Category: Art & Entertainment

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The colors of life: Deborah LaFogg Docherty

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.

 

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Music is on the menu with the band Vocal Menu

When somebody loves you
It’s no good unless he loves you
All the way

So begin the lyrics to Frank Sinatra’s classic song “All the Way,” on the 1961 album of the same name, and which he performed virtually with Celine Dion live in 1999 at the Millennium Concert in Montréal, Québec.

A classic love song, spotlighting both singers’ musical styles, it is a favorite to perform for local singers Catalina Prado, 29, and Carlos Iturrieta, 35, both classically trained vocalists and now members of the band Vocal Menu. Other members of the band include Jesús Herrera on guitar, Sandro Montoya on bass, and Oscar Bravo on drums.

“The song is so beautiful—I’m obsessed with it,” says Prado, the lead female vocalist, who admires both Celine Dion and Sandra Brightman.

Prado, a soprano, and Iturrieta, a bass-baritone, met in their native Chile during an audition backstage at the historic and iconic Teatro Municipal de Santiago, where they were asked to perform a duet from Mozart’s comic opera, “The Marriage of Figaro.” Both nervous for the audition, Prado sang the lead female role of Susanna while Iturrieta sang the lead male role of Figaro, two servants who fall in love and eventually marry, despite the obstacles in their way.

Luckily for Prado and Iturrieta, nerves gave way to something more. As Prado remembers, the couple, like their characters, fell in love during that audition, in a case of life imitating art.

And while they are not yet married, since that fateful day in November 2018, the couple has been singing together and two years ago relocated to Boca Raton from Chile, to be near family in Parkland.

Iturrieta studied at the Institute of Musical Arts in Concepción, Chile, under the tutelage of Chilean baritone Pablo Castillo and alongside renowned Chilean pianist Verónica Torres. A four-time scholarship winner, he studied under Chilean opera singers Rodrigo Navarrete, Oscar Quezada, and Christian Senn, as well as Italian baritone Alessandro Corbelli and Chilean soprano Pilar Aguilera.

In 2018, Iturrieta was a semi-finalist in two international competitions—in San Pedro de la Paz, Chile, and in Trujillo, Peru. The following year, he made his opera debut in Puccini’s “Madama Butterfly,” at Chile’s Biobío Regional Theater, in the role of the Imperial Commissioner, conducted by Italian maestro Lorenzo Tazzieri. And In May 2019, he was selected as a semifinalist in Plácido Domingo’s “Centre de Perfeccionament,” in Valencia, Spain.

And while Iturrieta studied opera formally for six years in IDAM, he, like Prado, realized he didn’t want to limit himself to one genre of music and felt that instead of people coming to him to hear him perform, he could bring his music to the people.

One of Iturrieta’s long-term goals is to found a performing arts center where people can come hear him perform. In addition to opera, he enjoys singing ballads, especially American music from the 1950s and ’60s, such as Frank Sinatra, Elvis Presley, Dean Martin, Andy Williams, and Nat King Cole. “The crooners,” he says.

Other musical influences include American opera singer Samuel Ramey and Russian opera singer Dimitri Hvorostovsky, who passed away in 2017.

Prado has an equally impressive background, beginning her musical journey in 2013 at the Symphonic Choir of the University of Chile, under the baton of conductor Juan Pablo Villarroel, where, at 17, she was the youngest student admitted to the program.

She studied under Chilean soprano Claudia Pereira, later graduating from the Conservatory of Music of the Universidad Mayor, in 2022. In 2018, Prado won the prestigious Amigos del Teatro Municipal de Santiago scholarship, and she performed in many of Chile’s top theaters.

Growing up, Prado attended a Waldorf School where music and the arts were an integral part of the school curriculum. She knew at a young age that she loved to sing, and to sing with others as part of a group. Finding success at an early age, she credits her mother’s prayers as having “something to do with it.”

Not one to leave fate to chance, Prado had a backup plan if her singing career didn’t take off: to become a doctor. “I always have a Plan B,” she says.

With a “strong passion” to heal people, Prado says both physicians and musicians are healing in their own way.

With a far-reaching repertoire, including arias, operettas, chamber music, popular music, and musical theater, Prado is not content to remain in one genre, and she’s looking to find her sound. “I want to explore my own sound without limitations,” she says, noting that to sing opera, one needs to conform to strict vocal techniques and requirements.

“I want more freedom,” she says, finding that freedom in musical theater and contemporary music, especially cross-over music.

“Cross-over music bridges different genres and worlds and is a way to bring people together,” Prado says. “Music is for everyone.”

Her dream, she says, is to be able to create unforgettable musical moments for everyone.

Prado cares for her voice with a healthy lifestyle that includes taking precautions against becoming sick; not eating spicy foods late at night, which can cause reflux and harm the vocal cords; and staying hydrated. She trains her vocal cords with warm-ups and scales every day.

Her dream is to play the role of protagonist Christine Daaé in “The Phantom of the Opera,” live on stage.

While the couple perform numbers from the musical, such as “The Music of the Night,” and others, Prado likes to imagine herself performing on stage in front of a large, enthusiastic audience.

“That would be unbelievable,” she says. She hopes to make professional connections here in South Florida to realize that dream.

The two also hope to make a name for themselves and the Vocal Menu band. Last year, they participated in the city of Parkland’s 60th Anniversary celebration, opened for the band Sugar Ray, performed for Veterans Day celebrations, and performed twice at the Parkland Farmers’ Market at the Equestrian Center, once as a duo and the second last February with the full band.

As recently arrived members of the community, they hope these performances are only the beginning.

“We love what we do,” says Prado. “We get to share special and emotional moments with each other and our audience.

“It’s a unique and beautiful moment,” she says. “Isn’t that what makes us human?”

To learn more, visit vocalmenu.com or go to Vocalmenu on Instagram

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Artist John Bowen Celebrating National Vietnam War Veterans Day

John Bowen started with watercolor when his art teacher introduced it to him in high school, and he’s been painting with it ever since.

