Category: Art & Entertainment

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Celebrating Women’s History Month: Artist Élisabeth Vigée Le Brun

Élisabeth Louise Vigée Le Brun, “Self-Portrait with Her Daughter, Julie,” 1787, oil on wood (105 × 84 cm), Musée du Louvre, Paris.

I remember studying Élisabeth Louise Vigée Le Brun’s “Self-Portrait with Her Daughter, Julie” back in my university days. She was a single mother like myself at the time, and an influential figure to my career. 

During my first visit to Austria, I had a long layover in Vienna, so I hopped on the train and took it over to the Kunsthistorisches Museum. Not knowing which works, specifically, to expect to see, I eventually found myself standing directly in front of a Vigée Le Brun (room VII).

The good news is that there is no need to go all the way to Austria to see Vigée Le Brun’s work. Her portrait “Julie Le Brun as Flora”(1799) can be viewed at the Museum of Fine Arts in St. Petersburg right here in Florida. It is a beautiful portrait that muses her daughter as the Roman goddess of flowers during Vigée Le Brun’s period of exile from France. It was painted in St. Petersburg, Russia, enveloping the Neoclassical exquisition mirrored in many of her works done for her elite clientele. For South Floridians, St. Pete’s may be a bit of a drive, but for art lovers, Vigée Le Brun’s masterpieces are definitely worth checking out.

Élisabeth Louise Vigée Le Brun. Vigée Le Brun emerged in late‑18th‑century France as one of the most gifted portraitists of her generation. She rose to prominence at a time when women artists faced steep institutional barriers. Born in Paris in 1755 to a modest, artistic family, she absorbed the fundamentals of painting early. She quickly surpassed the expectations set for her. 

By her early 20s, Vigée Le Brun had become a sought‑after portrait painter among the aristocracy. She was admired for her ability to capture warmth, elegance, and psychological presence. Her refined style was identified in luminous skin tones, expressive eyes, and a gentle naturalism that distinguished her forms separately from the more rigid academic conventions of the era. Vigée Le Brun’s talent and reputation eventually brought her into the inner circle of Queen Marie Antoinette, and she ended up painting for the queen more than two dozen portraits. This ultimately solidified her status as one of the most influential artists at court.

Élisabeth Louise Vigée Le Brun, “Marie Antoinette, Archduchess of Austria, Queen of France,” ca. 1792–1795, oil on canvas, Kunsthistorisches Museum, Vienna.

However, the French Revolution dramatically altered the course of Vigée Le Brun’s life. Branded as too closely tied to the monarchy, she fled France in 1789 with her young daughter and spent more than a decade in exile. Still, she continued working across Italy, Austria, Russia, and Germany. This was far from a diminishing career, because this period expanded her international acclaim. Vigée Le Brun became a celebrated portraitist in nearly every European capital she visited.

When she finally returned to France in 1801, she resumed painting and later published her memoirs, which offered vivid insight into the cultural and political upheavals that she had witnessed. Vigée Le Brun’s long, prolific life ended in 1842, leaving behind an extraordinary body of work that continues to shape our understanding of portraiture, femininity, and artistic agency in the tumultuous age that bridged the Enlightenment and the modern world.

Julie Le Brun as Flora, Roman goddess of flowers. Vigée Le Brun’s “Julie Le Brun as Flora” carries within it the quiet architecture of its “living geometry” that creates a portrait. In this painting, her daughter Julie becomes a sort of moving axis. The soft oval of her face acts as the focal chamber, while the drapery and floral garland spiral outward like a gentle vortex. Vigée Le Brun always painted emotion as if it were a natural law. For example, the use of light behaves like breath, her color use behaves like memory, and the rosy warmth across Julie’s cheeks in this painting shares with the viewer that it is not merely pigment used, but the maternal gaze translated by form. The work reflects a kind of visual heartbeat.

Élisabeth Louise Vigée Le Brun, “Julie Le Brun as Flora” (1799), painting, oil on canvas (129.5 x 97.8 cm), Museum of Fine Arts, St. Petersburg, Florida.

The composition adheres to Vigée Le Brun’s signature principle—to which the subject is not placed in the world but emerges from it, as if the figure is the vanishing point of the portraitist’s own atmosphere.

The significance that this portrait was painted in St. Petersburg, Russia, adds a historical resonance. While Vigée Le Brun created it during her exile, it was subsequently when she was embraced by the Russian imperial court. Here, she found a second artistic home far from the turbulence of revolutionary France. It was in St. Petersburg, which for her became the stage where she rebuilt her identity. Also, painting Julie there meant capturing her daughter not only as Flora, the goddess of spring, but as a fragile anchor in a life uprooted. Clearly, the Russian light, colder and more crystalline than Vigée Le Brun’s Parisian glow of origin, subtly influenced the integrity on the palette. The whites are indeed sharper, the shadows are more silvery, and the flowers are almost trembling with northern clarity (e.g., a Dutch vanitas or early German/Flemish naturalism).

The fact that this Russian-born painting, “Julie Le Brun as Flora,” now resides in St. Petersburg, Florida, inflects a kind of accidental transcontinental echo within the chambers of its subject matter. The artwork’s journey mirrors Vigée Le Brun’s own across borders, climates, and political eras. Its presence in St. Petersburg, FL, is as if that duality itself, of exile and arrival, old world and new, deepens the portrait’s aura, making its current location feel almost fated. Coincidence?

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Light and beauty

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.

