythmic palettes of her subjects in each of their organic landscapes.  it’s like being a tourist as a viewer because she draws you into the culture.

 

In twine. Lacroix’s portraits sustain a sapphire-symbolic durability that apprehends the same critical elements in authenticity as the platform of its landscapes. The cultural significance of “Bel Ti Fi” (2025), a 23.5-inch by 24-inch graphite on paper—blended with texture and depth by its medium—is one representative of Haiti’s people. The child, an embodiment of their heritage and their future. Lacroix strings life intrinsically through art value.

Lacroix’s “Jocelyn,” a 30-inch by 24-inch oil on canvas, is similar in that it digests as a mineral’s complacency as she demonstrates her commitment to accuracy, mirroring how light interacts, producing variations in tone and highlights, and portraying her subjects with honesty and precision. This piece follows Realism’s tradition by transforming its simplistic human element into a work that is visually compelling and technically refined. Lacroix’s attention to detail is apparent throughout the entire composition, as she captures the subtle variations in light and shadow. Each strand of hair appears meticulously woven, and the shading of her subject’s face enhances depth and dimension, which reinforces the sense of realism.

“Macchan Laye.” Lacroix’s 16-inch by 8-inch oil on paper (2025) refers to the merchants who play a critical role in local commerce, selling everything from local produce to handmade crafts. The painting puts the macchan at the center of the focal point, vacating details away from those surrounding her, and as she walks into the distance, so does the solidity of the imagination, and into her subject’s reality.

Paintings of macchans are accented around the room in the spirit of Pompano Beach’s Roots and Realism exhibition. That is, until one approaches still life, where it and Realism share a deep artistic connection, particularly through the art principles that govern composition and technique. In contrast to the paintings of different macchans in motion, movement is instead implied through curved shapes and leading lines, accurately scaled and reading to subject as the delicacy at hand.

In almost 30 years of professional painting, Sophia Lacroix has exhibited in both group and solo shows throughout the eastern and central parts of the nation. Her work has been recorded in several publications and has developed a loyal following of collectors around the world. Lacroix’s passion began at 4 years old, and she is a self-taught oil painter who began selling her work in 1995 while working in social services helping the underserved. It’s highly recommended that you pay a visit to the Ali Cultural Arts Center for a brief vacation into the painted depths of human observation. For more information, visit http://sophialacroix.com.

A “colorist,” her professors in college had called Deborah LaFogg Docherty.  She is a colorist with talent for color, which is why she likes pastels.  LaFogg’s compositions are saturated in detail, and beneath the layering,  the surface of sanded pastel is full of pigments with little binder.  LaFogg brings the colors in life forward and into this month’s focus.

“It has to have motion, color, and contrast—oh man, there is always something to learn,” explained LaFogg. “The right textures and, most importantly, it is the composition that has to be right.”

Toy in the Attic (38″ x 28″). LaFogg’s first exhibition was at the Yale University Art Gallery in her senior year of college. “Toy in the Attic,” an oil painting on gessoed board, was exhibited there; it is of LaFogg’s Raggedy Ann doll that she found in the attic.

LaFogg, who grew up on a farm in Connecticut, was inspired by her mother at a young age to pursue art. One could say the “writings were on the wall”—when LaFogg was only 4 or 5 years old, she did a full mural of dogs, cats, trees, and birds on the wall of the hallway. Of course, her parents thought it better to give her coloring books, paints, and crayons instead, for her to continue on. And she did just that.

LaFogg, having graduated with honors in illustration and commercial art from Paire College, later relocated to South Florida, where she worked in illustration, cartooning, and as a designer for the Sun Sentinel for several years of her life. There, she did a plethora of work in the artistic field, including prepress, editorial, and advertising. She was a Special Sections designer in Deerfield Beach, and it helped her to further develop her skills in compositional strength throughout the experience.

