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Several years ago I became interested in Buddhism. Its teachings resonate for me. Attempting to understand emptiness has been an ongoing process. To be clear, emptiness is not nothingness. This study has resulted in using a new approach when I paint. I spend more time contemplating what I put on the canvas and taking out that which doesn’t belong.
Star Trauth is an American artist whose art has been exhibited and published across The Americas, Europe, and Asia. Her fiber art pieces are held in museums in North America and Asia. Trauth’s clients, both commercial and private, span the globe.

Her focus is the creation of fiber sculpture, “totems.” Trauth’s vision is a departure from traditional fiber works while employing some traditional methods. Starting with her signature cylindrical canvas and creating a tapestry of fiber and other elements that she finds interesting.
José M. Fontaiña was born in Riveira (Galicia), Spain in 1961 and moved to the USA with his family in 1978. He attended William Paterson University, planning to be a Spanish teacher, but his artistic interests overcame his desire to teach and he ultimately switched his major in the middle of his junior year, graduating with a BA in Art (Dean’s List) and a Minor in Spanish – a decision he has never regretted.
I am inspired by nature, insects, animals and their structures. Fossils, natural stone, sedimentary rock and the mechanics by which they are formed over time, have a fundamental primordial appeal. My art is process driven. Much of my technique is designed to mimic natural occurrences. I open myself up to whatever art wants to be. I strive to produce seemingly random compositions that achieve a pinnacle beyond my conscious capabilities. This act of allowance requires the ability to accept inevitable failures as part of the process, and not a measure of one’s abilities or lack thereof. Lessons learned. The next piece will always be better. For me, grout, with its various qualities and capabilities, is a perfect medium. This non-traditional medium is conducive to the process of experimentation. I ask the question “what if?”. I am not always happy with the result, nor is it always what I expected. This learning process evolves, fueled by the creative impulse, until, like a fossil or ancient stone, the work becomes a time capsule, a manifestation of inspiration, struggle, and brief moment in the sun.
Subjects: Nautical, Nature, Landscapes, Urban, Architecture, Facades and Still life.
Bill Hall has completed paintings for advertising agencies like Anderson & Lembke, Leo Burnett, Lintas NY, R.L. Polk, Wells Rich Green, Ross Roy and Young and Rubicam.

Specific sporting events that have used his work are: the Virginia Slims Master’s Tourney, Special Olympics, the ’94 World Cup of Soccer for both MasterCard and Mars Candy Company, the Ameritech Senior’s Open, the LG Championship PGA Senior’s Tourney, the New York Marathon, the Cleveland Grand Prix for its sponsor Pepsi Cola, and images for the World Jai Alai Federation. Plus, his work was used exclusively to promote the San Antonio Stock Show and Rodeo from 1998 to 2002.
I create ideas. Art begins with my mental thinking process, about a well defined subject I wish to “talk” about and subsequently render. I conduct research and look for art precedents. As work continues, the original concept is elaborated and visually debated through my expressive execution.

The final output is the result of my interaction with he original idea and the specific physical tools I deem most appropriate for the technical execution. I strive to use my artistic vision and my technical skills to translate my ideas into art forms that combine highly decorative elements and a meaningful communicative message and I create a thought provoking narrative, that one just has to find, think and interpret. Art is a language I speak with the with the sole intent of leaving a legacy behind…

I grew up in a creative family. My father was a still life oil painter, a photographer and glove designer. My mother was a musician. The house was filled with Flemish paintings, French provincial furniture from the late 1700’s and stained glass. My father wanted me to study accounting in college, no doubt to bypass the instability of an artist’s life. Instead, I majored in English Literature at Northeastern University in Boston and then went on to study guitar.

My first experiences with photography began with my father and our Makina Plaubel in the 1950’s. There were also my father’s slideshows from business trips to Europe. Those were long evenings… My father and I never played ball: we went to museums. I tell people I had the Modern memorized when I was 10.