2010 2015 Shoosty Catalog Raisonne

The 2010-2015 Shoosty Catalog Raisonne - The complete catalog of the art of Stephen Shooster for the year 2010-2015.

2010 - 2015 SHOOSTY Catalogue Raisonné

BEAR CREEK DRAWING AN EXAMPLE OF LETTING GO AND USING THE MISTAKES TO INVENT CREATIVE SHAPES.

STEPHEN SHOOSTER AKA SHOOSTY 2010 - 2015

it. I take a few of them to a framer at the same time to save on the shipping.The methods of working I have settled on are one of the keys to my productivity. I am not afraid to use modern systems. Because the unfinished paintings are already framed when I start applying the paint invariably I have lots of extra paint I just extend that onto the frame. In this way, the frame becomes bespo- ken, perfect for the painting. I traveled a decent amount during these years. Here are some of the places I found myself: The Upper Peninsula of Michigan; Costa Rica; France; Greece; UK; Poland; Washington D.C.; Wisconsin; Colorado; Atlanta, Georgia; Chi- cago, Illinois; and in Florida: Gainesville; The Florida Keys; and The Suwanee Music Park in Live Oak, Florida. Notable Work: El Arenal - The volcano in Costa Rica - First painted frame. Notable by the inventive use of squared swirls, part homage to Kuna Mola Textile Design and Van Gogh. Dual Violins - Klezmer music at its finest inspired this drawing which be- came a painting. Created in Krakow, Poland, while researching my book, The Horse Adjutant. It was done at the Bats Gallery in an old square that included one of the oldest temples in Europe built in the 1600s The Party Favor - The title refers to the extra given at weddings. In this case a photographer. The painting goes along with the book I wrote, The Horse Adjutant, about a survivor of the Nazi holocaust. The painting depicts Jews on horseback in Nowy Sanz, Poland, in 1935. Notable are the electric telephone poles in the background. The world was changing rapidly and the war would upend everyone’s lives. Sainte Chapelle - The drawing was completed during a classical music con- cert inside the church held at sunset so the people can experience the stained glass as the colors change. A painting of this scale has many layers. Each takes time to dry. The arch for instance took 3 months to complete. Historic 5th Avenue - Drawn on premise at the historic black 5th avenue neighborhood of Delray Beach, Florida. The drawing was created a day after I visited the African Museum of Art in Washington, D.C. Some of those draw- ings ended up in the composition. The Shuster’s - Taken from the oldest photo of my family.This large painting was done with a palette knife giving it a texture. I used pink for the epaulets to soften the war stance of these people. On the right is my granduncle Benzy. Bear Creek - Based on an afterparty at a music festival.The drawing was com- pleted at around 3 am on a very cold night while sitting around a campfire with all our friends playing music.

2010-2015 were extremely busy and productive years. By this time I had been work- ing with my father for 40 years and we had lunch together almost every day. He was diagnosed in 2012 with Leukemia. seven months later he would be gone. I was torn up inside. A few days later it got much worse. My son was diagnosed with severe BiPolar and he needed extreme care. We sent him to a facility in Idaho. He stayed there for two years. I had 4 kids, a wife, and a complex business to run. My life was a whirlwind. Yet, I was able to accomplish a lot, including 16 major works of art, and hundreds of drawings, some with watercolors and a few on silks. Plus, I published my first book called The Horse Adjutant. It is the story of a survivor of the Nazi Holocaust. I learned a tremendous amount during this period from Computer Science to Art History. It was a non-stop adventure. Making art played a big part in my productivity. It gave me something joyful to work on which is rewarding in and of itself. The key to all of this was finding my flow. My goal became simple, To move my thinking from Swiss Cheese to Munster. It’s that easy, my goal is to fill in the gaps in my learning.To achieve this I like to study and practice with persistence and consistency every day. My favorite way to learn is by watching videos while on a treadmill. I also thrive on any kind of audio, especially podcasts, my favorite is Philosophize This! by Steven West. I find myself drawing every day wherever I go. Especially if I go to a bar to listen to music. I don’t like to drink and I don’t like to just sit there. I like to be engaged with the music while actively creating. It keeps me sharp. When I first started drawing I drew a lot from my imagination, but as I advanced it was almost exclusively draw from life. I draw what I see but my training allows me to see things others may miss. My mind has Art History filters and modern web technologies at my fingertips. I use cubism frequently when describing a moving figure. I allow and expect mistakes. In fact, I encourage them. Mistakes are opportunities for my imagination. The best examples of these are my live drawings of musicians. Going back to the days of timed figure drawing classes when I draw musicians I use similar techniques. I start drawing when they start playing and I stop when they stop. I work as fast as I can. letting the rhythm drive my hand. It gives me a little extra joy to share the final drawings with the musicians and the people around me when they take a break. I started to standardize my processes and materials. I always have a drawing pad with me. I use extra soft woodless pencils (4b). They are heavy and bal- anced. I keep a set of them very sharp. As they quickly lose their points so I switch pencils frequently. To keep them pristine I use a high-quality electric sharpener. Once the drawing is complete, I go back over it with ink and then erase the graphite. This results in sharp professional drawings. I call these mas- ter drawings as they are the basis for anything that I can derive from them. My collection keeps growing. To prepare for the painting I select a few of the drawings completed earlier. I do not like to redraw them on the canvas. I prefer to print them using a wide-format printer. It’s not that I can’t draw them, it is just that doing so is a tedious process that would take a lot of time and result in something less than the original drawing. Once the works are printed I stretch the canvas and frame

