My transition to painting came accidentally. Stills from my videos attracted a local gallery which deemed it worthy for an exhibition. I quickly learned to transfer their essential designs to canvas using airbrush and other techniques. Since 1995 I have created over 400 paintings, exhibited in galleries & museums in Israel and USA.

For the best art viewing experience, including priced works for sale, see Dov Lederberg’s work in the main gallery.

Most of my work would seem to fall within the abstract illusionist genre. This is especially true of my Dialogue series, my major preoccupation for the last three years, based on two cartoon faces in “psychological” confrontation. However, my most recent works in the Triptych series, such as Shaheed,  have been very much influenced by current events in our world of turmoil and suffering.

For the best art viewing experience, including priced works for sale, see Dov Lederberg’s work in the main gallery.

I am married to Lorna for 48 years this next August 28, 2008.  We live in Rolling Meadows, Illinois  We have three grown married sons, and five grandchildren.

Recent exhibits:

“Art Expo West”, Las Vegas, October 27-30, 2007

“Florence Biennale 2007”, December 1-10, 2007

“Art In City Hall”,  September 16-February 21, 2009

Aurora, Illinois Northwest Cultural Council, Corporate Art Exhibitions, 2008-2009, NW  Suburbs of Chicago, IL

For the best art viewing experience, including priced works for sale, see Ovidiu Lebejoara’s work in the main gallery

For the best art viewing experience, including priced works for sale, see Ovidiu Lebejoara’s work in the main gallery

“I like the simple, I do not like the simplicity”, the artist confess. “I always asked the eternal questions: Who are we? Where do we come from? Where are we going? Why do we live? With each and every work I made I have always though that only the nature or God can answer our uncertainties”.

For the best art viewing experience, including priced works for sale, see Ovidiu Lebejoara’s work in the main gallery

In recent years, Rosemary has discovered a talent and love for teaching and now spends much of her time running courses and workshops. This came about almost by accident, when a small group of friends asked her to teach them to paint “for fun”. A small class developed from this and she has since gone from strength to strength, writing articles for well-respected art magazines such as Art of England and Leisure Painter, as well as taking painting groups abroad. (Spain and Sardinia planned for 2009).

Whilst teaching committments take up so much of her life, Rosemary still makes time for travel to remote parts of the world, for which she has a great passion. This is reflected in her painting, and wilderness subjects form the bulk of her studio work in recent years. Her watercolours in particular, are most sensitive, atmospheric and subtle, depicting the natural world as she sees it….and because she paints in beautiful parts of the world, so her paintings delight with beauty and light. There is such not a great output of paintings since Rosemary took up teaching, and so her work is now eminently collectable.

Art Expo New York 2008
Clifton municipal gallery, NJ 2007
Art Expo New York 2007
InterArt Gallery, Chelsea, NY 2006
Art Expo New York 2006
InterArt Gallery, Chelsea, NY 2005
Guild of Creative Art, Shrewsbury, NJ 2005
Powys Gallery, Shrewsbury, NJ 2004
Art and Décor Gallery, Atlantic Highlands, NJ 2004
Studio Montclair, Montclair, NJ 2003
Ocean Art Guild, Island Heights, NJ 2003
Artzania Gallery, Tallahassee, FL 2002
Fedulov Gallery, Philadelphia, PA 1997
Brewster Gallery, Baltimore, MD 1996
Gallery of Modern Art, Munich, Germany, 1992
Artist House , Kharkov, Ukraine, 1991

Group Art Exhibitions:

Paradise lost, Williamsburg center, NYC 2008
The Noyes museum of Art.NJ, 2008
Fantasmus, Saeby,Denmark, 2008
Science meets Art, Williamsport, PA, 2007
The Noyes museum of Art, NJ, 2007
Doors of Perception, Interart, Chelsea, NY, 2007
NJ Arts Annual, Noyes Museum, 2007
Mall Galleries, London 2007
H. R. Giger museum Gruyeres Switzeland 2006
Biennale of miniature Poland 2006
Les Decourtenau gallery Belgium 2005
Contemporary Art & Design Gallery, Salt Lake City UT 2005
Arts Guild, Rahway, NJ 2005
Stella Gallery, Paris 2004
C.A.S.E., Jersey City, 2004
Williamsburg Historical and Art Center, NY 2004
Monmouth Museum, Lincroft, NJ 2004
Guild of Creative Art, Shrewsbury, NJ 2003
Triennale Graphics, Kharkov, Ukraine 2003
Clifton Art Center, Clifton NJ 2003
Monmouth Museum, Lincroft NJ 2002, 2003
Monmouth Visual Arts Center, Lincroft, NJ 2002
“Russia to America”, Grant Gallery, Soho, 2002
Chelsea Theatre show and benefit, Chelsea, MA 2002
Monmouth Art Festival, Tinton Falls, NJ 2001-2007
Limner Gallery Midtown New York, NY 2000
ArtYama Gallery Tribeca New York, NY 2000
Art and Art Gallery Brooklyn, NY 1999
Art Expo Javitz Center, NYC 1998
Softline Gallery, Brooklyn, NY 1998
Mt. Kisco, NY 1997
MARS Gallery Moscow, Russia 1994
Exhibition of Encaustics Artist House, Moscow 1991
Artist House Warsaw, Poland 1987
Artist House Poznan, Poland 1986-1987
City Hall, Lille France 1982-1987
Exhibitions in Manege Hall Moscow, Russia 1980 – 1987

For the best art viewing experience, including priced works for sale, see Val Dyshlov’s work in the main gallery

A proficient master of many styles, Val Dyshlov celebrates themes and temperaments
of the Old Masters. He expands their vision through the centuries to encompass the
movements and methods of their future. Utilizing classical art forms and images, he
transforms them to build his own world of dazzlingly imaginative plots and characters.

