Space vs Place, Mazziotti’s New Art

At first brush, no pun intended, the work of Bill Mazziotti plays with what most artists use as a simple way of ordering a surface, the grid. But the truth is he is examining a new artistic approach to the concerns of space versus place. The surface presents an almost creased like pattern of folded paper with each edge scrapped to the unpainted surface of the support. The paint at first flat, actually deepens as you start to see the multiple layers that make up the surface. He then reaches through the surface, scrapping it back showing us the structured drawn, penciled grid underneath. Then he populates it with dancing dots of color.

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Landscape Painters

Many upcoming artists seem to think that it is just ok to copy other artists works and concepts. Although artists do not “own” concepts, among the artists community this is definitely not what artists do. Artists work very hard to come up with …
Jenny Lake-Grand Teton National Park Original watercolor painting Janice Trane Jones 8 x 10. 41 minutes ago. Daily Painters Abstract Gallery · Jenny Lake-Grand Teton National Park original landscape watercolor painting by Janice Trane … — Mon, 04 Jun 2012 18:07:00 -0700
A Collective of World-wide self representing DAILY PAINTERS. All types of art work are being … I am raising cash for vacation so I will be adding one of my daily paintings to my ebay auction every day or so. To bid on the companion piece for … — Mon, 04 Jun 2012 18:06:00 -0700
Daily Painters Rhode Island · They Fly Through The Air by Susan Medyn. 1 day ago. Daily Painters of Oregon – Contemporary Fine Art International · “Ice Fields,” contemporary landscape painting by Carolee Clark, Philomath, Oregon … — Mon, 04 Jun 2012 17:26:00 -0700
Daily Painting States & Sites. Daily Painters of Arizona · Miami Beach Contemporary Landscape Paintings by Arizona Artist Amy Whitehouse. 45 minutes ago. Daily Painters Of Alabama · RED AND WHITE ROW BOAT BY ELIZABETH … — Mon, 04 Jun 2012 17:20:00 -0700

Strappo Art Printmaking


I have recently had the opportunity to reform a friendship with an artist I knew in Levittown, NY. Harold Garde was a subtle art influence in my early development. His daughter and I were high school friends which led to hanging out at each other’s homes.  This of course put me in contact with her father Harold. After high school we again crossed paths in art classes he taught at the local community college.

I moved on with my life, he with his until both of us wandered into a gallery opening in central Florida. When I heard his name mentioned I introduced myself. After the fog of some 30 years was cleared away we found we liked each other’s art and enjoyed talking about of all things, art! This led to discussions about a technique that Harold developed and named “Strappo”. This technique is a printmaking monotype dry acrylic image transfer that has been recognized by the New York Metropolitan Museum. A sample of the strappo image is in the museum print library collection.

Specifically the Strappo technique is a combination of two procedures.

The initial process is developing an acrylic painting on a piece of clear glass. In my experience the glass used should be 8 x 10 inches or smaller to start off, my preference being 6 x 8 inches. If you have never painted this way there are a few things you should remember.

·       You are painting in an opposite progression and in reverse

·       So if you paint a background first and cover the entire surface, you will not be able to add any elements

·       If you paint images with dark edges, you will want to do the edges first.

·       Your paint will need to be thick and dry between layers.

I have found that keeping a wet cloth and a razor blade at hand for mistakes have helped in my compositions. Remember it will be easier if you plan out some of the elements of the images in your work. Once the work is completely developed and dried, to thicken the acrylic skin of the painting, additional layers of acrylic gesso should be added.

The second step is the image transfer process.  Fresh coats of acrylic gesso are applied both to the back of the glass plate and on the sheet where the image will be placed. To avoid any undue frustration place the image to be transferred on a sheet of paper with extra space around the edges. Some artists like large white areas around their work while others prefer only enough to provide an edge before the matting. Make sure weight is applied to insure bonding of the gesso layers as they dry. Once dry, the glass can be peeled away from the image leaving the monotype transferred on the paper and the glass plate left clean. You might need a thin blade to remove any dry anchor that might have formed along the edge of the glass to help coaxed the process.  The image having been developed on the glass surface will be exactly as it was painted and very smooth at once creating unique tactile and visual qualities.

Strappo lends itself to some interesting challenges as you work. Perspective and balance take on new meaning as you explore the picture plane. And I think I should mention that the finished art can at once stand alone or be introduced into another finished piece. Harold Garde has a significant body of Strappo work on display at MOFA, the Museum of Florida Art in Deland Fl. Also on display is a permanent installation of his piece Iconoclass that measures 8 feet by 24 feet. This is the 1st unveiling of the fully assembled original Iconoclass mural in 35 years.



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Harold Garde Iconoclass Mural at MOFA

The installation of new museum signage and the digitally reproduced vinyl and laminated Harold Garde Iconoclass Mural on aluminum panels will occur on Monday, April 23 from 10am until completion. This 8’x40′ piece will be installed on the outside front of the Museum of Florida Art building-facing Woodland Boulevard (State Highway 17-92) in Deland. For those that want photos of the actual installation-we would suggest early to mid-afternoon on Monday. For those that want to photograph the completed installation-we would suggest Tuesday.

In conjunction with the installation of Garde’s historic Iconoclass , the museum is adding separate signage that complements this important work. The identity of the museum, in the past was sometimes overlooked by pedestrians and vehicles along Woodland Boulevard. This facade element will be much stronger and clearly identify the museum. If measured with Iconoclass, close to 40’ of fabricated panels will be installed on the façade, adding color and impact to Woodland Boulevard, enhancing this main avenue through the Stetson University campus and leads to downtown DeLand. Harold Garde’s poetic and original masterpiece entitled Iconoclass will be unveiled at a private reception on Saturday, April 28, 2012. The original 8′ x 24′ will be unveiled and showcased at this event along with the newly installed outside façade reproduction and museum signage. The original Iconoclass is a part of the Museum of Florida Art’s permanent collection. This will be the 1st unveiling of the fully assembled original Iconoclass mural in 35 years. A public Opening Reception will be held on Sunday, April 29 from 2pm to 5pm. The Sunday event will feature the original Iconoclass work in the lower Main Gallery. The event will also feature the showing of the film Harold Garde-Still Painting in the museum’s theater. The Strappo exhibit which will also open at the Saturday, April 28 private reception and the public April 29 Opening Reception features 39 Strappo Mono Prints by Harold Garde in the lower Main Gallery and an exhibit of area artists who work with the Strappo method in the Chris Harris Gallery. The Saturday, April 28 private reception is by invitation only. The Sunday, April 29 Opening Reception admission fee is no charge for members/$10 for non-members. The galleries are open Tuesday through Saturday from 10am to 4pm and on Sunday from 1pm to 4pm. General Admission is $5 – Museum members and children under 12 are free. The Museum of Florida Art is located at 600 North Woodland Boulevard in DeLand, Florida. Additional information is available by contacting the Museum of Florida Art at (386) 734-4371 or by visiting the website at NOTE: Interviews with Harold Garde can be arranged by contacting Angela Martinez at

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