SHOOSTY 2010 - 2015 THE FINE ART OF STEPHEN SHOOSTER, AKA SHOOSTY

441 SOUTH STATE ROAD 7 MARGATE, FLORIDA 33068 WWW.SHOOSTY.COM WWW.SHOOSTYANDCO.COM

SELF PORTRAIT WEARING A DOO-RAG. AGE 55

50 51 52 52 53 54 55 56 57 58 59 62 63 64 65 67 68 69 70 70 70 70 71

TRIBES LISTEN 2 TRIBES LISTEN MY THREE KIDS

TRIBELICIOUS WITH RUBY

MAJOR WORKS 6

FOSSILS 82

GUITAR ON FIRE TALENT FARM

STEGOSAURUS TYRANOSAURUS TRICERATOPS

7 8 9

BLUEGRASS IN BOULDER

82 83 83

TRIBUTE TO MILES DAVIS

RIGHT HAND JAZZ

HELLO FRIENDS

JAZZ BAND

DARK STAR AT THE DEPOT

10 11 12 13 14 15 16 17 18 19 20 21

TRIBUTE TO DJANGO REINHARDT

THE ART OF WRITING 84 HANDWRITTEN 84 TYPWRITTEN 84 ELECTRONIC 84

DRUMMER WITH A MASK

EL ARENAL SAX-O-PHONY DUAL VIOLINS

YELLOW DAISY JASON’S MIND

SNOOZE

THE PARTY FAVOR SAINTE CHAPELLE POT BELLY STOVE HISTORIC 5TH AVE. FROGS AND FLOWERS

INTEGRATED RECOVERY

GALT LIBRARY CONCEPT

STILL LIFE 60 LANDSCAPE 61

ANIMALS 85

STILL LIFE

MR. BEEFY

BULL SLUICE PUNA CUNA

UBA TUBA

THE SHUSTERS THE ACROPOLIS

THE DOMINO PLAYERS THE CENTER OF ART IN WOOD

POSTERS 22

UF JUDAICA LIBRARY

MAKING FIRE

ARCHITECTURE 66

FRIENDLY DRAGON

THE FRENCH QUARTER PHILADELPHIA CITY HALL ST. GILES CATHERDRAL

TOURS 24

BEER STEIN

25 26 27 28 29 30 31 32 33 34 35 35 36 37 38 39 40 41 42 43 44 45 45 46 47

THE PERSECUTION OF SAUL POLISH BOY ON A BENCH

KARKOW CASTLE

ONE HELLAS OF A COOL CAT

HIS FIRST SMOKE

THE PARTHENON NERID’S MONUMENT PALACE DISTRICT

CARLY WITH THE HARRISON H2 CLOCK

DAVID AND GOLIATH JEWISH FESTIVAL A KNIGHTS JOURNEY FETISHH BAND JASON AND DAVE THE DANCERS JAKE AND JOSH BEAR CREEK DIANE’S BIRTHDAY KEVIN EUBANKS THE GREEN PROJECT GEORGE TANDY BAND LICENSE 1 THE JAZZ ESTATE THE JAZZ ESTATE 2 TAVOLINOS DRUMMER J3