Art is a “labor of love,” says Bowen, whose extensive artistic career has taken him from artist apprentice right out of high school at an ad agency, and on through to the U.S. Air Force. But it doesn’t stop there. This month we recognize Bowen’s longstanding career as we honor National Vietnam War Veterans Day on Saturday, March 29.

Bowen was hired as the only illustrator (technician), graphically responsible for documenting work for about 200 soldiers in the 834th Air Division Headquarters Unit. Stationed in Tansonhert Airbase during the Vietnam War, near the city of Saigon (now Ho Chi Minh City) in southern Vietnam, Bowen at times was able to go out into the countryside and document the war in sketches. Otherwise, his job was to document actual operations in action on-site. He served eight years in the Air Force, from 1961 to 1969, and in the Vietnam War from 1967 to 1968, using mainly pencil (or pen) on paper as his medium for documentation.

Vietnam experiences. In 2013, Bowen was published by Middle River Press in Oakland Park, which recorded his physical and emotional experiences in the Vietnam War. The book is titled “Eleven Months and Nineteen Days,” and it is complemented with 43 black and white drawings made specifically for the work. The image here is a recreation of Bowen’s experience in one of his instances as he drew then. This time he was drawing from a life model as he recreated the memory. Bowen’s book could’ve been augmented with up to 60 of his original drawings; however, 43 was the magic number where he had chosen to stop. The medium was used for the purpose of keeping its authenticity as he recreated his experiences from the war.

Scratching the surface. Bowen was born in the Bronx and then grew up in Irvington, N.J., during his adolescent years. However, with his family having relocated to South Florida when Bowen left the war in December 1969, he also chose to settle in Florida, where he found a job with the Miami Herald. Some years down the road, he then worked for the Sun Sentinel. Bowen retired in 2009.

The years of painting, however, did not stop before or after the war. His work has been exhibited in major shows and has won several awards over the course of his lifetime. Bowen, from 1988, is a lifetime member of the Gold Coast Watercolor Society. He is a distinguished signature member of the Florida Watercolor Society, and his proudest accomplishment yet has been for him to be honored with signature status from the American Society of Marine Artists, more recently.

Realistic expressionism. Bowen’s creations with watercolor may seem mastered, but according to him, he is always learning and evolving (FYI, they are pretty mastered). However, he is not a purist. He admits to the use of gouache at times, predominantly zinc white, he mentions, in combinational transparency that creates a texture, such as with his trees or foliage. His ability to bring light colors over dark to increment to some extent is an evolution to depth development. He does this by using more paints and little water, which suggests a paste-like medium applied over its primary layer. Bowen’s reversed topical application assigns dualism to his expression by the concept of light.

Viscaya. The Vizcaya Museum and Gardens, or simply Vizcaya, is a lovely historic estate in Miami. It was built between 1914 and 1922. Bowen’s beautiful paintings of Viscaya can be found in prints and notecards in its gift shop, while some of his originals can be viewed in the cafe.

Chosen subjects. Bowen’s favorite subjects to paint are old homes, in detail, and of wicker, for example, a theme of one of his favorite artworks on the front porch of an old house. “Dove & Blackbird” (not pictured) is just one of many examples of the fine detail to that of interpretation, which extends from the door, amplifying the presence of that detail. Moreover, there are his “shoots”—what Bowen calls them—as he brings photographs of his subjects back home to his studio, where he then recreates the art. His work, inspired by the historical city of Charleston, S.C., was formed from some of his shoots, as he grasps moments of history and shares them through watercolor by hand.

“Antique Ford” (not pictured) is another exquisite artwork reconstructed from history. The work is of an old-time Ford with old-time luggage sitting in the back of its trunk. This work demonstrates quite vividly Bowen’s use of light and color dynamics as he exerts influence on already visually favorable subjects. He brings not only the past into a unique visual, but also the joy and tranquility of his subjects fluently through his artistic hand to life. They are fun to see.

The Florida Keys. The Keys is where viewers can find those wicker chairs, in his series of the area, ranging from his experiences at the Main Street Kennedy Gallery on Duval Street to those on West Atlantic Avenue.

Every little detail. Bowen’s ability to capture every little detail is indeed impressive, unveiling his acuity to vision. His unique Marine collection is no different. The use of light trickles down right to the most rustic authenticity. Dynamics in visual draws of color highlight each context unsparingly. It is easy to see how much his work exercises his bravery.

Currently, Bowen’s work aspires to the BRiC, Boca Raton’s Innovation Campus, expected to launch in May 2025, where three of his artworks will be able to be viewed. He currently resides in Tamarac. We extend a warm thanks for his service.

For more information or to contact John Bowen, go to johnbowenwatercolorist.com.

 

 

 

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Renaissance fun Local festivalgoers march into the past

The annual Florida Renaissance Festival in Quiet Waters Park kicked off on Feb. 1, and it’s scheduled to conclude on March 23. It is a great opportunity to enjoy a glimpse of what life might have been back in the 16th century.

Renaissance festivals have become more and more popular since first coming onto the U.S. scene 50 years ago. These events went from a small niche in New York and California, growing through the decades, to extravagant festivals in recent years. The festivals typically feature a setting during the English Renaissance period.

These events also serve as an educational tool for many. It inspires a deeper passion for history and the arts, and it showcases fashion and music from a different era. For some, the shows spark a deeper interest to learn more about the 16th century, and how the Renaissance period impacted the world.

The modern Renaissance festival was started in California in 1963 by Phyllis Patterson, a schoolteacher. It was initially created as a fundraiser for a radio station, with the vision of blending historical reenactment with performative art. For Patterson, there was a local talent pool of performers that she was able to draw upon in the Hollywood Hills community.

