Thursday, February 13, 2014

AutoErotica 2 automotive themed art show in Oakland a must see

http://www.examiner.com/article/autoerotica-2-automotive-themed-art-show-oakland-a-must-see

 Lovely write up about our current show from the examiner.com

Saturday, July 7, 2012

Trade Floats for glass work!

Hello glass blowers,

I am looking to trade some floataion therapy sessions (Sensory deprivation tank) for some custom simple glass work. SF bay area local artist.

Give a call @ 510-535-1702, or post @ info@thefloatcenter.com. Ask for Allison, Cheers!

Tuesday, January 17, 2012

Real freedom is worth fighting for, get informed

http://www.thrivemovement.com/
Top Ten Actions
1.
Get Informed, Speak Up & Connect with Others
2.
Bank Locally
3.
Buy and Invest Responsibly
4.
Join the Movement to Audit and End the Federal Reserve
5.
Keep the Internet Fair & Open
6.
Support Independent Media
7.
Support Organic, Non-GMO Farming
8.
Require Election & Campaign Finance Reform
9.
Advocate for Renewable and "Free" Energy
10.
Take Part in Critical Mass Actions

Friday, August 26, 2011

Beautiful reviewd by DeWitt Cheng of the Esat Bay Express

Beautiful 

When: Through Sept. 9
Truth is no longer beauty; nowadays, honest art must be subversive, ironic, and detached -- or must it? John Neary's sculptures and Sally Ann Rodriguez's paintings may not be traditionally beautiful, but both artists aim at powerful emotion and push the figurative/anatomical envelope (though not always successfully). Both also look back to Romantic and Expressionist precursors: Rodriguez writes, "The artist never gets away from being a servant, an excavator, a janitor, a builder, a seeker," and she alternates between life studies, imaginary portraits, and abstracted landscapes. "Yellowstone," "In the Hills," and "Hand Like a Foot with a Fish in my Pocket" are her strongest works here. Neary sculpts Rodinesque or Wagnerian figures who struggle from their organic matrices ("Ashes," "Breathing Room," "Powder"); despite their modest size, "Return" and "Power" are monumental, their tragic heroes imbued with superhuman (or subhuman) intensity. Beautiful runs through Sept. 9 at Float Gallery (1091 Calcot Pl. #116, Oakland). 510-535-1702 or TheFloatCenter.com
— DeWitt Cheng

Tuesday, August 9, 2011

Next 2 amazing exhibits in the gallery for 2011

Coming to the Gallery in September...

Transient Spaces
Paintings by Rozita Fogelman

& mixed-media conceptual sculpture Leah Markos 

Opening Party September 17th 6 to 9pm
Show runs September 11th through October 29th, 2011

Transient Spaces explores symbiotic dualities: impermanence by its nature implies a stay of some length, and likewise, where there is weightlessness there must be solidity, and where there is change, there must be stability. Nature is our ultimate model of "ever" "changing"-yet-always-there. So our own human natures are elemental yet kinetic. Transient Spaces includes textural abstract paintings by Rozita Fogelman and mixed-media conceptual sculpture by Leah Markos.


Rozita Fogelman - Mixed media painter
 
Rozita Fogelman is a multi-disciplinary media artist originally from Tbilisi, Georgia. In the past twenty years, my artwork grew out of a need to tell stories of vulnerability and compassion. My recent work: Body, Land and Water is my attempt to create a metaphor addressing the need to reconnect these core elements of water and earth. In Hebrew, Body, Land and Water: אדם, דם, אדמה-all elements are coexists in balance as one collective living consciousness.  rozita.posterous.com

Leah Markos - Sculptor/Installation Artist 
"Our egos, relationships, and consumerist lifestyles combine in ever shifting combinations that pervade and shape thought and feeling. In my sculptural works, simple evocative forms adorned with multiple stylized teats toy with the wavering line between comfort and coldness. A related sense of thwarted promise is made solid in some works, as seen in blunt, heavy shapes to be carried as burdens, but embedded with cores of more complex or beautiful materials. These pieces both lament and celebrate. Other works simply illustrate obstacle or difficulty, with an occasional underlying call to notice what we use, discard, create and ruin."  --Leah Markos  





The FLOAT Gallery is Proud to present...
Nina Glaser Mosaics,
With Plasma Sculpture by Michael Pargett
Opening Party Saturday November 5th, 6pm - 9pm
Show runs October 31st through December 31st


New work.. Defunct Gallery
 
FLOAT Gallery is proud to present the return of Nina Glaser. Exhibiting her Glass Mosaics illuminated by Michael Pargett's Plasma Sculpture.
 