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From “Kansas City” to South Florida: The Beat Goes on With Groove 2.0

At 71, drummer Lionel Harrison has more energy onstage than musicians half his age — and his band, The Groove 2.0, feeds off every bit of it. He’s proud of his 8 to 10 minute drum solos. 

Billed as one of Florida’s funkiest, high‑energy party bands, The Groove 2.0 performs as a five‑ to ten‑piece ensemble, depending on the venue. “We’re not a tribute band,” band leader Lionel Harrison says. “We play everything.” And he means everything — from Bruno Mars to Earth, Wind & Fire to Stevie Ray Vaughan and from R&B, rock, funk, hip-hop, reggae, Latin, jazz and the blues.

The band has become a staple across South Florida and beyond, performing regularly at Margaritaville (both the restaurant and the bandshell), the former Tavolino Della Notte’s in Coral Springs, Seed to Table in Naples, the Biergarten in Boca Raton and Johnny Brown’s in Delray Beach, where they made their debut in 2022. No matter the stage, the mission is the same: get people moving.

That movement starts with the musicians themselves. Guitarist Shawn Tarver (Shawn Tarver Project) is the band’s resident showman — a whirlwind of charisma and controlled chaos. “He jumps around, plays solos with his teeth, his tongue, throws his guitar behind his back and over his head,” Harrison says. “There’s a lot of movement in this band.”

The core lineup includes Tarver on guitar, Brett Brown on bass and Noel (“Pianoman”) Torres on keyboards. Vocals rotate among four women — Alana Joy Page, Astrid Voxx, Alexis Krystal, and Heather Davis. The result is a band that can shift genres, moods, and eras without dropping a beat.

Torres, the band’s 64‑year‑old keyboardist, brings his seasoned musicianship to Groove 2.0. The New Jersey native moved to Palm Beach County in 1997 and eventually found his musical home within the group.

He is also a member of the Shawn Tarver Project — a mix of rock and R&B — and performs in the TNT Connection duo with Tarver every Tuesday at Aruba Beach Café in Fort Lauderdale.

Over the years, he has worked with artists such as Gwen and George McCrae and Nestor Torres. His musical heroes include Ramsey Lewis — whom he once opened for — as well as Chick Corea and George Duke, both of whom he met.

He also admires Lyle Mays of the Pat Metheny Group and Austrian keyboardist Joe Zawinul of Weather Report. With roots in Puerto Rico, he has a special place in his heart for Latin jazz, especially Eddie Palmieri and Papo Lucca.

Torres learned to play in a Pentecostal church and, without a keyboard at home, practiced there whenever he could, determined to master the instrument. Over time he expanded his skills to include guitar, piano, organ and synthesizer. His original music, including “Noel’s Hot Sauce” and “El Rumbero,” is available for download on iTunes.

What keeps him committed to Groove 2.0, he says, is the mutual respect, professionalism, and joy of the music they create together. “It’s how tight we are — how great the band sounds,” he says. Looking ahead, he hopes the band can take on more corporate events, broaden their reach, and even record some originals.

While Torres brings his own musical lineage to the group, Lionel Harrison’s story begins even earlier.

For Lionel Harrison, music isn’t just a career — it runs in the family. His cousin, Rev. John P. Kee of Charlotte, N.C., known as the “Prince of Gospel,” is a major figure in the genre. His son, Chris Kee, is a drummer. And the legacy stretches back even further.

His dad, Wilbert Harrison, was a one‑man band. “With his right foot he hit the bass drum, with his left foot he hit the snare,” Lionel says. “He had a harmonica in his mouth, singing and playing guitar.” He pauses for a moment. “Can you imagine one guy opening a whole show for a crowd that came to see Creedence Clearwater Revival? That takes courage.”

In 1959, Harrison recorded the original version of “Kansas City,” written by Jerry Leiber and Mike Stoller. The song shot from the bottom of the Billboard Hot 100 to No. 1 in both the R&B and pop charts, where it remained for seven weeks — the only track to do so at the time. “He was bigger than Elvis Presley that year,” Lionel says. In 2009, Harrison was inducted into the North Carolina Music Hall of Fame.

Of special significance for Lionel Harrison is the date October 26.  Both his parents passed away on that date, in different years. His father in 1994, his mother in 2006. The days still resonate with him.  And, another of his dad’s songs, “Let’s Work Together,” became a big hit and Lionel Harrison received a royalty check from it on Oct. 26, 2007. 

Lionel Harrison’s own musical journey began in Carrol City, Miami, where he grew up. At age three, he was banging on his grandmother’s pots and pans. She kept a sewing tin filled with coins, and he’d shake it like a tambourine.

His father bought him an organ when he was four, but he didn’t get his first real drum set until he was 13. He admired Buddy Rich, Ringo Starr, Billy Cobham and — he confesses — Micky Dolenz of The Monkees.

His career took him on the road with Betty Wright, a two‑time Grammy winner known for “Clean Up Woman” and “Where Is the Love.”

He also toured with and played drums for Clarence Clemons, former saxophonist for Bruce Springsteen and the E Street Band.  Many of the band’s members have played with the likes of Bob Marley, Buddy Guy, George Benson, Jaco Pastorius and Joe Bonamassa, among others.

In 1978, with his band Rivage, Lionel Harrison recorded a soul/funk album called “Sittin’ On It,” where he served as both lead vocalist and drummer. The record has since become a collector’s item and is being re‑released — something he hopes will introduce his early work to a new generation.