First prize winner in The Artist Magazine’s 2002 contest, Val Dyshlov exhibited in
numerous European cities, including H.R. Giger museum, Switzeland, the Noyes Museum
of Art, NJ, Mall Galleries near Buckingham palace, London, Biennale of Graphics, Poland,
Manege Exhibition Center in Moscow . Other cities include Zimmerly Museum of Art
of Rutgers University, NJ, Chelsea, New York, and Pennsylvania College of Technology.
Many of his artworks are in museums and private collections in Europe, Russia, Canada
and USA.

An art teacher once told Val that all the passions of the universe are hidden in a single
ankle from Return of the Prodigal Son. At the time, he did not fully comprehend this
wisdom, but now every brushstroke offers him an insight into the sense of existence.

For the best art viewing experience, including priced works for sale, see Val Dyshlov’s work in the main gallery

From the year 2000, I visually documented the essence of my cultures, culminating in a three year traveling exhibition of which the signature piece, Give Those Yeast Rolls Time to Rise, was directly related to my familial experiences. These works were representative of not only my life story, but the stories in the lives of people across the country and beyond. No ambiguity in my intent or subject. Because of its semblances the exhibition became the catalyst for the The High Museum workshop I conducted where I was asked to compare my work to that of the Harlem Renaissance artist, Jacob Lawrence. The “Stories of My America” exhibition premiered at Atlanta’s Hammonds House Museum in 2002, and was exhibited in eight museums and fine art galleries across the south; the Historic Beach Institute in Savannah, The Rosa Parks Museum, in Montgomery, Penn Center in St. Helena Island, and Fine Arts Academy, Shreveport, LA among them. Gullah Rhythms was displayed in the Kente’ Exhibition at The Marco Carlos Museum. By the close of the exhibition tour I began my transition, fulfilling a career-long desire to move beyond the obvious and explore new depths in my work. Because I found the enigma of “abstraction” compelling albeit a bit overwhelming, I sought the expertise of two of the country’s most stellar artists. Change, after an established thirty year career, has been challenging. The walk of faith I have taken, on this journey of transition into this new genre, has been daunting, but it has also been exciting and rewarding.

I admired the works of the 20th century Expressionist painters. I would occasionally explore the realm of nonrepresentational imagery in my earlier paintings. What I did not realize at the time, was that the language I needed to create this new body of work, was already embedded in the unique rhythmic strokes and style of my representational images.

The traditional definition of abstract art: Abstract art is purely non-objective and non-representational; it does not depict the reality of specific objects. At its inception, this genre’s movement redefined what art is and began breaking all of the traditional rules of art. Artists began leaving out information, splattering paint, texturing the surfaces, using fewer strokes and bolder colors. I think that it is the “rule breaking” that initiated the “conceptual” or “Abstract” art movement, creating the contrasting perspectives and inspired illusions. I depend on the wonders of nature to supply many of the patterns and designs present in my work and believe that colors, shapes and depths have their own rhythm, weight and importance in art. We can often find the story in music. Representational art is like music with words and abstraction reminiscent of “Blues blue” and “magenta Jazz”. They are often based on a theme that takes on different forms or a spiritual experience. In my incorporation of as many of our senses as possible into my paintings, many often speak of the ability to hear my paintings, the rhythms that glide across the canvas, resonating in the melodic tunes embodied within the intensity of the colors, the strength of the lines and boldness of the strokes. It is a common belief that ancient African cultures feared the elements, but in fact, African peoples trust in the continuity of nature, its unchanging cycle of seasons and the succession of day and night. The symbols used to communicate messages within the living world and serve as a link to our ancestors and the supernatural world are, to the untrained eye, abstract in nature. I believe that there are many ways to tell our history.

This genre — and its “stories” is one of them – has been around for centuries. It is interesting that the viewing public, especially those familiar with my prior works, constantly try to find the stories and recognizable imagery in my abstract paintings. They are pleased if their imagination discovers a face or an animal of sorts. What I have deduced, as an abstract artist, is that it takes an entirely different perception and an openness of the imagination to understand the work and to appreciate it on a deeper level. Because many of the stories in my “Stories” series came from complete strangers, it was the space between the story given me and the way I received it that determined the degree of realism or abstraction I incorporated into the painting. With these conceptual works, the beginning and the end of the story are the same. These paintings take a journey through my soul on the way to the canvas, where they are cultivated and materialize. I am going to ask you as the viewer to take it all in, not necessarily expecting to understand the work immediately, but to take the time to appreciate the essence, created by the textures, lines, strokes, and compositions. And in interpreting the depth of my emotional awareness as an artist, we together just might reach a new level of understanding of this abstract genre. It is after all, the language that I am currently choosing to dare broach the world of the conceptual unknown.

For the best art viewing experience, including priced works for sale, see Charlotte Riley-Webb’s work in the main gallery