Since then, these cultural events have spread across the country. You typically will find both entertainers and attendees in full costume from that time period, along with music and theatrical performance acts of that era. The outfits you see can be simple, or extravagant. Many attendees and performers go out of their way to reenact every element of the outfit to be as realistic as possible.

You also will find vendors selling outfits at the festival, if you want to check them out in person. The Florida Renaissance Festival boasts more than 100 vendors to supply you with provisions. They will also provide you with a wide range of food and beverage—from turkey legs to desserts, and from cold ale to mead.

Nowadays, you will also find a large online community to help with preparing your outfit. A quick search on online store Etsy.com shows many options for historical dresses, gadgets, and accessories, including full sets of plate armor and weapons.

Typically, the festivals will have a theme, and the Florida Renaissance Festival has a theme each weekend. This year the festival is introducing a new concept—the weekend of March 8 and 9 features “Gears and Gadgets–The Lost Inventions of DaVinci,” which celebrates the retro-futuristic subgenre of science fiction. So, expect to see many creations and outfits featuring gears and spectacles if you visit that weekend.

According to one person who attends these festivals, attendees “enjoy the fact it’s historically inspired, and might require a lot of research, and build on year after year.” It’s not like when you are dressing as a character from a book or movie, such as for Comic-Con; for Renaissance festivals, it’s a character you’ve created. This person cherishes the festivals as “a creation of an agreed-upon environment.”

So if you have a weekend free this month, don’t miss out on the final days of the annual Florida Renaissance Festival. It’s on every weekend at Quiet Waters Park. But be warned, expect long lines—the park often reaches capacity by the afternoon—so get there early if you want to partake in the festivities.

 

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Private, peaceful paradise among the palms

There is a small country road off bustling Atlantic Avenue in west Delray Beach that quietly leads to a hidden lush oasis—the Paradise Palms Botanical & Sculpture Gardens. This place combines beautiful nature and creative artwork unlike anything I’ve seen before. The unique Paradise Palms does not advertise its existence online, there are no signs to tell you where it’s located, it’s totally gated off, and visitors can enter its grounds by appointment only. I wouldn’t have known about it if someone hadn’t told me. And that’s the way they like it there.

If you’re fortunate to make an appointment and get into this 20-acre secluded paradise (it fits its title!), you can stroll through numerous well-curated gardens, groves, and micro-forests containing a plethora of plants, shrubs, and trees, including one of the most extensive palm tree collections in the country. You can see 2,500 palms in their natural environments, with at least 450 different kinds to enjoy. There are numerous pathways throughout the gardens, with ponds and bridges along the way, and breathtaking vistas.

I went with three friends one Thursday afternoon, and we were the only ones in the entire botanical park, except for some staff members. It was like we were walking through our own elegant estate. We were impressed by the large number of outdoor sculptures interspersed throughout the property, artfully situated among the landscaping of palms, vegetation, rock gardens, and cacti. We enjoyed rounding a bend and coming across yet another unique sculpture. The collection comes from all over the world, and the pieces are widely varied in style and materials used.

These sculptures have been collected over the years, some of which were commissioned for Paradise Palms, and many of them works by professional sculptors. Others are creatively made from old trees that were repurposed as art, or driftwood from nurseries, one painted a bright red. There was so much to see, a feast for the eyes. We especially liked “Guardian of the Garden,” a dramatic metal statue of a goddess with multiple horns on her head, sitting nestled among the rocks.

Paradise Palms has been an ongoing project since 2013, when 5 acres of land were acquired for this ambitious verdant undertaking. Later, two more sections, of 5 and 10 acres each, were added to make it the expansive, impressive estate that it is now. Delray Beach residents Mark and Kathryn are principal supporters of the gardens, which were developed by horticultural consultant Paul Craft and other landscape professionals.

Featured is a half-acre “open-air” conservatory of rare shade palms from Southeast Asia, Madagascar, and the Americas, in an artificially created rainforest. This environment is controlled by a complex mister system. My friends and I also appreciated the bucolic, Asian-themed zen garden. In addition, the grounds boast a yoga platform hidden in a small bamboo forest; a pond with koi fish; a tiki hut; a huge ficus tree; a butterfly garden; a miniature village for kids; and a “mini mountain” covered in trees, plants, and succulents that thrive in desert-like conditions.

We were given brochures with a map when we first entered the park, which helped us identify what we were encountering. Informative, illustrated signs are also posted along the paths to give visitors lots of details about what they’re seeing along the way. And the site’s management lets you roam the grounds on your own, but they’re frequently around to answer any questions.

Paradise Palms is a nonprofit organization whose purpose is “to preserve and promote knowledge and enjoyment of the more than 500 species of palm trees in this garden as an educational and aesthetic experience for visitors, enhanced by a variety of modern and contemporary sculptures.”

It was definitely an aesthetic experience that day for four women who felt very lucky to have discovered these secret gardens filled with displays of modern art. It was a lovely, peaceful afternoon that you wouldn’t expect just off the main drag of a busy city.

Paradise Palms Botanical & Sculpture Gardens is open by appointment on Wednesdays, Thursdays, and Saturdays. For information, go to paradisepalms.org.

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‘The Nutcracker’ returns to Boca Ballet

This is the 34th year that the Boca Ballet Theatre presented the classical production of “The Nutcracker” for the holiday season. This spectacular occasion encompasses refreshing imagination and sound, pantomiming magic under the artistic vision of executive director and co-artistic director Dan Guin.

Founded in 1990, the Boca Ballet Theatre’s initial performance of “The Nutcracker” was presented in 1992, while its current version has been ongoing every holiday season since 1997. This year’s principal dancers from the New York City Ballet Company who join the performance are Emma Von Enck as Clara and Anthony Huxley as her Nutcracker Prince. This classical tradition has been the cornerstone of all holiday productions lasting centuries.