Today, in addition to The Groove 2.0, Lionel Harrison leads a fusion project called TranZFusion, with whom he hopes to record a new album.

Married to Dede Dyer, an academic advisor at Palm Beach State College and living in West Palm Beach, Lionel Harrison keeps busy with The Groove 2.0.

Married to Dede Dyer, an academic advisor at Palm Beach State College, and living in West Palm Beach, Lionel Harrison keeps busy with all his musical projects. Father of three boys and grandfather of six, Lionel Harrison — nicknamed “Freight Train” for his unrelenting drumming style — lights up when he talks about performing.

“We’re an entertaining band,” he says simply. And with a lifetime of rhythm and a musical legacy behind him, he knows exactly how to make a crowd get up and dance.

Visit them on Facebook at TheGrooveFunk

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The Golden Rule(s): Steven Kummer

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.

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From the Miami beat to the music beat—meet the MTVJ’s

When former Miami police officer Tom Braga, 63, traded his badge for a microphone, he didn’t just start a band—he created a tribute group inspired by memories of his youth. His newest project, the MTVJ’s, brings the biggest hits of the 1980s and ’90s back to life with a nostalgic nod to the era that shaped a generation.

A labor-of-love tribute band, the MTVJ’s play venues across South Florida, including Crazy Uncle Mike’s in Boca Raton, Galuppi’s in Pompano Beach, and Sharkey’s Bar & Grill in Coral Springs.

In addition to Braga, the core lineup includes guitarist Pete Lauria, bassist Lou Carollo, drummer Tom Gress, and keyboardist Lesley Gent. Many of the musicians also perform in Braga’s two other tribute bands: Jaded, an Aerosmith tribute founded in 2015, and Shake It Up, a Cars tribute launched in 2022.

Braga’s path to music was anything but traditional. A longtime hockey player, he was hanging out at a rink in North Miami wearing black-and-gold Boston Bruins gear when another Bostonian struck up a conversation. That fellow fan turned out to be Robbie Merrill, former bassist and founding member of Godsmack. The two hit it off, and Merrill soon began teaching Braga to play bass guitar.

“Before I knew it, I was playing at open mics and then in various bands,” Braga says. “I guess you could say I was gobsmacked.”

After five years on bass, Braga realized he had an unexpected gift: He was a stronger singer than player. He began learning how to command a stage, work a crowd, and replicate the tone and timbre of singers like Alice Cooper, Steven Tyler, and Ric Ocasek of the Cars.

Braga is still amazed by the discovery. “Who the hell knew I could sing?” he says. He performed his first show at age 44.

“It’s a lot of fun,” he adds. “People bring me hats and album covers to sign, and I get to dress up. I’m just a frustrated actor who happens to be able to sing.”

His musical influences include Led Zeppelin, the Beatles, and the Rolling Stones, and he admires Steven Tyler for his showmanship. Although he came to music later in life, Braga approaches it with the same drive that defined his law enforcement career.

“I was loved by the Grove,” he says, referring to his years as a community police officer in Coconut Grove. “Now we want to be loved by our audiences.”

Braga isn’t the only band member with a long musical journey. Guitarist Pete Lauria, 59, has been with the MTVJ’s for three years, though he has played with Braga and several of the other musicians for a decade through their Aerosmith and Cars tribute bands. Now living in Port St. Lucie, the Boston native works by day as an outside sales rep for Plusco Supply, a plumbing supply company in Boca Raton.

Lauria received his first guitar at age 8 from his grandfather, though he didn’t get serious about playing until high school. He began writing songs, and by 2001 he was part of Superbone—a band performing original music (the name references oversized trombones). The group even released a record.

“I enjoy writing music and spending time in the studio,” Lauria says. He loves playing songs by Tears for Fears, U2, and Bruce Springsteen, and while the band sticks to the hits, they also dig deeper to revive tunes that audiences haven’t heard in a while. His guitar heroes include Ace Frehley of Kiss, Randy Rhoads of Ozzy Osbourne’s band, and Joe Bonamassa. On his own time, he gravitates toward hair metal and hard rock bands like Mötley Crüe.

Inspiration, he says, “just happens.” It often finds him while he’s out on his boat.

Coming from a nonmusical family, Lauria didn’t have early influences at home, but his relatives quickly embraced his passion and still come out to see him play. He’s a divorced father of five grown sons—one who’s a guitarist, another a drummer.

For Lauria, the best part of performing is simple—“jamming with my friends, smiling, playing music, having a great time and a night out. I enjoy the camaraderie.”

Rounding out the rhythm section is drummer Tom Gress, 70, who brings a lifetime of musical experience to the band. He spent 44 years as a high school choral and band teacher, including serving on the original staff at Marjory Stoneman Douglas High School, where he was choral director from 1991 to 1997. He also taught at Stranahan High School, NSU University School, and St. Thomas Aquinas in Fort Lauderdale, where he directed the marching band.

A voice major in college, Gress loves singing backup harmonies and jokingly calls himself “the singing drummer.” He admires drummers Danny Seraphine of Chicago and John Bonham of Led Zeppelin.

Outside of music, Gress loves golf and believes that both music and golf are vocations one can enjoy for life. Recently, he began playing acoustic guitar with singer-guitarist Ninowtzka (Nosh) Mier-Soika, forming a duo called Nosh and Gress. He also enjoys Americana artists such as Amos Lee, Jason Isbell, and Ray LaMontagne.