Commissions. During and after her Sun Sentinel career, LaFogg has continued to do commissions for art lovers. Her commissions range from portraits to animals, in extensive use of detail, and even with an Impressionistic piece. She has illustrated a couple of books, including “Rosie’s Song” and “Woodrat Jill,” in themes about conservancy and nature. While LaFogg is naturally drawn to pastels due to her talent for color, her works are shaped from oils and even acrylics. Her tendency to equip detail is apparent, while maintaining balance between her softened backgrounds to pronounce the foregrounds of the composition’s focus. This cute little fur ball (pictured) is a recent commission, 11″ x 14″ oil on canvas.

Wildlife. LaFogg lives in Boynton Beach, where she works from her studio. Her property is in fact a wildlife habitat. Known well for her wildlife works, LaFogg’s achievements in wildlife conservation efforts cannot go unnoted. Winning first place in fine art in the Endangered Art4Apes International Exhibition, fourth place and honorable mention in the wildlife/animal category of the Pastel Journals International Pastel 100 Competition, and honorable mention in the International Artists Magazine Wildlife Challenge, these are just a few of many of her achievements. Her work is often featured in the NYC Salmagundi Club shows, and she’s been published in the International Artist Magazine, the Pastel Journal, and the WildScape literary journal.

LaFogg’s wildlife paintings cannot be missed. Since 2018, after she became a part of an artists group to visit Kenya for conservation efforts to bring the Northern White Rhino back from the brink of extinction, she continues creating paintings for the National Parks Trust and strives to raise awareness about the importance of wildlife conservation.

Among some of the animals painted are the wolf, the cougar, the black bear, and many more. However, her favorites are the birds, LaFogg’s main subject. She loves how they symbolize freedom and beauty, a topic very important to her.

“Frost,” an 11″ x 14″ pastel on archival sanded pastel paper, is a testament to that. The lone cardinal is the focal point of the painting, drawing the viewer in by his natural predominance—color, defining the composition by his inherited hierarchy upon the wires. As he looks on, it hints to the viewer a suggestion, perhaps, in hopes for the spring.

LaFogg’s works are spread nationally and internationally, including in China and Spain. In the U.S., a piece well worth mentioning is her real-life cowgirl, whose portrait is a 16″ x 20″ pastel on archival sanded pastel paper, titled “Ready to Ride Out.” The offsets of the composition come into focus by the pronouncing of life to her face, where her position is to skin tones, mellowed by the balance at which it borders by color. It all is complimentary—as the cowgirl looks to the light, the background remains mysterious, leaving the fluidity to the viewer in a pending sense before her journey into the great wide open.

Every little detail to experimental abstracts. After a great year in 2024, LaFogg is currently rebuilding her inventory. Subsequently, recent interests have delved into abstracts. Her “Koi Pond,” a 16″ x 20″ acrylic on canvas, explores her applied techniques into simpler strokes. Form, however, remains defined by color, as the core emphasis is toward the Koi fish. Koi, also known as Nishiikigoi, is a species that originated in China and later were extensively bred and popularized in Japan.

Inspiring others. LaFogg’s aim is to inspire others by doing demos and teaching. Currently, she teaches art at the Boyton Beach Arts & Cultural Center every Wednesday from 1 to 4 p.m. On April 4, 5, and 6, LaFogg will be at the Delray Art Fair. On April 12, she’ll be at the open house of Delray Beach’s Creative Arts School. And on May 3, LaFogg will be painting life at the Palm Beach Zoo.

For more information or to contact Deborah LaFogg Docherty, go to https://lafogg.com.

 

Surrealism is certainly potent in the delicate works of Sharon Shevell. When I went to view them at the Parkland Library while on display until the end of August, I could not help but want to dissect them all. Each of them tells its own story, taking us back to the prevalence of nature and in tune with the realities of today. The works are  dynamic and certainly opposed to the discrepancy-specific environments that each composition entails. Here I explore each of Shevell’s acrylic intricacies and attempt to anatomize the message that she finds and portrays from nature.

“Hope on the Horizon” is an acrylic painting on canvas, with overtones of connotation, and diversions like puzzle pieces that surrealism supplies. The bodiless configuration of the female suggests that the rest of the self is in the background. The emotions are revealing of the water, and the consciousness within the sands. Her roots in the forefront seem to be a bid to cover the mystery that interestingly and inadvertently tells all by the irony of only her right eye being exposed. It is the eye that is the focal point that’s applying the symmetry, and by its subvertical alignment before the integral of vision displaces at the horizon.