The Classical Story of “The Nutcracker”

The story of “The Nutcracker” is based on E.T.A. Hoffman’s 1816 fairy tale, “The Nutcracker and the Mouse King.” It was later adapted by Alexandre Dumas in 1844 and, by December 1892, was composed by the renowned Pyotr Ilyich Tchaikovsky; it was first performed at the Imperial Mariinsky Theatre in Saint Petersburg, Russia.

The ballet tells the story of Clara, who receives a nutcracker toy from her godfather, Drosselmeyer, on Christmas Eve. The toy breaks and transforms into a prince, who takes Clara on her magical journey in a battle against the Mouse King. The second part of the story is into the Land of Sweets, where its whimsical realm greets her and her prince through the Sugar Plum Fairy and her fairy court. Celebrating their victorious battle leads to a series of dances representing all the candy treats from around the world. According to the Boca Ballet Theatre, these cultural themes have been updated based on the latest trends, and predominantly since last year, by loosening up the choreography to blend in more with the contemporary times within the dance world.

The Trepak, a traditional Ukrainian dance that is often included as one of the Divertissements in Act II of “The Nutcracker,” remains one of the favorite parts among some of the Boca Ballet Theatre’s dancers. Its highly energetic, acrobatic leaps in the presence of spirited music are about as adaptable to the colors of Clara’s dream as it is in prevailing the complementary sound of Tchaikovsky’s theme.

Some versions of “The Nutcracker” differ significantly across choreography, casting, and culture, such as the English version, which remains vast among various parallels, in versions of the ballet performed across the U.S.

The first complete performance in this country was by the San Francisco Ballet on Christmas Eve in 1944. However, Tchaikovsky’s music was already highly familiar to Americans by the international popularity of his “Nutcracker Suite.” The ballet truly took wind in the U.S. in the 1950s by Russian-American choreographer George Balanchine, whose version premiered with the New York City Ballet in 1954. Since foundationalized in Europe and then into the U.S., “The Nutcracker” in America has been the gateway to ballet for aspiring dancers and remains the staple in performance classics.

What It Takes

The Boca Ballet Theatre’s “The Nutcracker” cast is made of 100 dancers, with eight to 10 professionals from all over the country, and sometimes from around the world. The theatre receives audition videos from the National Ballet of Canada, Los Angeles, New York, and the San Francisco Ballet Company, to name a few, and mostly for the male parts, as male professionals are usually lacking in these areas of the ballet community. This year’s guests, along with the principal dancers, are Samuel Huberty from the AUER Academy; Nathaniel Otto, a returning dancer dancing the Spanish Divertissement; Kayke Carvalho and Vince Pelegrin from the ABT Studio Company; and Jhostin Jimenez from the United Ballet Theatre.

Meanwhile, all students must audition for every show. Their season runs from mid-August to May, starting work promptly around the end of August and no later than Labor Day every year for the “Nutcracker” production.

With five staffers at the Boca Ballet Theatre, the production is truly a family affair. Whether it is the fathers behind the set putting things together, or the volunteers handling the costumes and makeup, it takes a community to make Clara’s dream come alive.

Handmade costumes and painted scenes are all stored in the back rooms of the Boca Ballet Theatre. It is like a magnificent library of past and present, organized by category per set, and of each unique production.

Levels

The youngest performers in the Boca Ballet Theatre’s “Nutcracker” are aged 6 to 7 from Level 1. Level 7 consists of skilled 13- and 14-year-olds, and Level 8 performers are the most experienced dancers, ages 16 and 17, who dedicate their time practicing, and up to five days a week during the school year. It takes rigorous dedication, valor, and love to ignite such a powerful production.

The theatre holds kids camps in June, while there is a six-week summer extensive for the serious, aspiring dancers, with the objective of networking for opportunities in the professional world of ballet.

“Coppélia”

The Boca Ballet Theatre holds three shows every year, and “The Nutcracker” is their staple performance. Following that is a production held in the spring, and then one in the summer, which is their repertoire show. “Summer Breezes” is this year’s repertoire, and the spring production is “Coppélia.”

The Boca Ballet Theatre will bring its spring performance of “Coppélia” on April 5–6, 2025, to the Countess de Hoernle Theatre at Spanish River. “Coppélia” is a French-originated comedic ballet about a life-like doll named Coppélia; its dollmaker, Dr. Coppélius; and the much-dismayed Swanilda, whose fiancé, Franz, is infatuated by the doll, unknowing that it is not real. Swanilda instead disguises herself as Coppélia, leading to many humorous and heartwarming events.

The Boca Ballet Theatre has performed many traditional classics over the years, including the romantic era’s “Giselle,” well worth mentioning. While “The Nutcracker” poses its original onset of romantic fantasy, the threshold is held within the dancers’ dreams similar to one of Clara’s—the imagination—an exciting context of spirit from across all cultural landscapes.

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Third annual music for a cause Musicians raise money to fight Parkinson’s disease

Singer Jade Ciel T of the band Sippin Fire, singer-songwriter Cheryl Arena of the Good Bread band, and guitarist Roderick Kohn are just a few of the musicians volunteering their time and joining forces to raise funds for the 3rd Annual DOB Parkinson’s Charity event on Dec. 8 at Sharkey’s Bar and Grille.

The local nonprofit was founded in 2012 by musician and Oakland Park resident Dan O’Brien, 70, along with his friend Wayne Belfer, 67, a retired senior executive of an auto insurance company who’s now living in Boca Raton.

The charity receives 100% of the proceeds and provides support and resources to individuals and families affected by Parkinson’s disease.

“It’s a big honor to be part of this fundraiser and to help find a cure for Parkinson’s disease,” says Arena, lead singer for the high-energy rock and blues band.

Arena, whose brother John also suffers from Parkinson’s, is grateful to O’Brien, who helped start her career in South Florida. “It’s personal,” says Arena, who is performing for the second year at the event.

“It hits home,” she says. “We’re thankful to all these musicians who come out on their own time and own dime and give of themselves to support this cause.

“Dan is a great guy and great musician, and we all want to do what we can,” says Arena.