Listening to other genres, he says, “cleans my ears out.”

About his time drumming with the MTVJ’s, Gress says, “We have a passion and commitment to each other,” a spirit that shows every time they take the stage.

The MTVJ’s will perform on Thursday, Feb. 19, at Sharkey’s Bar & Grill, 10365 Royal Palm Blvd., Coral Springs; call (954) 341-9990. To learn more about the MTVJ’s, visit them on Facebook and Nosh and Gress at NoshandGressMusic.com.

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Aetherography

New art form captures the magnificence of birds

Coral Springs resident Meir Martin is the creator of “aetherography”—an art form that transcends photography to capture time, motion, and the rhythm of nature through birds. By fusing together hundreds of photos of individual birds into one large-scale image, Martin reimagines nature not as a frozen moment, but as an unfolding experience.

“It is the art of layering time,” explains Martin. “Where photography isolates, aetherography gathers. Where photography freezes, aetherography flows. And what it reveals is the truth of life as it actually happened: chaotic, abundant, overwhelming, and magnificent.”

Martin—who admittedly spends at least 340 days per year taking photos of birds in the Everglades each morning—has amassed a collection of about 1.5 million photos. “Everything in my life is birds, birds, birds. I’m addicted to it, and there’s no cure,” he jokes. With such an extensive library to sort through, it sometimes takes him years to complete certain pieces, which contain hundreds of bird photos. “I keep looking until I find the image that will fit.”

Walking into Martin’s home, which he converted into his gallery after his wife’s passing, is a surreal experience that pulls you deep into the vision of an impassioned creator. Every surface—from the ceilings to the windows and soon the floors—is covered with artwork, each piece set in a custom wood frame that Martin makes himself.

Before birds became his calling, Martin, born in Israel, began his career primarily as a wedding photographer. But one day, when a man walked into his store asking for a camera with a 400-millimeter lens, Martin’s trajectory changed. Sick of the photography he was doing, he joined the man on a field trip and fell in love with photographing birds.

Martin spent the early 1980s photographing desert birds in Israel. In 1983, while on a trip to the Dead Sea, he became the first person to take a color photograph of a pair of desert tawny owls, and in 1986, he published a book, “Desert Birds of Israel.”

“Israel is one of the most amazing places in the world for birding,” says Martin. “Nobody knew that until I published a book in 1986. In America, you have only three species of eagles. In Israel, which is the size of New Jersey, we have about 12.”

After moving to Florida with his wife, Martin took a break from photography and—an innate creator—invented a new system to clean pet urine from oriental rugs. In 2008, after a chance encounter with a man at a dog park while walking his 172-pound Neopolitan Mastiff, he was drawn back into photography, joining a camera club.

“I went to the club, and everyone was taking regular pictures,” recalls Martin. “The digital camera came to the world, and everyone is taking pictures. My pictures would just be one of them. This is not what I want. This is not my style. I have to find something else.”

There was a competition in the club every Thursday to see who had taken the best photo that week. The first time Martin entered, his photo didn’t garner much attention. But the second time he did, the members took notice. Using Photoshop, he had combined images from multiple photographs he had taken, to create something different.

While Martin’s work received attention, acceptance was a different story. “The guy from the photography club said we are photographers and this is not photography. They didn’t accept it, so I left the club,” he says.

After leaving, Martin devoted himself fully to this emerging art form, and aetherography was born. “I’m the first one in the world making this new artwork,” he says—an assertion he supports through extensive research, including the use of ChatGPT, in search of anything resembling aetherography across the globe.

That sense of originality extends beyond technique into meaning. Each piece carries its own narrative, one Martin eagerly brings to life when he speaks about his work. “Everything that you do, you have to have a story,” he says. “What is the image for? What is the artwork for?”

Recently, he began the months-long application process to turn his home from a gallery into a museum. “This house will now become the Aetherography Museum,” enthuses Martin, who wants people to be able to experience this new art form in person.

While he wants to share his work and his stories with the public, he is still unsure about selling his pieces. “Right now I don’t sell any artwork. It’s mine, I love it,” explains Martin. “When I open the museum, it’s probably going to be different.”

Martin is currently working on a piece to honor the anniversary of the Marjory Stoneman Douglas High School shooting. He was across the street from the school that day and heard the gunfire. The artwork, which will be featured in the February issue of the Parklander, includes a golden eagle from a photograph he took in Israel in the 1980s. Above the eagle are 17 birds, each representing the 17 victims of the shooting. “This is a very powerful image with a lot of history in it,” says Martin, who is willing to donate the piece to the high school.

For more information, visit www.meirmartin.com.

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Subliminal Doubt: A Tribute to No Doubt 

            No Doubt About It:   Monica Leamy Channels Gwen Stefani with Talent & Charm

A double-shot of punk-pop nostalgia takes center stage as Subliminal Doubt channels the spirits of Blondie and No Doubt with gleeful exuberance.

On a recent Friday night, the central Florida-based tribute band headed to Lakeland, Fla. for a repeat performance at Union Hall.

With a setlist spanning two decades of pop rebellion, the group aims to capture the raw energy of Blondie’s disco-punk anthems and the ska-infused spirit of No Doubt’s ’90s hits.

At the center of it all is lead singer Monica Leamy, 48, – a doppelganger for Stefani – known to fans as “Fake Gwen,” channels the charisma of both Debbie Harry and Gwen Stefani as the eyeliner-clad crowd dances and sings along to “Just a Girl,” “Don’t Speak,” and “One Way or Another.”   

