My personal work and community art artwork tries to connect people to an interior spiritual beauty which often goes unrecognized and unappreciated. — Gilda Oliver

Courtesy of Gilda Oliver
Courtesy of Gilda Oliver

Gilda Oliver’s portfolio is disarmingly impressive.  The artist’s aspiration to invite the viewer to participate in her affirmative brand of creativity translates to a worldwide fascination with a remarkably generous artist.  Countless glossy advertisements in big magazines like Modern Painters Magazine promote Oliver’s tactile brand of creativity.  Publications like Fine Art Magazine have featured her transformational art with in-depth articles and savvy layouts. While Oliver’s engaging multi-media art is appreciated in international galleries in Manhattan, Moscow, and Miami, as well as glittering places in between; it also flourishes in local neighborhoods like yours and mine.   Beyond that, Oliver is an award winning teacher when art funding is not a national priority.

In a recent solo show, Oliver spun some of her traditional themes including transcendence, nature, and history, out in a gesture that reaffirms art as a spiritual value.  The artist’s new series is informed by the mysticism of Kandinsky, Malevich, and Mondrian to explode in a jolt of power. Furthermore, the artist addresses climate change, and humanity’s troubling relation with nature, in “Purple Halo Melt” where souls melt into the dark.  Furthermore, she explores larger notions of history to uncover power in past wisdom.  “Pink Halo Angel,” for example, represents a creature flying into a reimagined future. 

My hope is that this most recent oversized mosaic mural is just one flower in a garden of arts and culture that will continue to flourish and enrich our communities.

Courtesy of My Art Council,
“Rainbows of Love Over the Rainforest,” Community Mosaic,

Finally, Oliver’s community projects are stunning in concept, and practice.  For starters, the artist designs projects in neighborhoods without arts funding.  She then enlists sponsors and volunteers of every age and ilk to create public work close to home.  As a result, individuals are able to express their love for the world around them, and realize a communal sense of creativity in their world.   –to be continued.

Gilda Oliver was republished in the May issue of Fine Arts Magazine

Courtesy of My Art Council, Community Mosaic,


The paintings are the visual representation of mind and the Noise, an aesthetic born out of the conflict between the two opposed forces.Padrick Bentley

Padrick Bentley’s savvy public silhouette reflects the artist’s style and message.  The fluorescent profile of the immaculately groomed young man mirrors the artist’s creative process, and wit. More, his glitched method offers a commentary on the delinquency of mass culture and the tension between the human mind and outside static.

This photograph is courtesy of

they are each an animated .gif, a compilation of multiple versions of a painting.  Each has the most basic level – the computer code – corrupted.  The resulting digital file is ‘glitched.’  When combined as a .gif, the paintings are deconstructed and reconstructed in an unending loop.  

Bentley’s process mirrors the reality that the consumer navigates in a culture of unmanageable sensory overload.   He demonstrates how the truth is corrupted one bit at a time.  The digital loop is incrementally damaged as it strays further from the original image producing infinitesimal layers of distortion.

originally found @
This picture is courtesy of

Bentley seeks to spread harmony where there is discord with his art.  He is a secret agent confronting a society that is drifting away from the truth.  His luminous inner reflections stand in place of and question the Noise that is everywhere around us with its soulless layers of falsehood.


originally found @
originally found @

Art Copy is very pleased to welcome Brittini Renee to the 2015 Project.  This young artist employs creative writing along with visual art to broadcast the urgency of being true to oneself — of rejecting destructive stereotypes.  She rejects racism, and the depression that it incurs, in favor of vibrant expression.  In her mission statement, Brittini Renee says, I show and talk about subjects, people of today try to ignore.  They hope that ignorance will bring a solution.  Ignorance is not the solution, all it takes is one person in a world of millions.


–By Brittini Renee

What if I’m loud?


What if I drop out of school?


What if I wear a wig?


How about weave?


What if I draw in my eyebrows?


What if I do not know my father?


What if I receive food stamps?


What if I ignore the stereotypes and live my life for me?

A proud Black woman


I’m very pleased to welcome Brooke McGowen to the 2015 Project.  Politics is a theme that figures prominently in her work.

courtesy of Brooke McGown
Brook McGowen and political art

Brenda Haroutunian:  A warm welcome to the 2015 project Brooke.  I was wondering if you would like to elaborate upon the critical social and political themes in your art?

Brooke McGowen:  At some point it was impossible to ignore reality any longer. Economic inequality, the militarization of society, the brutality of war knocked me off my cloud. At some point you feel like an idiot sitting in your studio and painting pretty pictures.

Brenda Haroutunian:  That’s funny, and so apt. It seems as if you felt an obligation as an artist, at some point, to comment on the failed wars, the tragedies in Ferguson and elsewhere, policies that favor the wealthy, and so on.  Would that be correct?

Brooke McGowen:  Absolutely. The artist has the obligation to reflect the absolute values of humanity in the face of capitalist corruption.

Brenda Haroutunian:  Could you tell me a little bit about your idea of capitalist corruption?

Brooke McGowen:  I mean the attempt to subvert the connection of art to the future and exploit it for commercial advertising. Artists are being bought off and their energy siphoned into corporate subjugation. For me, art is a message from our collective unconscious telling us what is right. This message is absolute and uncorruptible.

courtesy of Brooke McGowen
Brooke McGowen’s political art

Brenda Haroutunian:  So your art originates from a psychological space that is then realized in the real world?

Brooke McGowen:  Yes, the process is guided solely by my gut feeling.  Art is always in the service of the higher good. Art is the use of visual representation to spread consciousness concerning the issue at hand.

Brenda Haroutunian:  As if you mediate reality through your creative process?

Brooke McGowen:  Partially due to the comic and pop culture, Americans are especially  sensitive to characters.  This symbolic representation can be traced back to the American Revolution, where creative use of effigies, signs and parodies predated political action.  The character of Haley Eidus, the American Eagle, reminds us of our roots, the promise of democracy and the importance of defending it. Mona Santo, the decomposed girl with the big ear of corn is showing us what is happening to us inside by wearing it on the outside.  Other characters developed by me and Radical Art Initiative serve to illustrate problems of society that people need to be aware of.

Brenda Haroutunian:  Could you please talk a little bit about the reaction to your street performances?

Brooke McGowen:  It has been very satisfying to see people touched by the visualization — kids asking their parents to explain it, or people just enjoying the idea.

Brenda Haroutunian:  Humor plays a critical role in your work?

Brooke McGowen:  Humor is actually the key to opening a conversation. If people can laugh about something, it can open their minds to a specific topic. Interest is awakened to get more information.

Brenda Haroutunian:  This has been fascinating.  Thank you very much Brooke.