The ’70s-themed night features a lineup of six duo acts, including blues and soul singer Dottie Kelly and Darrell Raines, Shannon Battle and Tom Piano, Dean Summers and Liz Sharp, Jade Ciel T and Giaco Pop Rock, and Cheryl Arena and Roderick Kohn, and five solo acts, including blues legend J. P. Soars, Ericson Holt, Billy Livesay, Sara Ann, and Jose Almonte from Havoc 305.

“Moving here from New Jersey, where we had similar charities, I noticed there wasn’t anything like it down here,” says Belfer. “Dan and I decided to put something together, and he was all for it as long as I could do most of the work.”

The two hope to eventually grow and expand the charity to help many people who need it and to create a worldwide network of communities, so that no one has to face the challenge of Parkinson’s disease alone.

O’Brien, a married father of two grown sons, was diagnosed with Parkinson’s in August 2012. “This disease is horrible,” he says. “It really sucks.”

Signs of Parkinson’s disease include motor symptoms such as slowness of movement (bradykinesia), stiffness (rigidity), and resting tremors.

According to the Michael J. Fox Foundation for Parkinson’s Research, approximately 1 million people in the U.S. and more than 6 million people worldwide are affected by the disease.

To mitigate symptoms, experts suggest eating a healthy diet, exercising, educating yourself about the disease, finding a movement disorder specialist and determining the right treatment plan, building a support system, staying socially active, and getting involved in the Parkinson’s community.

Many patients are treated with the medications carbidopa and levodopa, a combination medicine used to treat the stiffness or tremors associated with the disease.

O’Brien had an “amazing career” in music. He knows and played with many big-name musicians—including the Lovin’ Spoonful, Peter Noone of Herman’s Hermits, and locally with the band Shakey T and with recently deceased bass player Chuck Fiori, who played with John Denver.

He now has a stringent exercise routine: He walks, goes on the bike, has a gym in his home, does balance and strength training, and goes to physical therapy twice a week.

He still works in his home studio and continues to play guitar and write songs. “I’m hoping to be a 70-year overnight success,” he jokes.

Suffering from a “tremor-dominant” form of Parkinson’s, in 2020, O’Brien underwent a surgical procedure known as deep brain stimulation to mitigate the movement disorders associated with the disease.

He had great success with the procedure and says for him, it is a “game-changer.” He went from taking 12 pills a day to taking none and is now able to brush his teeth, shave, button his shirts, and play his guitar (to prove his point, he performed a short riff on the guitar).

“Parkinson’s disease is not a death sentence,” O’Brien says. “You don’t die from the disease; you die with it.”

Keeping a positive attitude is key.

“You have two choices: adapt or give up,” O’Brien says. “And I’ve got way too many things to do, including working to find a cure for the disease.”

The 3rd Annual DOB Parkinson’s Charity event will be held Sunday, Dec. 8, from 5:15 to 9:15 p.m., at Sharkey’s Bar & Grill, 10365 Royal Palm Blvd., Coral Springs. Advance tickets are recommended and can be purchased for $35 at dobparkinsonscharity.com. For more information, visit sharkeysfl.com or call (954) 341-9990. To learn more about the charity, visit it on Facebook or at dobparkinsonscharity.com.

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Going Baroque? ‘Splendor and Passion’ coming to Boca art museum

The Boca Raton Museum of Art will hold the world premiere of the historic Spanish Baroque art exhibition, “Splendor and Passion: Baroque Spain and Its Empire,” beginning Nov. 7 and going through March 30. The exhibition is organized in partnership with the Hispanic Society Museum & Library in New York City, which features a timeless collection of 57 Baroque masterpieces, evolving around 17th-century Europe.

What Is the Baroque Period and Why Did It Start?

Times were looking a bit gloomy after the High Renaissance period that lasted into the mid-16th century. The Mannerism style, between 1520 and 1600, was a reaction to the Renaissance’s idealized naturalism. People didn’t like it and wanted change. However, times grew turbulent, marked by significant political and religious upheaval after the Protestant Reformation and the Catholic Counter-Reformation. Baroque art originated in Rome and spread throughout Italy and other European countries, including France, Spain, Portugal, Austria, south Germany, and Poland. 

 Melchor Pérez Holguín, “Saint Peter of Alcántara and Saint Teresa”

Although the prior period was composed of harmonious, idealized, and balanced compositions, the new focus took to emotion in a dramatical sequence of exaggerated motion. It consisted of fine detail easily interpreted as a response to the Mannerist distortions and the idealizations that preceded it. 

A lot of political instability existed during the emergence of the Baroque period. Europe was rife with wars, revolutions, and power struggles. With these chaotic conditions, the artists of the time wanted the freedom to express themselves without the High Renaissance perfection constraints. Consequentially, much of Baroque art mirrored the dramatically dark themes. The gloominess of the times acted as an overture to the darkness compounding into the compositions of this new wave.

In Spain, the Baroque period was a time of great artistic achievement that reflected the country’s landscape, politically, socially, and religiously. The Catholic Church and the Spanish Inquisition held significant influence on the arts, intending to inspire devotion from the dismounted upheaval of rebellion. Many religious themes held to the period as the Catholic Church aimed to reassert its dominance.

Another factor moving the Baroque period was the advances into new scientific discoveries of the time, and in astronomy, that challenged existing worldviews. Artists expressed not only awe, but also the existential dread that these new discoveries provoked. 

Style, Depiction, and Symbols

The Baroque style’s dramaticism used intense light and shadow to express such strong emotions. Many works were elaborated with ostentatious decorations incorporated into the compositions. Spanish Baroque art, specifically, exercised visual realism with its realistic depictions of subjects often accommodated with somber or melancholic tones. 

