Monthly Archives: August 2020

ROBERT STANDISH

Chaos and Control

July 23, 2020 – November 8, 2020

An Exclusive ARTSY Online Exhibition

VIEW THIS SHOW NOW AT: https://bit.ly/3gVVZbP

In Standish’s latest series, given the moniker Anti-Sporadic, combines oil and acrylic paints, the latter substance laid down first and the former last. In fact, the basis for each composition is a pour of acrylic onto the canvas. Standish enhances the resulting impasto with a highly gestural application of palette knives. The resulting topography is then modified with oil-based pigments, applied with brushes, so that the often volcanic-seeming features of the acrylic pour are amplified into patterns and visual structures. This is no mere exercise in decorating high-profile surfaces: Standish intervenes deeply into the acrylic with the oils, coaxing bursts of color and swaths of texture out of the superficial and into the visible. 

Standish may seem to leave certain Anti-Sporadic works – smaller ones in particular – free of his “oil intervention.” But that is an illusion right there; his hand has indeed intervened, however invisibly. Standish has “touched up” these weighty monochromatic froths with the same carefully applied enhancement he’s visited upon more extravagantly colored canvases, only here, the goal has been to bring forth shadows rather than rainbows. 

Standish had already been working in a non-objective idiom for several years when he developed the techniques that led to the Anti-Sporadic series. As so many painters discover, the pleasures and mysteries of smearing substances on surfaces reveal themselves not only during the process of painting, but afterwards as well – and in many more different and unanticipated ways. Indeed, this is what makes abstract art appealing to its audience as well as to its practitioners. Standish avers that he began thinking abstractly even while painting recognizable images. (Notably, while painting streetlights at night, he became fascinated by the effects of light on the camera he was trying to emulate; from there, he became engaged with the effects of light on the human eye itself).

The Anti-Sporadic paintings constitute a realm of experimentation for an accomplished and yet restless artist. Each painting is a new, and arguably unanticipated, experience for him. But they are for us, too. And that’s where these paintings truly succeed: they commute that sense of experimentation, of unpredictability, to those who behold them.

Robert Standish is an American painter living and working in Los Angeles whose organic process reveals the emotive effects of color, shape, and texture. Inspired by the color-field painters Abstract Expressionism, and Abstract Spritualism, Standish’s free-flowing use of paint is his way of exploring abstraction, composition and transcendence. His works can be found in the permanent collections of the Los Angeles County Museum of Art, JP MORGAN CHASE, The Weisman Foundation, Louis K. Meisel, Larry and Marilyn Fields, Patricia Arquette, Norwest Venture Partners, and BRYANT/ STIBEL, along with numerous other acclaimed collections. Standish’s paintings have been exhibited internationally in galleries and museums, including group shows at the Carnegie Art Museum, Frederick R Weisman Museum of Art and solo show at the Museum of Art and History, Lancaster.

#artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst #robertstandish #markmoorefineart #markmooregallery 

KIM RUGG: “Another Man’s Treasure” – Opening July 9th

Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, “Another Man’s Treasure”. I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture.

View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz

With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers’ authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l’oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many.

According to the artist: 

“Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.”

“Living in an urban environment it is impossible to ignore the blanket of litter that covers our streets and parks. Each piece of litter is a highly designed piece of packaging, easily identifiable, that is no longer functional or wanted.”

“During a period of a couple of years when I was not able to produce any art, collecting selected pieces of litter became my main creative process. Passersby would praise me as a civil minded citizen and offer to add to my collection only to be told by me that I didn’t want their bottle or can they were offering me as it didn’t fit in the of my piece.”

“I was drawn to cigarette packs, because of their gory, staged health warning images, brightly colored sweet (Candy) wrappers and of course Mc Donald’s packaging which outnumbered all other litter put together. Once home, I washed and dried all my collected rubbish (trash) and sorted it by color, brand or product. This became my new palette to produce the new series of collages.”

“I work in a space dominated by an antique Mennonite quilt which has inspired me to investigate the language of quilting. Needlework has been a long-term interest for me.  The dialogue between the thread and the fabric is one that I am attracted to due to the physicality of the medium. Early pieces exploring the medium of stitching and quilting fused with contemporary iconography were conceptually unsuccessful but helped me understands the new vocabulary I was working with until I felt I could express my concept successfully. My process involves creating a collage with the collected litter.  My aim is to create something visually attractive at first, to lure the viewer, and for the true nature of the medium to be revealed on closer inspection.”