In the 1990s, No Doubt had hit songs with “Hollaback Girl,” “Spiderwebs,” “Underneath It All,” “Sweet Escape,” “Don’t Speak,” “Hella Good,” and “Hey Baby.”

Leamy and the Subliminal Doubt band, Danny Siper (drums), 29, Jonathan Leamy, 40, (bass) and Steve Osborne, 42, (lead guitar) took to the stage with an enthusiasm and mission to resurrect two decades of pop rebellion, the swagger of Blondie’s disco-punk sounds and the spirit of No Doubt.

The group travels the state and the northeast, recently playing in New York City at Sony Hall and has played at Revolution Live in Fort Lauderdale, Crazy Uncle Mike’s in Boca Raton and Sharkey’s Bar and Grill in Coral Springs.

“I’m a huge fan of both Debbie Harry and Gwen Stefani,” says Leamy, a formally trained dancer and singer who grew up in Florida and has performer at Disney, Universal Studios and Sea World.  “When I heard Gwen Stefani’s “Just a Girl,” I was spellbound; I didn’t leave my tape player for weeks.”

Leamy, who, when dressed in character, has a strong resemblance to both Harry and Stefani, says she loves Stefani’s whole vibe, her retro look, her fashion sense, her vocal style and “everything about her.”

She was dubbed “Fake Gwen,” by the real Gwen, at a No Doubt concert in Las Vegas, when she and her bandmate, Jonathan Leamy, married and went to Las Vegas for their honeymoon in 2019.

She was dressed in her best “Fake Gwen” hair and makeup, in jeans and a T-shirt reading, “Blonde Rebel,” from Stefani’s “This is What the Truth Feels Like Tour,” in 2016.  Stefani asked her, “Have I met you before?” before bringing her up on stage and bestowed the nickname of “Fake Gwen.”

With the recent announcement in October that No Doubt will reunite for a residency at the Sphere in Las Vegas in 2026, both Leamys plan to be there, coincidentally, coinciding with their wedding anniversary.

Born in Guam, where her father was a musician in the U.S. Navy, Leamy knew from an early age she wanted to be a performer. 

She took gymnastics from the age of three, started dance class at the age of six, took singing lessons in high school and majored in flute at Edison College (now called Florida SouthWestern State College) in Ft. Myers, earning her associate’s degree from Valencia College in Orlando in 2004.

‘I never saw another option,” she says.  “I wanted to be Madonna.”

Not only Madonna, but Paula Abdul, Katy Perry, Audrey Hepburn, Marilyn Monroe and Taylor Swift (her impersonation is called “Taylor Thrift”). She has been listening non-stop to Swift’s latest album, “The Life of a Show Girl,” and, despite mixed revieiws, loves it

In later years, Leamy developed personas for these performers and uses them as inspiration for her shows.

“I’m not sure, exactly,” she says when asked how she channels each singer, “but something just happens.”

Once she warms up her voice, puts on her costume, listens to their music or watches a music video, she gets in the mood and is able to express herself organically as Debbie Harry or Gwen Stefani.

Jonathan Leamy, who was born in France and grew up in Hawaii, says he loves working together as a team with his wife, Monica Leamy.

He showed an early aptitude for music and began playing guitar as a child.  Later, he played the trombone in his high school marching band.

He joined 69 Fingers, a punk-ska band, where he met Osborne and performed at Disney Springs for ten years.  He taught music theory and music production at the private, for-profit Full Sail University in Winter Park, Fla.

Among his musical influences are jazz, funk, classic rock, the Beatles and he got into ska reggae and punk music in his late teens.

“It’s still a big part of what I do,” he says, admitting that he sometimes slips an Allman Brothers riff into one of their Blondie or No Doubt performances.

With career highlights, including the recent performance in Times Square at Sony Hall, New Haven’s iconic Toad’s Place and an appearance on “Live from Daryl’s House,” an award-winning on-line music series created by Daryl Hall (of Hall & Oates renown), Jonathan Leamy says the band is happy with their success.

“We’ve met and exceeded our goals,” he says.

They hope to keep on making music and to grow the Blondie shows.  Jonathan Leamy has a new appreciation for No Doubt’s bass player, Tony Kanal, and hopes to meet him one day.

“I’m surprised by how much his music has affected my life,” says Jonathan Leamy.  “I thought I’d make it as a ska or punk rocker.  I never thought my success would come as part of a No Doubt tribute band.”

The group has recently released their first original song and video, “Cutdown Culture,” (“You don’t know me; but you say you hate me”), a commentary on social media, available on streaming sites, and hope to create an original body of work.

“I feel fortunate to work every day with Monica, and Steve and Danny are like brothers to me.  We’re all very close,” he says. “Who else can say they get to work and travel with their wife and best friends?”

“It’s a rare thing and I’m grateful for it,” says Jonathan Leamy.

For Monica Leamy, stepping into the spotlight each night as “Fake Gwen” or “Fake Debbie” is more than a tribute — it’s a rallying cry for women’s empowerment.

And while Gwen Stefani once belted “I’m Just a Girl” sardonically and with irony, Leamy has claimed the refrain as her own — proving that being “just a girl” means you can be anything you want to be.

Visit them on Facebook or at https://subdoubt.com.