International photographer Nina Glaser's photography career included teaching at the Academy of Art University, and the publication of two monograms: "Outside of Time" and "Recomposed". Nine years ago, Glaser decided she had completed the body of work she felt she was destined to do. Glaser's photography is both haunting and extraordinarily powerful. Her creative energy then shifted to creating her now thriving hypnotherapy business. Nina Glaser Hypnotherapy.
After a 9 year absence from the art world, Glaser is back taking her next step into the tactile world of glass mosaics; many contain imbedded images of her extraordinary black and white photography.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Past work.. Metal Ring
"I was a fine-arts photographer for 18 years. Black & White images, painted nude figures, stark and timeless. I left photography when I felt that I had used the medium enough to express and explore the themes that mattered to me. In my break from photography, I taught fine-arts photography at a local university and printed for other photographers.
Even though my current day-time work is highly creative in thought and language, I missed the tactile experience of art. I have always loved glass, and have wanted to paint. Making glass mosaics lets me enjoy both. I use bright, colorful stained glass and apply it as if it were paint. My current body of work is narrative in nature; each image tells a story, while also inviting the viewer to participate and interpret." -Nina Glaser

About The Sculptor:
 
Michael Pargett enjoys the paradox between the high energy that creates the illumination, and the slow, sensual movement of the gas mixtures that can be achieved to present a visual experience that is as compelling as it is hard to describe. His expressions are at times humorous and at others inspired by a desire to honor the basic elements of the gasses themselves. During the filling portion of the creative process, he attempts to allow the gases themselves to express how they would like to manifest within the glass.
"They feel as though they have something to say, if I only knew how to listen consistently" - Michael Pargett  Theartelectrique.com 

Monday, May 16, 2011

Sensory Deprivation Boosts Musicians’ Skill Level - Very Cool!

Sensory Deprivation Boosts Musicians’ Skill Level

Canadian researchers report floating in an isolation tank increased the technical skill level of young jazz players.


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How do you get to Carnegie Hall? Everybody knows the standard answer. But newly published research suggests that, after you’ve labored all day in the practice room, you might want to spend an hour in a flotation tank.
Oshin Vartanian of Defence Research and Development Canada and Peter Suedfeld of the University of British Columbia report floating in an Epsom salt solution one hour per week for four weeks boosted the technical ability of a group of college music students. This suggests such periods of minimal sensory stimulation can improve performers’ perceptual-motor coordination.
Don’t start filling up the bathtub, however: This experiment, described in the journal Music and Medicine, featured a level of sensory deprivation achievable only in a specially designed tank. The device was invented in the 1950s by neuroscientist John Lilly; in the years since, its use has been linked to improved sports performance and heightened levels of creativity.
But would it work for budding be-boppers? To answer that question, the researchers conducted an experiment using 13 students enrolled in an intermediate-level jazz improvisation course at Vancouver Community College.
Eight of the students — six men and two women — engaged in flotation sessions for four consecutive weeks. They spent an hour each week in a fiberglass shell, floating in a solution of Epsom salts and skin-temperature water. They were in the dark, and outside sounds were muffled.
All the participants — including the other five musicians who comprise the comparison group — made two five-minute-long recordings in which they freely improvised. The first took place one week before the flotation sessions began; the second, one week after the sessions concluded. Each session was rated by the instructor (who was unaware which students were undergoing the treatments) on five dimensions: improvisation, creativity, expressiveness, technical ability and overall quality.
The researchers found “a significant difference between the treatment and comparison groups on technical ability, but not on any other dimension,” the researchers write. Thanks to this enhanced skill level, those who had floated “had significantly higher grades in the jazz improvisation class than the comparison group.”
Vartanian and Suedfeld concede this was a small sample. But they note that, based on their initial recordings, the instructor rated the treatment and comparison groups essentially equal on all five dimensions. Since “The two groups can be considered equivalent in terms of motivation and baseline ability,” the difference in their ability was very likely the result of the flotation sessions.
So why didn’t the treatment group’s creativity scores also rise? The researchers suspect this reflects the one-week lag time between the final flotation session and the second recording.
That was purposeful on their part: They wanted to gauge long-lasting rather than immediate effects. (Previous research found increased creativity in university students after floating sessions measured their abilities immediately after they left the tank and dried off.)
Of course, for a musician, technical expertise can inspire increased creativity, as it gives one the confidence to take risks. So perhaps this boost in skill will lead to higher levels of originality in the long run.
In any event, the results suggest this technique holds considerable promise for musicians in general and jazz artists in particular. As Vartanian and Suedfeld note, flotation isolation “has been shown to induce a state of relaxed alertness, concentration and reduced stress.”
Which is exactly where you want to be when the bandleader gives his cue.