PRESBYTRIAN CHURCH W/FIGURE

MYTHOLOGY 72

APOLLO WITH THE PEGASOI POWER OF THE CONCH SHELL KILLER WHALE TEACHES BABY KILLER WHALE PLAYS SAX EDDIE THE KILLER WHALE THUNDERBIRD STRIKES THE KILLER

NW INDIAN INFLUENCED 74

74 75 75

WHALE 76

KILLER WHALES AND THUNDERBIRDS

76 77 78 78 79 79 79 79

THE RAVEN

KILLER WHALE STUDY KILLER WHALE EATS A GUITAR

TRIBELICIOUS TOTEM

TWEETBIRD

GEORGE TANDY WITH WHITE HAT

TRIBELICIOUS FIGURE SQUAWKING TRIBEL FIGURE

GEORGE AND CANDI TANDY GEORGE TANDY IN MOTION KOOTENAY FORGE THE STEVE MILLER BAND

KILLER WHALE DECIDES TO BECOME A

ROCK STAR 80

PORTRAITS 48

THE RAVEN

THEORY OF RELATIVITY

Major Works

GUITAR ON FIRE IS A MASTER WATERCOLOR DRAWING, MODELED UPON A FIERY GUITAR THAT GIVES THE ARTIST THE LIBERTY TO VISUALLY EXPLORE THE EXCITEMENT OF MUSIC. FIRE LEAPS FROM IT’S BODY AS IT PINS DOWN A FIGURE. IT’S NECK AND A HORN, SEEMINGLY MELTED BY HEAT, ARE CONTORTED TO BE BOTH PLAYFUL AND MIS- CHIEVOUS. PSYCHEDELIC PATTERNS COMPLETE THE COMPOSITION. EVERY INCH IS SATURATED WITH PAT- TERNS AND COLOR. GUITAR ON FIRE IS A WONDER TO PONDER. THIS DRAW- ING WAS LATER CHOSEN TO BECOME A LARGE SCALE PAINTING.

WATERCOLOR, PEN, INK, METALLIC GEL 14” X 19” FRAMED

Guitar on Fire

THE TALENT FARM WAS A LOCAL MUSIC VENUE FOR YOUNG PEOPLE. IT WAS NOT A BAR. WE WENT TO HEAR OUR KIDS PLAY MUSIC. IT WAS RAW AND FULL OF YOUTHFUL ENERGY.

Talent Farm

A STRANGE CONCOCTION TO COMBINE AS A TRIBUTE TO MILES DAVIS, THE PRINCE OF DARKNESS. AN ACCORDIAN PLAYER SITS ON A COUCH. FLEXIBLE GUITAR NECKS SURROUND THE COUCH. THE WHOLE THING FEELS LIKE A TAP- ESTRY. A LIME GREEN FIGURE LAYS FRONT LEFT. THE HEAD IS A WATERMELLON.

Tribute to Miles Davis

HELLO FRIENDS, IS THE TITLE OF A SONG BY A HIGH SCHOOL BAND CALLED, THE FLYING FLACONGAS. THE MUSIC IS FRESH AND THE PLAY- ERS WERE TOO OLD FOR THEIR YOUNG BRITCHES. THE CENTRAL OBJECT IS A STEAMPUNK YELLOW PIANO WITH GUITAR NECK EXTENSIONS TWISTED BACK INTO THE FRAME. BRASS INSTRU- MENTS FLANK THE SIDES. WAFTING THROUGH SPACE ARE WORDS AND PHRASES. EACH OF THE PHRASES IS STRETCHED AND PULLED INTO THE COMPOSITION FILLING THE SPACE. AN UPSIDE DOWN MAN WITH A MU- SICAL NOTE TAIL BOUNCES IN THE CENTER. UPON ASKING THE ARTIST HE SAID, “UPSIDE DOWN FIGURES ARE A SYMBOL OF EXUBERANCE.” THIS PAINTING IS FILLED WITH A 60’S FEELING EXCITEMENT OF YOUTH.

ACRYLIC ON CANVAS JAM BAND UNVERSITY OF NORTH FLORIDA 7 X 5’ FRAMED

Hello Friends

TRIBUTE TO DJANGO REINHARDT IS A DEDICATION TO THE GYPSY GUITAR PLAYER EXTRAORDINAIRE OF THE SAME NAME. KNOWN FOR HIS MUSTACHE BRIDGE GUITAR, DEPICTED ARE TWO OF THEM LIKE OLD MEN TALKING IN A CASE SHAPED LIKE A BODY. THE LOWER CASE BECOMES DJANGO AND THE UPPER ONE A SINGER, THE ARTIST’S DAUGHTER, CASSIDY. THEY ARE SERENADED BY A CELLO THAT IS ALSO TICKLING CASSI- DY’S TOE. A PLAYFUL PAINTING, TRIBUTE TO DJANGO REINHARDT, IS JOYFUL AND SERENE, ACCOMPANIED BY A UNIQUE FRAME COMPLETING A 21ST-CENTURY CONTEMPORARY MASTERPIECE.