Bartolomé Esteban Murillo, “The Prodigal Son Among the Swine”

Similar to other preceding and proceeding art periods, symbolism is used to display the adequate tones of work, much like reading a story. Bartolomé Esteban Murillo’s “The Prodigal Son Among the Swine” shifted concepts but stayed within the message. Instead, Murillo captures the biblical tale of the Prodigal Son in a destitute manner and repenting nature, where the swine serve as a reminder of the consequences of his actions that hang over him.  

Juan Bautista Martínez del Mazo, “Don Martin de Leyva”

Juan Bautista Martínez del Mazo’s portrait of Don Martin de Leyva, or the Count of Monza, is a flat emptiness with the exception of an elegant decoration oddly hanging in the background. It is a unique, yet ghostly minor detail with symbolic significance when accenting Mazo’s subject’s notable characteristics. The true focal point is the light on Leyva’s face and skin that contrasts with the dark attire of one’s military and noble background.

Earlier Works with High Vibrancy of Skill in Light of Characteristics

Style, depiction, and symbols continued: Anthonis Mor van Dashorst was a Netherlandish portrait painter in the 16th century. His “Portrait of a Man” defined the dignified presence of a man with high social standing through rigorous rendering of detail. The use of dramatic light contrasts to categorize the Baroque style. 

Anthonis Mor van Dashorst, “Portrait of a Man” 

The traditional Baroque landscape in technical detail creates the high visual realism that is captured in the artist’s skill of likeness and personality of his subject. Rather than the traditionally natural landscapes of preceded movements, Mor van Dashorst decorates the background by highlighting social symbolism, such as the woman in the portrait who was likely his wife. This helps to shape the power of social status by adding position through the use of emphasis, while drawing the eye of the viewer is also aiding in establishing the emotion brought forth to the focal point.

Sebastián Muñoz, “Maria Luisa of Orléans, Queen of Spain, lying in state”

Here’ye, Queen: The Queen of Spain’s funeral around 1689 brings the resilience of contrast for viewers to indulge in the darkness of emotional Baroque. Sebastián Muñoz, a Spanish painter of the time, splits timelessness into a paradox through the use of darkness and light between the symbolism of good and evil. The story of the composition surrounds the queen in her lying state as emotion pours from the good in light of its poignant context. The grandeur and solemnity of the event in an extracted demonstration of the Catholic Church is a timeless masterpiece with the care of detail. The detail is right down to the hierarchy of the queen’s earlier portrait hung high, as a time of honoring and remembrance. 

Fray Alonso López de Herrera, “Virgin of the Immaculate Conception”

Although Fray Alonso López de Herrara’s “Virgin of the Immaculate Conception” does not necessarily seem as dark and cohesive to the Baroque style as others, the sense of depth and volume combined with the interplay of light and shadow builds the emotional intensity that reflects the Counter-Reformation’s influence to reinforce Catholic doctrine. The swirling movement around the Virgin intensifies emotion with her as the focal point, evoking deep emotional responses through the flowing use of line of her garment. There is a sense of urgency within the realm of tranquility, contradictorily giving light to religion’s portions of belief.

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Friday At Five Brings the Party Any Day of the Week

“We’re not just a band, we’re a state of mind,” says Carey Peak, 55, guitarist and lead singer for the band Friday At Five.

And, the good news is, you don’t have to wait until Friday at 5:00 p.m. to hear the band.

They play at all hours around town at THRōW Social and Johnnie Brown’s in Delray Beach, Packy’s Sports Pub in Lighthouse Point, Lefty’s Tavern & Grille in Coral Springs and will appear at Sharkey’s Bar and Grille in Coral Springs on Wednesday, Nov. 6.

“We’re a high energy party rock cover band,” says Peak. “There’s no song we don’t do.”

They take their name from country music singer Eric Church’s  lyrics in his 2011 song, “Drink In My Hand” (“Early Monday morning, ’til Friday at five; Man I work, work, work but I don’t climb, climb, climb.”)

In addition to Peak, the band, founded in 2017, includes drummer Jordan Welch, Gonzalo Gallarza on bass and their newest member, lead vocalist, Carrie Wicks Johnson, 28, who joined the band in March.  All the members sing lead vocals as well.

Peak was born into a musical family – his dad played guitar with Buddy Holly and as a child, Peak would fool around with his dad’s guitar and figured, “I could do that,” and became a child prodigy by the age of 12.

In his twenties, he formed the alternative rock band, Dore Soul and later, his second band, The C60s, an indy rock band was signed to Dreamworks Records. They charted number six on the college music charts, and received critical acclaim.

In 2006 Peak started The Free Radicals, a corporate cover band.

His most recent venture, Friday At Five, plays a selection of eclectic music from the 70s to today, including rock, pop, country, alternative rock, metal and reggae.

“One of the things our fans like is that we cover everyone from Lady Gaga to ACDC to Zack Brown to Bob Marley,” Peak says.

Peak says the band likes to put a rock edge on every song, putting big, hard rock guitars into a Whitney Houston song.  Two of his favorite songs to perform are “Sweet Child O’ Mine” by Guns N’ Roses and AC/DCs  “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll).”

“Our fans love that we cover this song,” says Peak, adding, “and with Carrie singing, it’s even better.  She’s both beautiful and an amazing singer.”

Among his musical Influences he counts Eddie Van Halen (“Unchained” is his favorite song), Buddy Holly (“That’ll Be the Day”) and, as evidence of his own eclectic tastes, Metallica and Barbra Streisand.

“Good music is good music,” he says.

Lead singer, Johnson, (she got married in October to Mike Johnson, a Coast Guard reservist) came to Florida from Long Island during the COVID-19 pandemic.

She was part of a top cover band there called, “Jessie’s Girl,” and also wrote original music and sang with the soul/rock band, “Carrie and the Cats.”  In 2018 the band won the Long Island Blues Challenge  and went to finals in Nashville, TN.

She met Peak when she made a guest appearance on stage at Mulligan‘s Beach House Bar & Grill in Lauderdale-by-the-Sea and a friend of was in the audience.