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Exploring science in West Palm Beach

“Open Every Mind to Science”—that’s the slogan of the Cox Science Center and Aquarium in West Palm Beach. It provides visitors, schools, and campers with science programming and tech ventures based on computer coding, robotics, and other science programs. Although it’s not as large as some other science centers, the Cox Center offers an educational and entertaining experience, especially for kids. It has interesting displays, both inside and out. I went to check it out this summer with a friend.

The Cox Center occupies Dreher Park alongside the Palm Beach Zoo, and visitors can get deals for entrance into both facilities. Formerly the South Florida Science Center and Aquarium, this museum has been serving Palm Beach County since 1961, and it’s undergone much renovation and expansion since then. It’s in the midst of an expansion project right now, and we had to walk past construction zones to get into the main building, but it’s still worth a visit. The grand opening to the public is targeted for 2027.

In November 2021, the facility announced its expansion plans along with a name change, thanks to a record donation from Howard and Wendy Cox: “Their $20 million lead gift serves as the keystone for a $115 million capital expansion campaign to take the new Cox Science Center and Aquarium into the future with expanded exhibit and programming spaces, including one of Florida’s largest aquariums.” This expansion plan will also include a three-story, state-of-the-art building with a larger exhibition gallery, enhanced programming spaces, and a full-scale restaurant.

However, Cox has already dramatically renovated its campus in the past decade, including a reconstruction of its 5,000-square-foot Hall of Discovery, a full-dome planetarium, a 1,000-square-foot early childhood exhibit, more than 80 interactive exhibits, a modernized theater, and a new science laboratory. The facility serves more than 300,000 visitors annually, including 130,000 through field trips and educational outreach into schools and classrooms. While we were there, summer camps were going on, and the kids were having a blast.

“Engineers on a Roll” is a hands-on exhibit specially designed for young children, combining elements of an engineering lab, playscape, and climbing area, focused on introducing basic engineering, science, and math concepts through play. There’s a “river of balls” that children can direct, sort, and experiment with, encouraging them to explore and learn.

If ocean learning sparks young ones’ curiosity, they can check out Explorers’ Cove, where little adventurers can dive into a world of ocean discovery, with up-close investigations and interactive adventures. Kids can look for sea treasures, climb through an underwater adventure, and look through microscopes for close-up views of ocean life.

In the Florida Exhibit Hall are “Aquariums of the Atlantic,” with 10,000 gallons of water housing native fish such as queen angels, spadefish, moray eels, and stingrays. The different habitats on display here will take you through the depths of our coral reefs and Florida’s diverse ecosystems of the Everglades, the Gulf Stream, and the open ocean.

Outside in “the backyard” of the museum, there’s a quarter-mile-long Fisher Family Science Trail, which connects 15 new exhibits, including the FPL SolarScape, an interactive splash pad, a gem panning station, an amphitheater featuring live science shows and seasonal concerts, and and a dinosaur walk. Dino Trek, the cool dinosaur garden, drew in even us older visitors. Families can imagine trekking through a prehistoric wonderland and pose for pictures in front of the life-size dinosaurs.

For more adventure, there is a limited-time exhibition, Mission Aerospace, which invites visitors to “embark on a multilayered exploration of aviation history, aerospace milestones, and some of NASA’s trail-blazing discoveries that are shaping our world every day.” For an additional cost, explorers can go on this mission through Sept. 28 and learn about NASA’s exciting new vision for the future, its research, and the global benefits it’s providing. Group discounts are available.

So, Cox Science Center is constantly growing and expanding and bringing more mind-opening science fun to families in South Florida. You may have to pardon their dust for a while, but a trip there may be well worth it in your near future.

The Cox Science Center and Aquarium is open Monday to Friday from 9 a.m. to 5 p.m., and on Saturday and Sunday from 10 a.m. to 6 p.m. For more information, go to www.coxsciencecenter.org.

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Beat the heat Where to stay cool this summer in Broward, Palm Beach counties

Florida summers can be relentless, but there’s no reason to stay cooped up waiting for sunset. Across Broward and Palm Beach counties, there are plenty of ways to enjoy the season while staying cool—whether that means lacing up skates at the ice rink or spending an afternoon at a trampoline park. Here are some of the best spots to keep your family active, entertained, and out of the heat this summer.

Bowl and Cool Off

Bowling is always a reliable go-to when it’s too hot to be outside. Sawgrass Lanes in Tamarac is great for families, with plenty of lanes, arcade games, and food. Strikes in Boca Raton offers a vibrant, modern atmosphere with neon lights and an on-site sports bar—perfect for a group hangout or something low-key on a hot afternoon

Chill Out with Indoor Ice Skating

For a full-on escape from the heat, head to Panther IceDen in Coral Springs. The rink offers public skating throughout the week and is a fun, low-stress way to stay active indoors. It’s great for families, beginners, or anyone in the mood for a cool new activity.

Trampoline Parks for High-Energy Indoor Fun

Too hot for the playground? Sky Zone in Pompano Beach delivers wall-to-wall trampolines, foam pits, and dodgeball courts. Urban Air Adventure Park in Coral Springs ups the ante with climbing walls, obstacle courses, and even a virtual reality zone. Both are air-conditioned and perfect for burning off extra energy.

Indoor Adventure Parks with Something for Everyone

Xtreme Action Park in Fort Lauderdale is one of the biggest indoor fun zones in South Florida, with go-karts, roller skating, escape rooms, bowling, and more. For the younger crowd, Flippo’s Indoor Playground & Café nearby is ideal, with climbing structures, soft play zones, and interactive games in a cool, safe space.

