“Beauty only benefits those who feel it on the inside.”
Born in 1974 in Carmel, California PAIGE BRADLEY knew she would be an artist by the age of nine. Immersed in nature and art, Bradley's fascination with the human figure began early. She believed that through the figure an artist could speak a universal language that is timeless and essential.
Paige Bradley started drawing from the nude model by the age of ten and by fifteen was studying intensely at university campuses during the summer months. Knowing that she was naturally a sculptor, at seventeen she cast her first bronze sculpture.
Educated at Pepperdine University, Paige spent a year in Florence, Italy with the university’s study program. There she took classes at the Florence Academy of Art, which included art history. Upon returning to the U.S. in 1994, Bradley left Pepperdine and entered into what would be a ten year apprenticeship with renowned sculptor Richard MacDonald. She went on to continue her education at the prestigious Pennsylvania Academy of Fine Arts, where she studied sculpture and learned to paint and print in several different mediums. Her work remains in the Pennsylvania Museum of Fine Arts.
In 1995 she was assistant sculptor on a monument for the Atlanta Olympic Games. In 2001 she was voted into the National Sculpture Society, the Catherine Lorillard Wolfe Art Club and The Salmagundi Club as a professional sculptor. In 2006 one of her sculptures was selected to become a prestigious international award for young dancers. A replica of the sculpture is now awarded to a talented dancer selected by a panel of judges annually from Ballet International.
Annually, Paige Bradley has several solo exhibitions, and her work can be seen in selected galleries throughout the world. In 2004 she moved her studio from California to New York City. In the spring of 2007, she moved to London, where she worked until 2016. Paige now resides and works full time again in the United States. Her work is housed in prominent public and private collections across the globe, among them, actress Nicole Kidman, radio personality Robin Quivers, architect and designer Campion Platt and music producer Harvey Goldsmith.
Paige’s work is full of dichotomies: both the beautiful and the ugly, the liberated and the contained, the falling and the floating. She is always in control of form but not imprisoned by its literality. The subject matter becomes the most important -- not narrowly feminist, but rather humanistic betrayals of modern emotion. Paige’s work is becoming a valuable keystone for the missing figure in contemporary art. Entering the middle of her career, Paige Bradley’s talent and artistic achievements have already gained her much notoriety.
Into the Light.
Anjali. The Prayer.
Reclining Nude Study.
Female Back with Chair Study.
Two Women Study.
Study in Lines and Form.
A native of the Washington D.C. area, after earning a Fine Arts degree from Virginia Commonwealth University, Claire moved to Carrara, Italy, a region rich in sculpture traditions, to work in the studios of master Italian artisans and sculptors. It was there that she learned the centuries old techniques of sculpting in marble and terra cotta. Sourcing these materials from the hills of Tuscany, as done by artists dating back to the Etruscan period, for over thirty years, Claire has been creating museum quality, timeless, one of a kind works that seem to resonate with spirituality and have the aesthetic qualities of prehistoric and ancient sculpture. In her work, she consistently strives to create a harmony between the sensuous feminine, ethereal form and these earthly materials. Her inspiration comes from artifacts of early civilization dating back to 38,000 BC. Through her work, she tries to capture human emotion, our connection to the land we inhabit, and the divine.
Claire was selected to carve monumental works on-site for two public parks in Japan. Her commissions for public, educational, and religious institutions include monumental works for Spring Hill College, Mobile, AL, Marian House, Baltimore, MD, The Holton-Arms School, Bethesda, MD, St. Bede, Williamsburg, VA, Holy Trinity Church, Washington, DC, Holy Redeemer College, Washington, DC as well as many private commissions, and her work can be found in numerous public and private collections throughout the United States, Europe and Japan.
Venus. Calacatta marble on travertine base.
Genevieve. Calacatta marble.
Serena. Terra cotta.
Nipote Head #7. Terra cotta on marble base.
Torso 18-1. Terra cotta on marble base.
Torso 18-4. Terra cotta on marble base.
Claire McArdle Studio.
Sappho. Private commission. Austin, Texas.
Private commission. Kiawah Island, South Carolina.
Born in Guadalajara, Mexico, Gustavo Torres began sculpting and training with accomplished artists in Mexico at a very young age. Torres left Mexico in 1991 after receiving his Bachelor of Fine Arts degree at the University of Guadalajara to pursue a career in the United States.
Torres is both a talented visual artist and a master craftsman. His visual imagery reflects the deep, quiet spirit of antiquity, while his rough finger work and carefully chosen hand formulated patinas convey an earthy presence. The power of his art is in its simplicity, tranquility, and connection to life. With references to both ancient Mayan art and the work of Alberto Giacometti, Torres’ style is both primitive and abstract, and he strives to create a spiritual balance in the work. Using the centuries old lost wax technique to create his deeply felt bronze works, he is directly involved with each stage of the creation from concept, to mold making, casting, and the careful application of his hand formulated patinas.
Torres resides in both Northern California and Los Angeles. His sculptures have been exhibited at the Carmel Arts Association and at prominent galleries throughout the United States and Mexico. Torres is an award winning artist, has been featured in numerous publications, and his work is housed in prominent public and private collections worldwide.
Angel on Wheel
Sharks function as the white blood cells of the ocean’s ecosystem and have shaped our marine ecosystems since before dinosaurs walked the planet and even pre-exist trees. Reductions in large predatory shark populations would result in cascading changes throughout the entire ocean ecosystem which would cause severe consequences for an environment which, among other vital ecosystem services, ultimately produces over half of the oxygen we breathe.
Sharks face a number of threats worldwide, including a variety of human impacts including bycatch and recreational trophy fishing but the number one contributor and the main driver of their decline is the demand for shark fins and, particularly, shark fin soup. This “delicacy” is a status symbol used to convey wealth in predominately Asian cultures. But practically every country with a coastline is involved with the global trade of shark products which also includes shark meat, shark cartilage supplements, shark liver oil (squalene) in cosmetics, pet food, and shark skin. A staggering figure of 2-3 sharks are killed every second, 70-100 million every year, and at this rate, many species populations will go extinct within our lifetime.
90% of shark populations have been decimated. Survey counts and data collected on pelagic research dives are consistent with the observed declines in shark populations around the world. Data indicates population declines at state and federal water lines, with a particularly sharp decline in the abundance of silky sharks which have practically disappeared. Whale sharks are endangered and great whites are vulnerable. Sharks are rapidly declining almost everywhere they are still found, the Pacific, Mediterranean, Atlantic, Gulf of Mexico, and across predatory fish communities worldwide. We are only beginning to fully understand the impact of these dramatic declines and the consequences they will have for future generations.
Sculptor Christopher Schulz’s eye catching, beautiful works of polished stainless steel depicting the Tiger, Leopard, Bonnethead, Bullhead, Blue and Hammerhead sharks enclosed in cages highlight these sad facts. Through his work, Chris is making the statement that these incredible, vital animals that are thought of as predators, have now in fact, become the prey.