He recommended her for the lead singer in Friday At Five and Peak hired her instantly.

Peak recalls her rendition of Whitney Houston’s “I Wanna Dance with Somebody (Who Loves Me)” as making the hair on his arms stand up.

“Carrie is the real deal,” he says.

Johnson found her calling in life at an early age and knew that she wanted to sing.

“Ever since I started talking, I was singing,” she says, noting that she considers her ability to be versatile and be comfortable in multiple genres as her best musical quality.

Her parents never pushed her to pursue other careers, although she did earn a cosmetology degree as a back-up plan.

Her musical Influences include Aretha Franklin, Amy Winehouse, John Mayer, The Allman Brothers, Led Zeppelin, James Brown, Etta James and The Beatles.

Her love for the profession and for performing keeps her motivated.

“Singing makes me happy,” she says.  “It’s the only job I’ve ever loved.”

“The best thing you can do for yourself is to only compete with yourself,” Johnson said in a 2018 interview with the blog, LongIslandSound. “Don’t try to be better than somebody else, strive to be better than you were yesterday.”

On stage she sports fun outfits and with a nod to her cosmetology background – big, platinum blonde hair.
“There’s no better feeling than being on stage,” says Johnson.

In addition to bars, Friday At Five plays at city events, the Parkland Amphitheater, Wellington’s Food Truck & Music Series and Pompano Beach’s Music Under the Stars.  Peak says it’s a “feather in their cap” to be requested for many private parties, weddings and corporate events.

Future goals include cultivating their fan base and playing in new events and venues.

“We’re happy doing what we do,” says Peak.  “We’re grateful and blessed to play in such a vibrant music scene and get support from Richard Kushner at Sharkey’s Bar & Grill as well as other bar owners.”

“South Florida is a great area for music,” he says.  “We all support each other and we’re happy to be part of this larger community of bands and do our part to contribute to this vibrant music scene.”

Friday At Five will perform live at Sharkey’s Bar & Grill, 10365 Royal Palm Blvd., Coral Springs on Wed., Nov. 6. For more information visit sharkeysfl.com or call (954) 341-9990.  Visit sharkeysfl.com and fridayatfiveband.com.

 

 

 

 

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Refuge of strength, fragility at the Norton

The Norton Museum of Art in West Palm Beach is exhibiting Donna Conlon, an American-Panamanian artist active in Panama, born in 1966. Her still of “From the Ashes (De las cenizas),” a 2019 video, endorses the hummingbird as her current statement toward invasive climate change.

Conlon’s exhibit is as silent as it is real. The exhibition is a two-minute, 57-second soliloquy of the smallest things as a big reminder for nature conservation. Hummingbirds, typically measuring 3–5 inches in length, include the smallest species of the bee hummingbird, just about 2 inches long and weighing less than 2 grams.

That’s small.

But don’t underestimate their size. They have the highest mass-specific metabolic rate of any homeothermic animal. Hummingbirds play a crucial role in maintaining the health and balance of ecosystems. Their co-evolvement with specific plant species makes them highly efficient pollinators, and their ability to travel long distances helps in the cross-pollination of plants promoting genetic diversity. However, habitat loss and range shifts are causing hummingbirds to lose a significant portion of their current range. Reduced nectar secretion due to climate change can reduce the volume and sugar content of nectar. This leads to a decrease in nectar production and means less food for pollinators, which also affects the hummingbirds’ survival and reproduction. Extreme heat can reduce their food intake and energy levels.

While there are around 366 species of hummingbird found in their native lands of the Americas, currently 21 of them are listed as endangered or critically endangered. Although many hummingbirds live from 3 to 5 years, some can live up to a decade or more in the wild. This further emphasizes the need for natural habitat conservation and pollution reduction.

Note that Conlon’s message is likely most relevant when attempting to solve the big problems by focusing on the little things.

Naturalism and Contemporary Conveyance of Reality

While Naturalism emerged in the 19th century as an attempt to resolve the idealized and stylized art between Neoclassicalism (also found at the Norton Museum) and Romanticism’s errors in realistic portrayals of the real world, the conveyance of reality cannot be more employed within a naturalist aspect to address the conservatory issues in contemporary lifestyles today.

Conlon’s statement is blatantly honest. While her work is a socio-archaeological investigation into her immediate environment and daily life, the intersection between these two fields offers valuable correlations between habitat and reality. Social archaeology explores how the social dimensions of human life are reflected in settlement patterns, for example, as Conlon’s artistic focus is on identifying and revealing their idiosyncrasies. Her conveyance is connected and contradicted by human nature inherited from today’s contemporary lifestyles. Settlement patterns, especially under climate change, are as revealing in nature as wildlife, and how their existence thereof underlines the contextual aspect of health stemming from the environment.

Idiosyncrasies: Behavioral Peculiarities, Distinctive Features, and Physical Reactions

In native tribes, the hummingbird represents life, love, beauty, joy, and freedom. This is likely due to its procession of autonomic compliance to these qualities and by adjacency to contemporary dynamic consistencies. Hummingbirds are sensitive to change, making them important indicators of environmental health.

Again, back to the little things, it is not to underestimate them by their size. Watching the muscle power and strength of the bird in Conlon’s slow-motion graphic stimulates the same power of structure and endurance that the strongest swimmer swimming the 800-meter butterfly encompasses. In real time, its wings are flapping as rapidly as up to 80 beats per second.

That’s fast.

Conlon captures this distinctive and peculiar feature in which its idiosyncrasy is a common-sense way of seeing it from a formal point of view about the resilience such small creatures possess. Their power to bestow is entangled with human nature: Different species of hummingbirds prefer different types of flowers, which helps maintain plant diversity of plant species in their habitats. For humans, this means nutrition and food security, medicinal resources, and ecosystem services—and helping climate regulation by plants alone.

Perhaps the hummingbirds’ vibrant colors construct the symbolic joy embodied in human nature. One cannot undermine the beauty of fragility and, in life, as a connotation of peace.