CASSIDY ON A SWING

OIL ON CANVAS MUSIC DJANGO JAZZ 7’ X 5’ FRAMED

Tribute to Django Reinhardt

EL ARENAL, IS BASED THE VOLCANO OF THE SAME NAME OVERLOOKING LA FORTUNA, COSTA RICA. IT LOOMS QUIETLY OVER THE WELL-KEPT PARK IN THE CITY CENTER. IT IS A SIMPLE DESIGN EXECUTED WITH FINESSE AND MASTERFUL DESIGN ELEMENTS USING A SERIES OF SQUARED SWIRLS SIMILAR TO DESIGN PATTERNS FOUND ON THE CRAFTSMAN- SHIP OF THE REGION. OF SPECIAL INTEREST IS THE HAND PAINTED FRAME. EL ARENAL IS A LEGACY PAINTING WITH AN EYE TOWARDS ENHANCING VALUE AND PUSHING THE BOUNDARIES OF ART HISTORY.

2012 OIL ON CANVAS 4.5’ X 4’ FRAMED

El Arenal

SAX-O-PHONY, IS AN ACRYLIC COMPOSITION BASED ON A PAIR OF SAXOPHONES IN A NAU- TICAL NIGHT SCENE. THE SAXOPHONES ARE FLOATING ON AN UNDULATING OCEAN. WAVES BOUNCE BACK AND FORTH WITHIN THE BOUND- ARY OF THE FRAME. SHAPES AND SYMBOLS FLY OUT OF THE INSTRUMENTS INTO THE NIGHT SKY. NOTHING SITS STILL. A MYSTERY SHIP FLOATS IN THE CENTER OF THE OCEAN WITH MUSICAL NOTE SAILS. PLAYFUL AND UNIQUE SAX-O-PHO- NY IS A JOY TO BEHOLD.

Sax-O-Phony

DUAL VIOLINS WASCONCEIVED FROM A DRAW- ING COMPLETED IN THE SUMMER OF 2012 DURING A KLEZMER CONCERT BY JASCHA LIEBERMAN AND COMPANY IN KRAKOW, PO- LAND, AT THE BATS GALLERY. CANDLES QUIVER, THE INSTRUMENTS BREATH, A MARBLE COLUMN BECOMES AN ACCORDION, AND THE LINES FORM A FLOWING INTERPRETA- TION OF THE SOUNDS. A UNIQUE HAND-PAINT- ED FRAME COMPLETES THE WORK, AS EXCIT- ING, UNIQUE PIECE OF LEGACY FINE ART.

BATS GALLERY, KRAKOW JASCHA LIEBERMAN AND BAND 2012

4.5’ X 4’ FRAMED TRIBUTE TO JASCHA LIEBERMAN OIL ON CANVAS KLEXMER Dual Violins

LISTEN

OIL ON CANVAS JEWISH HISTORY POLAND 6.5’ X 5’ TRIBUTE TO THE HALBERSTAMM FAMILY

THE PARTY FAVOR, IS BASED ON A PHO- TO BY ZE’EV ALEKSANDROWICZ TAKEN DURING THE WEDDING OF THE DAUGH- TER OF THE TZADIK RABBI HALBER- STAMM, OCTOBER 3RD, 1931, IN GALICIA, NOWY-SANZ, POLAND. IT WAS PART OF ABOUT SIXTY PHOTOS TAKEN THAT DAY, THUS A SORT OF PARTY FAVOR FOR THE WEDDING. COMPLETED TO AUGMENT A BOOK, THE HORSE ADJUTANT, ALSO BY THE ARTIST. THIS PAINTING BRINGS CLARITY THE COLDNESS OF THE TIMES, THE DYNAMIC ENERGY OF THE OLD WORLD JEWS, AND THE COMING ELECTRONIC AGE AS NOT- ED BY THE POWER POLES. IT IS ALSO AN OMINOUS RACE AGAINST THE COMING CLASH OF NATIONS.