“The Practice of Smoking” started as a single square where the health warning images were arranged to form an attractive color pattern, the content of diseased lungs or gangrenous toes, was just incidental. I was selecting them for their formal qualities rather than content. The collage was scanned and printed in multiples which I arranged to form a larger pattern which seen from a distance appears to be an ethnic textile.

After assembling the parts, it was backed with batting and stitched to form a quilt. Quilts are usually made for comfort, but my process has corrupted this function to make it anything but comforting.”

“As I mentioned earlier McDonald’s dominates the world of litter. In the series of works titled “I’m Lovin’ It” the pattern is of a MC Donald’s QR code and each square is cut from a piece of litter. Thanks to the color scheme of the  branded packaging, the overall effect is quite fun. A version of the collage has been printed to make the two quilts.”

“The piece “Keep Britain Tidy” is a long-lasting strap line for a litter campaign in the UK. It appears repeatedly in the collage as the logo is printed on most wrapping. This collage used blue, red and white packaging arranged in a herringbone pattern to form the Union Jack. It was directly inspired by the thought: “this country is covered in litter” I had when walking the streets of my neighborhood with my dog. Although the sparkly bright nature of the packaging makes the collage bright and fun, the real meaning behind the materials is one of decrepitude.”

“Likewise, “Take Your Litter Home” Is another expression of this thought. The British Isles are made using a traditional quilting pattern to cut the litter into blocks. The sea is made from water bottle labels.”

Rugg received her MFA in Sculpture from the Royal College of Art (London). Her work can be seen in the permanent collections of the National Gallery of Art (D.C.) and the Frederick R. Weisman Foundation (CA), the Museum of Contemporary Art, San Diego (CA), Honolulu Museum of Art, the Norton Museum (FL), and the Museum of Fine Arts Houston (TX) among others. She has been included in exhibitions at the San Jose Institute of Contemporary Art (CA), Elizabeth Foundation for the Arts (NY), Galerie Schmidt Maczollek (Cologne), and Nettie Horn Gallery (Manchester), P.P.O.W. Gallery (NYC), and was the recipient of the Thames and Hudson Prize from the Royal College of Art Society in 2004. She lives and works in London (UK).

#artexhibition #artshow #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #abstractart #abstractpainting #contemporaryart #contemporarypainting #abstractart #abstractpainting #artcurator #studioisolation #artstudio #studioview #painting #painter #artist #art #modernart #contemporaryart #dailyart #instaart #instagood #contemporaryartist #kunst #artcollectors #artcollector #artconsultant #abstractartist #markmoorefineart #kimrugg 

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer.

VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R

ABOUT IVORY.125

Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it’s flawed connection to power, and its devastating effects.

THE PILCHUCK GALLERY

240 Second Avenue South, Suite 100,

Seattle WA, 98104

https://www.pilchuck.org/exhibitions

PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY

ABOUT THE ARTIST

Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest.

Learn more at rossanostudio.com

#markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

Image: Mark Bennett, The Pritchett Family Plans (Modern Family), 2017 / Lithograph on Rives BFK paper / 29 × 40 in / Edition of 20 + 2AP

Capturing what feels like a lifetime in only 15-minutes, Matt Pizzano’s The Grass Is Always Greener On TV charts the life of Mark Bennett, who became famous for blueprinting every detail of the homes in the 1950s television shows he religiously watched as a child. An incredibly moving artist profile doc, the film’s glossy production and rich narrative arc echo much of the charm of the classic Hollywood that Bennett himself adored. In exploring one man’s attempt to escape into a fantasy world, Pizzano beautifully encapsulates the essence of an artist who must overcome his demons.

VIEW THIS FILM AT THE FOLLOWING LINK: https://youtu.be/_5UGXThye7M

The Grass Is Always Greener On TV uncannily juxtaposes the dark parts of Bennett’s life with the surreally perfect lives within the television shows he obsessed over. Using a combination of home video, talk show appearances, and interview footage (along with a bit of re-staging), Pizzano, alongside producer Nic Wehmeyer, build a story that feels like it should play on one of the old television screens where Bennett found so much comfort.