The Little Things—Ways to Conserve at Home

Planting native flowering plants that are as resilient to climate change as the bird’s unique qualities can help ensure a steady food supply for these pollinators. From a natural standpoint, you can attract these lovely neighbors to come and say hello during the day! Planting native flowering plants can also help to house a nest for the female, who is responsible for caring for her young. Lastly, the hummingbird can help in insect control to those pests that may, unwelcomingly, like to hang around.

Donna Conlon resides and works in Panamá City, Panamá. She holds a bachelor’s degree in biology from the University of Kansas (1991). She also has a master’s in fine arts from the Rinehart School of Sculpture, Maryland Institute College of Art (2002). Her work is represented by Diablo Rosso in Panamá and by Espacio Minimo in Madrid. For more information about Conlon and her work, go to www.donnaconlon.com.

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Hot Mess offers cool vibes

Putting the “hot” in the Hot Mess band, lead female vocalist Stacey Isaacs, 51—an attorney by day and a pop singer by night—rocks out with the classic rock and pop cover band she formed three years ago with five other local musicians. A partner, along with William Haro and her husband, David Benn, in the WorkInjuryRights law firm, a firm specializing in worker’s compensation, Isaacs, the mother of two teenage girls—Reese, 15, and Jules, 13—morphs into a rock star at night.

“The name of the band, ‘Hot Mess,’ is a great description of my life,” jokes Isaacs. “Multitasking and being pulled in all directions resonate for myself and many women.”

Along with Glen Friedman on bass guitar, Nick Montgomery on acoustic guitar, Adam Gutman on lead guitar, Russ Meadows on drums, and Leo Perez (aka the Keytar God) on keyboards, the group plays at local venues including THRōW Social in Delray Beach, the Biergarten in Boca Raton, and Sharkey’s Bar and Grill in Coral Springs, where they will perform live on Oct. 5.

“I love being a part of the band. It’s an outlet for me. As a busy attorney, business owner, and busy mom, life can be stressful,” Isaacs says on her Instagram page. “This gives me something, whether we’re practicing or performing, where I do not think about anything else but the music.”

Growing up in musical theater, Isaacs always loved performing but suffered from stage fright, which took years to overcome. She was inspired and mentored by her aunt, Hela Young, Miss New Jersey of 1971, who had a talent for singing. As a child, she remembers her aunt performing at Lincoln Center in New York City. She was encouraged by Young, who took her to voice lessons in New York, something she enjoyed doing, and she would come home every night and practice in her bedroom.

Her aunt, who later went on to become the host for the New Jersey Lottery on TV each night and was president of the New Jersey Commission on Holocaust Education, helped Isaacs prepare to sing at her law school graduation from Seton Hall Law School in 1997.

Isaacs practiced and sang Simon and Garfunkel’s 1970 hit, “Bridge Over Troubled Water,” in front of 1,000 attendees, an event that helped her overcome her stage fright. “That was a pivotal moment,” she remembers. “Now I love being on stage and performing.”

With a voice that has been compared to that of Alanis Morissette, Isaacs is inspired by singers and musicians Pat Benatar, Joan Jett, and the rock band Heart.

Signature songs include Journey’s “Don’t Stop Believing” and “What’s Up?” by 4 Non Blondes. She has also been known to perform a mean rendition of Morissette’s 1991 hit, “You Oughta Know.”

Bass guitarist, Freidman, 50, owner of the G-Clef Music Academy in Parkland, is a professional guitar, piano, and trumpet player. He has played with the likes of jazz greats Arturo Sandoval, David Sandborn, and Tito Puente as well as for Walt Disney World, Clyde Beatty Cole Bros. Circus, a number of cruise lines, and on recordings for Emilio Estefan’s Miami Sound Machine.

“Music gets in your blood and soul,” says Friedman, who knew from a young age he wanted to make a career in music. Inspired by Canadian jazz trumpeter Maynard Ferguson (“my idol”), Friedman also admires Journey, the Beatles, and ’80s Hair Metal bands such as Whitesnake.

Drummer Meadows, a “true Floridian,” lives in his grandparents’ and parents’ former home in Coral Springs. He also plays guitar and sings and was the catalyst for forming the band. In addition, Meadows is the tennis pro at Heron Bay in Parkland.

He forged many connections on the tennis court, including those of Friedman and Perez, and says the concept began as a hobby. Seeing a connection between the rhythm of tennis and the rhythm of music, he says, “we were surprised when it took off so well.”

Meadows continues, “We’ve become one of South Florida’s most popular cover bands. We assembled the right musicians, the right sounds—a mix of pop and rock—and make a good presentation on stage.”

The drummer, who has been drumming for 30 years, admires Led Zeppelin and the Police, especially the Police’s drummer, Stewart Copeland. He loves performing Journey’s 1980 hit, “Any Way You Want It,” and its 1981 hit, “Stone in Love.”

Noting that the band boasts both a female and a male lead vocalist, Meadows believes that this sets them apart from other bands. “We’re the quintessential cover band with a twist,” he says.

For Isaacs, who also hosts the “Success of a Hot Mess” podcast, one of the highlights of being part of a cover band is the camaraderie and the fact that her teenage daughters are proud to bring their friends to see her perform.

Future goals for the band include playing larger venues, such as the Parkland Amphitheatre and the Coral Springs Center for the Arts.

“We’re all good friends,” Isaacs says, “and enjoy performing and doing what we love. We appreciate all the support of our friends, family, and fans—and the best part is that my daughters think I’m cool.”

Hot Mess will perform live at Sharkey’s Bar & Grill, 10365 Royal Palm Blvd., Coral Springs, on Oct. 5. For more information, visit sharkeysfl.com or call (954) 341-9990. Find the Hot Mess band on Instagram at instagram.com/wearethehotmessband.

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Sharon Shevell: a message from nature

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.

 

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