Splash Parks and Pools

Nothing beats the heat like a day spent splashing around. Waters Edge Park in Tamarac has a splash pad with sprayers and shaded seating—great for younger kids. In Boca Raton, Coconut Cove Waterpark brings the full package with a lazy river, slides, and a big splash playground.

A Peaceful, Shaded Escape at Butterfly World

For something quieter, Butterfly World in Coconut Creek offers a calm, scenic outing. With covered walkways, lush greenery, and misting fans, it’s surprisingly comfortable, even on steamy days. It’s a great pick for relaxed family time or out-of-town guests.

Beach Clubs for a Breezy Daycation

Looking for a cool coastal escape without committing to a resort stay? Apps like DayPass and ResortPass make it easy to book daily beach and pool access at select local hotels. You can enjoy perks like loungers, towel service, poolside dining, and beachfront views—all without being an overnight guest. Spots like Plunge Beach Resort in Lauderdale-by-the-Sea and other nearby hotels often offer passes starting around $30–$60 per day. It’s a relaxed, convenient way to enjoy a little luxury and stay cool by the water.

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“Walk the Runway”: ArtServe

Turn left onto East Sunrise Boulevard. Then turn right onto Northeast 14th Street. It will be on the right. That’s right, ArtServe is where we are going this month. This nonprofit organization is for everyone, which is why admission is always free to view its exhibitions and attend its receptions. The gallery’s capacity, however, holds up to around 200 people, so be sure to come on in. Its new showcase will be held from July 18 through Sept. 19.

ArtServe. This arts venue first opened to the Fort Lauderdale community in 1989. Since then, it has grown into a vibrant arts incubator and cultural hub, supporting thousands of local artists and nonprofit organizations across Broward County. It’s not just a gallery—it’s a creative laboratory where exhibitions, performances, and workshops come together to spark connection and innovation.

ArtServe focuses its efforts on lower-income communities, typically west of I-95, offering not only opportunities for local artists, but also free workshops for small art businesses, teaching grant writing, marketing, and even how to start a small business. ArtServe serves to inspire artistic development, supporting the advancement of its diverse members, including artists and the community, through education and creative exploration and presentation opportunities in both the visual arts and performing arts.

“Walk the Runway.” Highlighting South Florida’s local fashion scene, ArtServe is currently showcasing local fashion designers, bringing individuality, liveliness, and, even more fascinating, its call for oceanic awareness to center stage.

Recently broadcast on Local 10, Young At Art presented “Reef Restyled,” a fashion phenomenon set to raise awareness out to the public about the coral reefs and the need to save them. These vibrant ecosystems support about 25% of all marine life, despite covering less than 1% of the ocean floor.

Currently, 84% of the Earth’s coral reefs are in danger. Runoff from agriculture, sewage, and plastic waste smothers reefs, blocks sunlight, and introduces toxins. Even sunscreen chemicals like oxybenzone can damage coral DNA.

Young At Art brings this pollution problem to the forefront, using fashion to come to the ocean’s defense. Seventeen participating local high school–age artists in the program used 75% upcycled and/or recycled materials to showcase their reef collection. Coral reefs aren’t just beautiful—they’re vital for human life. In the Walk the Runway showcase, the Young At Art collection will be exhibited in one of ArtServe’s solo galleries.

Chelsea Rousso. Another exhibitor is the esteemed glass artist and fashion designer Chelsea Rousso, who bridges the boundaries between the two media and is an innovator in her use of fused glass in fashion. While her work has been exhibited in numerous museums, galleries, and art shows across the nation and in Canada, Rousso, aside from her glass sculptures, is best known for her exquisitely wearable glass swimwear, corsets, bow ties, and masks.

Rousso’s book, “Fashion Forward: A Guide to Fashion Forecasting,” is being used in several colleges and universities around the world. Her installation for this showcase heavily features her Alice and Wonderland Collection.

Rousso holds a bachelor of fine arts from Pratt Institute and a master of fine arts from Goddard College. For more information, visit https://chelsearousso.com.

More about ArtServe. For most exhibitions, ArtServe does a call to artists (CTA), typically advertised through its social media or e-blasts. There are both long-term and short-term artists who keep up involvement with the organization.

ArtServe is self-affiliated, and its funding goes to operational costs of the building, its employees’ salaries, artist fees, and exhibitions. ArtServe’s artists always get paid for their work, and they are promoted via ArtServe’s social media and e-blasts.

Aside from CTAs, artists may also come from the Broward County Cultural Division for exhibition space to carry out its grants, or through collaborations that ArtServe does with other nonprofit organizations. Some of these past initiatives were set to amplify the healing and transformative power of the arts, reflecting ArtServe’s mission to be not just a gallery, but a community catalyst for good.

In 2020 and again in 2025, ArtServe has been the recipient of the Community Care Plan Non-Profit Awards hosted by 211 Broward, as the Non-Profit Organization of the Year. In 2024, ArtServe received Yelp’s “People Love Us” award.

ArtServe has been said to be a cultural trendsetter, due to its leadership role in the local arts community. It supports more than 350 nonprofit cultural organizations and around 10,000 artists across Broward County.

Some of ArtServe’s sponsors include FPL, Seacoast Bank, the Hudson Family Foundation, Topo Chico, and OutClique Magazine, all of which are local supporters invested in the creative economy.

For more information about ArtServe or how to respond to its calls for artists, visit https://artserve.org.