Accentuating the ironic comparison, the film was shot in the classic 4:3 aspect ratio, with a musical score that sounds just like something from decades past. As various clips from I Love Lucy and Leave It To Beaver play over Bennett’s confessions of a traumatic childhood, the effects of which would continue to plague him well into adulthood, Pizzano chillingly reveals the dangers of living in fantasy.

Pizzano’s greatest challenge was finding a way to bring to life both Bennett’s internal struggle and his vivid imagination, in a way that didn’t distract from the story. Motion graphics were therefore employed to illustrate Bennett’s work, with the help of the director’s creative partner and producer of the film Nic Wehmeyer.

As Bennett’s blueprints animate over the shows he studied so meticulously, Pizzano was able to translate the artist’s thought process to the screen. Coupled with stylish editing techniques, The Grass Is Always Greener On TV transcends the traditional profile doc and strikingly depicts a journey of a man who must overcome deep trauma and abuse.

Delightfully empowering and one of the most compelling real-life character arcs we’ve seen in a documentary, The Grass Is Always Greener On TV reminds us all how important it is to accept ourselves and others, flaws and all.

For more information on Mark Bennett, please contact: info@markmoorefineart.com

#laart #laartist #losangelesart #losangelesartist #losangelesartists #abstractart #modernart #contemporaryart #dailyart #instaart #artcollectors #artcollector #artcritic #collector #modernartist #contemporaryartist #abstractartist #artcollective #arte #kunst

Alex Blau: REMIX (A Twenty-Year Survey)

View this Exclusive ARTSY Online Exhibition Now at: https://bit.ly/3e2k2UP

Alex Blau’s geometric paintings draw from a variety of sources and have unexpected associations. By variously utilizing graphic languages associated with things like disposable consumer goods, computer generated architectures and unfolding mandalas, Blau’s work both points to abstraction’s open-ended possibility and highlights its incorporation into mass culture. 

Alex Blau has an MFA from Rhode Island School of Design and works primarily in painting. Blau has had solo shows at several venues, including Frist Center, Firecat Projects in Chicago, Gallery Seomi in Seoul, Mark Moore Gallery in Santa Monica, Kevin Bruk Gallery in Miami, Barbara Davis Gallery in Houston and the New Britain Museum of American Art. She currently teaches at Vanderbilt University and Austin Peay State University. 

For additional information, contact Mark Moore Fine Art at: info@markmoorefineart.com

#alexblau #markmoorefineart #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #abstractart #abstractpainting

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer.

VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R

ABOUT IVORY.125

Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it’s flawed connection to power, and its devastating effects.

THE PILCHUCK GALLERY

240 Second Avenue South, Suite 100,

Seattle WA, 98104

https://www.pilchuck.org/exhibitions

PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY

ABOUT THE ARTIST

Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest.

Learn more at rossanostudio.com

#markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125

KIM RUGG: “Another Man’s Treasure” – Opening July 9th

Mark Moore Fine Art is proud to announce the exclusive ARTSY online exhibition of new work by artist KIM RUGG on view now titled, “Another Man’s Treasure”. I would urge you to take a look at this beautiful, thoughtful, and compelling exhibition focused contemporary culture.

View this exclusive ARTSY online exhibition now at: https://bit.ly/2Va62Bz

With surgical blades and a meticulous hand for nearly two decades Kim Rugg (b. 1963, Canada) dissected and reassembled newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. In her early work, the front page of the LA Times becomes neatly alphabetized jargon, debunking the illusion of its producers’ authority as much as the message itself. Through her re-appropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers. Rugg has also created hand-drawn works alongside wallpaper installations, both of which toy with authenticity and falsehood through subtle trompe l’oeil. In her maps, Rugg re-envisions the topography of various states, countries, continents, and even the world without borders, featuring a staggeringly precise hand-drawn layout with only city names and regions as reference points. In own sense of abstracted cartography, Rugg redistributes traditional map colors (or eliminates them entirely) in order to nullify the social preeminence given to constructed territories and highlight the idea that our attention is manipulated to focus on the powerful few instead of the physical many.