The Party Favor

SAINTE CHAPELLE IS A PAINTING INSPIRED BY THE CHAPEL OF THE SAME NAME IN THE HEART OF PAR- IS. DURING THE LATE AFTERNOON, THEY SPONSOR LIVE CLASSICAL CONCERTS FEATURING VIVALDI AND MOZART. LISTENERS HEAR THE MUSIC WHILE WATCHING THE SUN- SET TRANSFORM THE EXTENSIVE STAINED GLASS AND EXOTIC WOOD- WORKING. THE ORIGINAL DRAWING WAS COM- PLETED DURING A SINGLE MUSICAL SESSION. ONCE IN THE STUDIO, THIS PAINTING TOOK ON THE FEELING OF A CONSTRUCTION ZONE FULL OF ARCHITECTURAL LINES AND PLUMB LINES. THROUGHOUT THE COM- POSITION YOU CAN SEE ICONS OF THE STATE MIXED WITH ICONS OF THE CHURCH, CLEARLY SHOWING NO SEPARATION OF CHURCH AND STATE. DEDICATED TO KAMIL AND AGNIESZ- KA, AS A TRIBUTE FOR HELPING THE ARTIST EXPLORE HIS PAST.

CHURCH 6.5’ X 5’ FRAMED DEDICATED TO KAMIL AND AGNIESZKA KMAK

Sainte Chapelle

COLLECTION OF JIM CEDERNA POT BELLY STOVE ON FUSED GLASS

COMPLETED IN IRON RIVER, MICHIGAN IN THE GARAGE OF JIM CEDERNA. A SMALL SOFA SITS IN FRONT OF AN OLD POT BELLY STOVE, BECK- ONING A TIME GONE BY. I FIRST DREW THE STOVE THEN ADDED JIM AND THE PIPES ABOVE HIM. LETTING GO I ADDED A MUSCIAN PLAYING GUITAR IN A SGT. PEPPPER OUTFIT AND WORDS WARPED INTO THE EMPTY SPACES WITH A FILAGRE PATTERN. THE COLORS, LIGHT BLUE REPRESENTING THE COLD AND ORGANGE THE WARMTH TRYING TO COUNTER IT.

Pot Belly Stove

2014 7’ X 5‘

A CONCERT IN THE HISTORIC 5TH AVENUE DISTRIC OF DELRAY PAID TRIBUTE TO THE LOCAL BLACK COMMUNITY. AFTER SPENDING THE PRIOR DAY AT THE SMITHSONIAN INSTITUTE MUSEUM OF AFRICAN ART, WASHINGTON, D.C., THE ARTIST CAME HOME TO TO THIS EARLY EVENING OUTDOOR CONCERT. SOME OF THOSE FIGURES WERE USED IN THE DRAWING. THE COMPOSITION USES CUBISM, MIRRORING EF- FECTS, EGYPTIAN ICONOGRAPHY AND A TOUCH OF HUMOR IN THE FROM OF THE BIG LEBOWSKI, AFRI- CAN ART, HINDU CULTURE, JAPANESE CULTURE, AND CONCEPTS FROM NUDE DECENDING A STAIRWAY, BY MARCEL DUCHAMP.

Historic 5th Ave.

FROGS AND FLOWERS IS A LARGE OIL ON CANVAS DEPICT- ING A SURREAL JUNGLE SCENE. THE CENTRAL ELEMENT IS AN ORGANIC ORGAN WITH WHAT SEEMS TO BE OPIUM FLOW- ERS GROWING OUT OF ITS PIPES. SITTING IN FRONT OF THE ORGAN, CROSS-LEGGED, IS RABBI YAAKOV THOMPSON. HE IS WEARING A YAMICA AND PLAYING GUITAR. THE RUG HE SITS ON HAS FRINGES SHAPED LIKE THE KEYS OF THE ORGAN. THE WHOLE COMPOSITION IS CRADLED BETWEEN A PAIR OF BIRD OF PARADISE PLANTS. LOOKING AT THE PIECE GOING CLOCK- WISE FROM THE TOP, A FLUTE IS FOUND UNDER VEGATATION THAT CURVES AROUND THE LEFT SIDE. WHITE FLOWERS WITH FIVE PETALS EACH ARE ARRANGED UNIFORMLY FROM SMALL TO LARGE WHERE THE HOLES OF THE FLUTE WOULD NOR- MALLY BE FOUND. COMING FROM THE THROAT OF THE FLUTE IS A WATERFALL SEPARATED BY A FERN SILHOUETTE. FROGS ARE POSITIONED ON BOTH SIDES. A SEED POD IN THE SHAPE OF THE RABBIS’ FACE IS UPSIDE DOWN ON THE RIGHT SIDE OF THE ORGAN COMPLETING THE COMPOSITION. RABBI THOMPSON DIED A FEW YEARS AFTER THE PAINTING WAS COMPLETED.