Picture:

https://www.dropbox.com/scl/fo/azd8co0umod56h72i96nd/APz6YnD6HfAKla6kpVvhbk4?rlkey=edahezpfo6c8xru8hl9t8wc1u&st=gfb2sga4&dl=0

Some other exhibitions

https://www.dropbox.com/scl/fo/7u44upp28b1atn6wogt9j/ADogl1jXVlRmwykhpLf_UkA?rlkey=wsd3zxn8eb9nx97qcot2hpeyt&st=cujn6o54&dl=0

 

 

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MindTravel – The Sounds of Silence Updated

A handful of white flags blow in the breeze against the blue of the skies.  Two cherry blossom trees and a sprinkling of yellow daffodils set the stage as pianist Murray Hidary, 53, dressed all in white, sits down at a grand piano set up in the sand on the beach last April in Deerfield Beach as part of his MindTravel series.

A few hundred people sat on towels and blankets in the sand or reclined in chairs; many brought coolers of food and drink with them.

MindTravel, an immersive, “silent” musical journey created by Hidary is designed to stimulate inspiration and awakening and foster connection to ourselves, to nature and to others.  Participants wear headphones to hear the music and are free to roam around the beach, dip their toes in the water or sit back on the sand and relax.

“Welcome to a continuous, uninterrupted musical journey and a real-time improvisation at the piano,” Hidary says through the headphones.

“Every time is different,” he says.  “Isn’t the seeing different? Isn’t the sky different?  Aren’t the waves different?  We are continually evolving and shifting.”

“I invite you into this conversation,” he says.  “All we have to do is take a moment to listen.”

Taking that moment to listen is something Hidary knows firsthand.

A multi-disciplinary artist, award winning photographer and tech pioneer, Hidary grew up in a large Sephardic Jewish family in Brooklyn, N.Y. where music was omnipresent.

“I always knew I wanted to be composer,” he says.  “I had my own thing to say.”

He studied music and composition at NYU and went on to perform at both Carnegie Hall and Lincoln Center.

Finding music both meaningful and meditative, Hidary says music became a portal into creating deeper connections and a way for him to deal with the stress of everyday life and of running a company.

During his 20s and 30s, Hidary kept a piano in his office and at the end of every day would play to de-stress and reset.

In 2006, after the unexpected death of his sister Mariel, a dancer, at the age of 23, Hidary turned more to music to help him deal with the loss.

“Music opened me up in a beautiful way and allowed me to connect to the love for my sister,” he says.  Steering him in a new direction, he says he saw how the power of music can be used for healing and to create deeper connection and decided to make this his life’s work.

After reading Siddhartha by Herman Hesse as a teen, Hidary incorporated the practices of Zen Buddhism into his music.

“When we don’t have the words to express our feelings, we turn to music,” he says.  “Music can give expression to the feelings that are hard to communicate and can help us navigate these circumstances in life.”

As Hidary’s relationship with music deepened, he began to see it not just as a tool for his own healing, but as a way to help others in their healing journey.

This realization led him to share his classical, jazz and musical improvisations beyond himself, bringing the experience to others who seeking solace, reflection and connection — thus, MindTravel was born.”

The first MindTravel took place 10 years ago on the beach in Santa Monica, Calif.

Hidary says he was the first to pioneer this communal way to experience music and nature and to bring people together for healing and community.

“I founded MindTravel,” he says on his website, “to create transformational experiences using music to share the wisdom and tools that helped me to achieve greater personal fulfillment, healing, and deeper connection with all things.”

Since then, MindTravel has performed in more than 100 cities, including Miami, Fort Lauderdale and Deerfield Beaches.  He performs approximately 150 concerts each year, including in Austin, TX, Southern California and in Central Park in New York City.

He has performed in such disparate areas, from the deserts of the Middle East to the continent of Antarctica.

“I haven’t looked back,” he says about his musical journey.   Part of his goal is to create a community where ever he plays and to do repeat performances in those cities.

“I want to make a space for reflection; a space people can just ‘be,’” he says.

In each of his concerts, Hidary creates a theme, such as courage, joy or love.

In Deerfield Beach, the theme was “wild.”

After an hour into the music, Hidary began a spoken word meditation on that theme.

“Imagine a place in you that was never meant to be tamed,” he says softly.  “They told us to be good – not wild.”

“To be wild is to be dangerous,” he says.   “To be wild means that you belong to something larger.  What if wildness was never the enemy?”

He talks about “a silence so complete, your breathe forgets it’s rhythm.”

One of Hidary’s favorite parts of the evening is the open mic section at the end of the concert where people get up and express how they’re feeling.

“People share the most heartwarming and fulfilling stories and emotions,” he says.  “It’s so human.”

In Deerfield Beach, a young man named Pedro got up to express his happiness at meeting his girlfriend, Amanda, and told her he loved her and was grateful for their two years together.  Another couple expressed their love for each other, while another participant who said they were in the military and leaving for Korea, expressed appreciation to Hidary for the special evening.

“Offering ways to destress and find deeper connections and healing makes me happy,” says Hidary, who now lives in Miami.

He’s motivated by the Jewish concept of “tikkun olam,” or, repairing the world.

“We can each bring a bit of “tikkun olam” in our own lives,” he says.  “As long as my fingers still work and people show up, I’ll do this until I’m 100 years of age.”

Visit mindtravel.com

Hidary will perform in Deerfield Beach on July 13.  Visit Eventbrite for tickets.

 

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Roots and realism: Sophia Lacroix

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.

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