According to the artist: 

“Some people have said that my recent work has moved into a different direction. But I would disagree with this as I am still pursuing my interest in popular iconography and still disrupting the relationship between the images and their vehicles to make the images more visible and jarring.”

“Living in an urban environment it is impossible to ignore the blanket of litter that covers our streets and parks. Each piece of litter is a highly designed piece of packaging, easily identifiable, that is no longer functional or wanted.”

“During a period of a couple of years when I was not able to produce any art, collecting selected pieces of litter became my main creative process. Passersby would praise me as a civil minded citizen and offer to add to my collection only to be told by me that I didn’t want their bottle or can they were offering me as it didn’t fit in the of my piece.”

“I was drawn to cigarette packs, because of their gory, staged health warning images, brightly colored sweet (Candy) wrappers and of course Mc Donald’s packaging which outnumbered all other litter put together. Once home, I washed and dried all my collected rubbish (trash) and sorted it by color, brand or product. This became my new palette to produce the new series of collages.”

“I work in a space dominated by an antique Mennonite quilt which has inspired me to investigate the language of quilting. Needlework has been a long-term interest for me.  The dialogue between the thread and the fabric is one that I am attracted to due to the physicality of the medium. Early pieces exploring the medium of stitching and quilting fused with contemporary iconography were conceptually unsuccessful but helped me understands the new vocabulary I was working with until I felt I could express my concept successfully. My process involves creating a collage with the collected litter.  My aim is to create something visually attractive at first, to lure the viewer, and for the true nature of the medium to be revealed on closer inspection.”

“The Practice of Smoking” started as a single square where the health warning images were arranged to form an attractive color pattern, the content of diseased lungs or gangrenous toes, was just incidental. I was selecting them for their formal qualities rather than content. The collage was scanned and printed in multiples which I arranged to form a larger pattern which seen from a distance appears to be an ethnic textile.

After assembling the parts, it was backed with batting and stitched to form a quilt. Quilts are usually made for comfort, but my process has corrupted this function to make it anything but comforting.”

“As I mentioned earlier McDonald’s dominates the world of litter. In the series of works titled “I’m Lovin’ It” the pattern is of a MC Donald’s QR code and each square is cut from a piece of litter. Thanks to the color scheme of the  branded packaging, the overall effect is quite fun. A version of the collage has been printed to make the two quilts.”

“The piece “Keep Britain Tidy” is a long-lasting strap line for a litter campaign in the UK. It appears repeatedly in the collage as the logo is printed on most wrapping. This collage used blue, red and white packaging arranged in a herringbone pattern to form the Union Jack. It was directly inspired by the thought: “this country is covered in litter” I had when walking the streets of my neighborhood with my dog. Although the sparkly bright nature of the packaging makes the collage bright and fun, the real meaning behind the materials is one of decrepitude.”

“Likewise, “Take Your Litter Home” Is another expression of this thought. The British Isles are made using a traditional quilting pattern to cut the litter into blocks. The sea is made from water bottle labels.”

Rugg received her MFA in Sculpture from the Royal College of Art (London). Her work can be seen in the permanent collections of the National Gallery of Art (D.C.) and the Frederick R. Weisman Foundation (CA), the Museum of Contemporary Art, San Diego (CA), Honolulu Museum of Art, the Norton Museum (FL), and the Museum of Fine Arts Houston (TX) among others. She has been included in exhibitions at the San Jose Institute of Contemporary Art (CA), Elizabeth Foundation for the Arts (NY), Galerie Schmidt Maczollek (Cologne), and Nettie Horn Gallery (Manchester), P.P.O.W. Gallery (NYC), and was the recipient of the Thames and Hudson Prize from the Royal College of Art Society in 2004. She lives and works in London (UK).

#artexhibition #artshow #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #abstractart #abstractpainting #contemporaryart #contemporarypainting #abstractart #abstractpainting #artcurator #studioisolation #artstudio #studioview #painting #painter #artist #art #modernart #contemporaryart #dailyart #instaart #instagood #contemporaryartist #kunst #artcollectors #artcollector #artconsultant #abstractartist #markmoorefineart #kimrugg 

Energy and Motion: Abstraction 2020

June 18, 2020 – September 13, 2020

VIEW THIS EXCLUSIVE ARTSY ONLINE EXHIBITION HERE: https://bit.ly/36X540b

“Abstraction is energy and motion made visible – memories arrested in space.”  – Jackson Pollock

Mark Moore Fine Art presents an exclusive ARTSY online exhibition including 15 artists focused on Abstraction in “Energy and Motion: Abstraction 2020” on view now through September 13, 2020.