Quite possibly, the clouds off the horizon could be analogous to electrical configurations of the subject, and the thought processes, posing at the overall conjuncture of the composition. In the topic of  “hope,” the message could very well be a substance applying the importance of self-awareness.

“Oy Vey” (a Yiddish phrase expressing dismay or exasperation). Well, it is often said we should avoid talking about politics; however, politics seems to be screaming at the reciprocal of this platform, and is quite detailed. The mood changes considerably in this composition and, moreover, toward its undertones that are held of voicelessness and in the context of politics that surround the topic. Instead, Shevell seems to articulate the protection and safeguarding of the nurturement of nature, embracing it as a mother would her child. All the while, the feminine subject is emphasized as still attempting to save her head. The chosen animals involved add to the visual dynamics of this piece. The work speaks its message quite transparently, as Shevell takes the viewer through the storm of its exquisite composition.

“Another Day Another Dollar.” Acrylic, paper, coffee filters, and styrofoam quite clearly deliver what this artwork speaks about, and three-dimensionally. Paradoxically, it is quite fun to look at, while maybe not the evidence that extracted from it likely was. More so, the experience hits the message on the button, becoming a question at hand: Is it all worth it?

“Victoria’s Lament.” This painting in acrylic on canvas is another work that Shevell uses as background to the theme of emotion from off the composition. Here, what an emotionless Victoria lacks in the expression of her face is the emotional journey spread of the sea in which she dwells. And as she grasps what past is entangled with roots, the message is exposed as a question: Is it the effort to reach what washed up on the shore, or is she letting go?

Shevell exposes the hypothetical nature of mythical reasoning to converse about choices, provoking thoughts about which can be claimed, and what came first and why. Too often in life there’s a threshold that forces one to give up one thing for something else. Perhaps this message is about nature’s natural procedural of balance.

“Cry” is an emotional painting of mixed media and acrylic on canvas that seems to be a transcendence from “Hope on the Horizon.” Undoubtedly beautiful, clearly the message portrayed here is about conservation: a very important one at that.

“Eye of the Storm” is acrylic and fabric on canvas that appears as a metaphorical sense of what weather does.  It gives a sense of how time and place both create the environmental stress, and how it functions both as the action and effect.   While a psychological fraction of its pressure costs is left to be freely interpreted, the transcendence of color is interestingly viable from the skies of “Oy Vey.” This three-dimensional concept brings its extraordinary essence of interpretative vision right in front of viewers to investigate for themselves.

“Garden Nymph Contemplating the Effects of Climate Change.” Shevell’s acrylic on canvas has a surrounding seven-piece set of 8-inch-by-8-inch small canvas picked by the theme of its subjects’ motivation. This painting emphasizes the prose of the composition while its muse blends into the delicate magic of care along its landscape. The conjunction of sea life and botany coheres with the abstract thought behind her, riveting color as a tool to emphasize the need for survival. The intensity of this work is honest and provokes emotion, as is seemingly needless for any visual input by its cause. Instead, this painting’s subject is from a perspective at the other side of it. Interestingly, no matter how colorful the composition is, it still leaves the viewer with a sense of emptiness: the irony entangled with the subject at hand.

“Cosmic Winds I & II” is acrylic on canvas, both pieces integrate pebbles into galaxies, expressing the stepping-stones toward the bigger picture. What a lovely path Shevell makes of it, and within the discrepancy that time decomposes, as color fills any negative space rhythmically imposed by the contrast of suggested wavelengths. Its mundane choice of compositional trajectory keeps the subject communicating along with the connectivity of it all. Very powerful.

Sharon Shevell is a New York-raised, local Floridian residing in Parkland who studied painting at the Boca Raton Museum Art School in the 1990s. Her works have been displayed around South Florida quite fluently, and they’re held in private collections between Canada and the U.S. For more information, visit www.sharonshevellart.com.