CUBAN FROG

RABBI YAAKOV THOMPSON OIL ON CANVAS 5 X 6FT TRIBUTE TO RABBI YAACOV THOMPSON (1955-2016)

Frogs and Flowers

UBA TUBA IS BASED ON A COLORFUL INTERPRE- TATION OF THE SOUND OF A PAIR OF TUBAS. US- ING SPIRALS AND SHAPES THE ARTIST SENDS PATTERNS OF COLOR INTO SPACE REFLECT- ING AROUND THE BORDERS OF THE CANVAS. BRIGHT COLORFUL BLOCKS DEFINE THE TUBAS. A THIRD TUBA IS PLACED BEHIND THE OTHER TWO ON ITS SIDE AND IS FILLED WITH THE DEEP BLUE COLORS OF BASS NOTES. THE WORD TUBA IS SPELLED OUT ON THE BOT- TOM RIGHT SIDE IN LIGHT GREEN TO ACT AS A COUNTER POINT BETWEEN THE DARK AND BRIGHT COLORS. THE SOUND COMING FROM THE TUBAS IS DEPICTED AS SHAPES. SOME OF THEM HAVE MORPHED INTO FLOWERS. A LONESOME EAR AND AN UPSIDE-DOWN HEAD COMPLETE THE COMPOSITION.THE RESULT IS A MASTERFUL USE OF COLOR AND AN EXCITING COMPOSITION.

ACYRLIC ON CANVAS 5’ X 6.5’ FRAMED

Uba Tuba

THE SHUSTERS, SITTING AT A PAIR OF TABLES ARE THREE JEWISH MEN, TWO WEARING MILITARY UNI- FORMS. EACH HAS A BOTTLE OF WINE IN FRONT OF THEM WITH A PHOTO OF A LOVED ONE LEANING ON THE BOTTLE. THE FAR RIGHT FIGURE IS BENZY SHUSTER, BROTHER OF THE ARTIST’S GRANDFA- THER, FRANK SHOOSTER. THE OTHERS, UNKNOWN, HAVE FEATURES OF THE SHOOSTER FAMILY. THIS IS ONE OF THE EARLIEST PHOTOS OF THE SHUSTER FAMILY. ALL THESE PEOPLE WERE DESTROYED IN THE NAZI HOLOCAUST. THE FAMILY IS FROM LUTSK, RUSSIA. HOWEVER, THE MEN ARE WEARING POLISH UNIFORMS.

7’ X 5’

The Shusters

ACROPOLIS FROM ELECTRA HOTEL

THE ACROPOLIS. IN THE SUMMER OF 2015, THE ARTIST AND HIS DAUGHTER SPENT TWO WEEKS STUDYING THE ANCIENT GREEK ACROPOLIS. TO ACHIEVE THIS, THEY SPLIT THEIR TIME, HALF IN THE UK AT THE BRITISH MUSEUM AND THE OTHER HALF IN ATHENS. THE RELICS ARE FOUND IN BOTH CITIES. ON THE VERY FIRST DAY IN ATHENS, TIRED AND HUNGRY THEY FOUND THEMSELVES ON THE VERANDA OF THE ELECTRA HOTEL WITH A VIEW TO- WARDS THE ACROPOLIS. THE SITE WAS MESMERIZING, DRAWINGS EMERGED. PAINTED WITH A PALETTE KNIFE, THE COLORS SHOW THE SCENE IN TWILIGHT. ORANGE LIGHT, WITH A TURQUOISE SKY, IMBUES THE RIGHT SIDE WHILE PURPLE AND COBALT OCCUPY THE LEFT. BELOW THE CHANGING ATMOSPHERE RESTS THE OLD CITY, THE PALATKA. ELECTRIC LIGHTS DOT THE LANDSCAPE, GREENS, BLUES, AND GRAYS AND BROWNS COMPLETE THE PAINTING, AND ITS UNIQUE FRAME.