Including the work of:

• Charles Arnoldi
• Michael Batty
• Tim Bavington
• Alex Blau
• Tony DeLap
• Joshua Dildine
• Amy Myers
• Meghan Smythe
• Lisa Stefanelli
• Feodor Voronov
• Ben Weiner
• Jimi Gleason
• Kara Maria
• Julie Oppermann
• Robert Standish

For additional information, please visit our website or contact us at: info@markmoorefineart.com

http://www.markmoorefineart.com

#artist #art #modernart #contemporaryart #dailyart #instaart #instagood #contemporaryartist #kunst #artcollectors #artcollector #artconsultant #abstractartist #painting #markmoorefineart #chuckarnoldi #michaelbatty #timbavington #alexblau #tonydelap #joshuadildine #amymyers #meghansmythe #losastefanelli #feodorvorovov #benweiner #jimigleason #karamaria #julieoppermann #robertstandish

Alex Blau: REMIX (A Twenty-Year Survey)

View this Exclusive ARTSY Online Exhibition Now at: https://bit.ly/3e2k2UP

Alex Blau’s geometric paintings draw from a variety of sources and have unexpected associations. By variously utilizing graphic languages associated with things like disposable consumer goods, computer generated architectures and unfolding mandalas, Blau’s work both points to abstraction’s open-ended possibility and highlights its incorporation into mass culture. 

Alex Blau has an MFA from Rhode Island School of Design and works primarily in painting. Blau has had solo shows at several venues, including Frist Center, Firecat Projects in Chicago, Gallery Seomi in Seoul, Mark Moore Gallery in Santa Monica, Kevin Bruk Gallery in Miami, Barbara Davis Gallery in Houston and the New Britain Museum of American Art. She currently teaches at Vanderbilt University and Austin Peay State University. 

For additional information, contact Mark Moore Fine Art at: info@markmoorefineart.com

#alexblau #markmoorefineart #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #abstractart #abstractpainting

Mark Moore Fine Art in partnership with Traver Gallery is proud to present an exclusive ARTSY online exhibition titled “IVORY.125” by artist Joseph Rossano which is on view now at The Pilchuck Gallery in Seattle through the Summer.

VIEW THIS SHOW NOW AT: https://bit.ly/3jKZ00R

ABOUT IVORY.125

Using an artistic rendering of the fossil record, past, present, and future, the exhibition reveals how our legacy as a species is inexorably tied to a value system designed to insure familial survival. Towards the transmission of this reality, Ivory exposes viewers to the global trade in illegal animal parts, it’s flawed connection to power, and its devastating effects.

THE PILCHUCK GALLERY

240 Second Avenue South, Suite 100,

Seattle WA, 98104

https://www.pilchuck.org/exhibitions

PRESENTED IN PARTNERSHIP WITH TRAVER GALLERY

ABOUT THE ARTIST

Joseph Rossano, born to clinicians and research scientists, graduated from Louisiana State University as an artist. His path joined him, via mentorship, collaboration, and exhibition, with renowned artists and institutions including Dale Chihuly, Judy Pfaff, The Pilchuck Glass School, Waterford Crystal, Museum of Glass, the South Australia Museum, and Google. Integrating cutting edge technology and science with his art, Rossano engages and challenges the viewer to reflect upon mankind’s impact on our planet and its varied ecosystems. Much of Rossano’s youth was spent in New York’s Hudson Valley and Catskill Mountains, formative years that evolved a life focused on creating environmental awareness through Art. Rossano now lives and works 65 miles north of Seattle, his home and studio nestled in the temperate rain forests of the Pacific Northwest.

Learn more at rossanostudio.com

#markmoorefineart #markmooregallery #artexhibition #artshow #painting #contemporarypainting #contemporaryart #artcollector #artcurator #artconsultant #artadvisor #josephrossano #ivory125