4.5’ X 3.5’

The Acropolis

Posters

ALWAYS SEEK BETTER WAYS OF MAKING FIRE. SO MANY OPPORTUNI- TIES LOTS OF WAYS AND MEANS. AGE OF FIRE REASON, WARMTH, WON- DERMENT.

Making Fire

MY KIDS WANTED A DRAGON SO I MADE ONE FOR THEM AND PHOTOSHOPED MY EYE INTO THE DRAGON’S HEAD.

Friendly Dragon

Tours

Beer Stein

The Persecution of Saul JUNE 11TH, 2011

DRAWING BASED ON A VISIT TO THE SUKIENNICE MUSE- UM, KRAKOW. THE ORIGINAL PAINTING IS CALLED INTRODUCTION, BY JACEK MALCZEWSKI, 1890.

Polish Boy on a Bench

DRAWING BASED ON PAINTING BY WILLIAM GILBERT GAUL- ‘HIS FIRST SMOKE’, 1878

His First Smoke

Carly with the Harrison H2 Clock

David and Goliath 2015

Jewish Festival WATERCOLOR 2011 WWW.JEWISHFESTIVAL.PL

A KNIGHTS JOURNEY IS A PAINTING BASED ON A SET OF DRAWINGS AT MUSEUMS COMPLETED DURING A SUMMER TRIP TO EUROPE IN 2012. THE SCENE DEPICTS A FULLY DECKED OUT KNIGHT ATOP OF A HANDSOME HORSE ON THE ROAD LEAD- ING TO A CASTLE SET IN THE DISTANCE. IN FRONT OF HIM IS THE SYMBOL OF DEATH, A SKELETON WITH A KING’S CROWN. BE- HIND HIM IS ANOTHER OMEN IN THE FORM OF A DEMON WITH TWO LEGS AND A LONG- HORNED ORYX HEAD AND LARGE TEETH. SURROUNDING THE CENTRAL IMAGE ON THE BOTTOM AND RIGHT SIDE ARE MEDIE- VAL SCENES, INCLUDING; A MAN PRAYING, AND CHERUB, A SMALL CAMPFIRE, A CON- JURER, A MAN HOLDING A BOOK HOLDING AND A PARROT WALKING STICK, AND A VAMPIRE.

2012, OIL ON CANVAS, 36” X 24”

A Knights Journey

CONCEPT DRAWING NOV. 2014

FETISHH (WITH THE INTEN- TIONAL EXTRA H) IS A DYE ON SILK PAINTING BASED ON A DRAWING CREATED WHILE THE BAND, FETISHH, WAS JAMMING. THE ENERGY OF THE MUSIC IS CAPTURED VI- SUALLY IN A KIND OF STACCA- TO CUBIST STROKE. THE ART- IST REFERED TO THIS STYLE AS, “BEBOP.” LEFT TO RIGHT - JASON SHOOSTER ON LEAD GUITAR, GEOFFREY PERRY ON BASS GUITAR, JOSH HOF- FENBERG ON DRUMS, HOW- ARD ON KEYBOARDS, JACOB LAWSON.

DYED SILK 14” X 19” TRIBUTE TO HOWARD ON THE KEYBOARDS. Fetishh Band

MAKING ORIGINAL PENCIL DRAWING ( 2014 NOV 17TH)

JASON AND DAVE, IS A SILK PAINTING INSPIRED BY MY SON, JASON. ON GUITAR, AND HIS FRIEND, DAVE FORBES, ON STANDUP BASS, PLAYING AT THE BAR IN GAINESVILLE, FLORIDA. USING THE MUSCIANS AS MODELS I DISCOVERED A MIRROR IN THE ROOM THAT AND CREATED A REFLECTION THAT INCLUDED A PORTRAIT OF A LADY. THE PIECE IS MADE OF PAINTED DYE ON HABOTAI SILK IN THE SERTI METHOD. LINES ARE MADE US- ING GUTTA THAT THE DYES WILL NOT PENETRATE. THEN DYES ARE LAID, FILLING IN THE SPACES. THE RESULT IS A TRANPARENT FLUID EFFECT WITH DELICATE GRADATIONS.

24” X 36” SILK PINTING Jason and Dave

LICENSE NO. 1, IS THE OLDEST BAR WITH THE FIRST LICENSE FOR ALCHOHAL IN BOULDER COL- ORADO (1969). THE BANSHEE TREE BAND PLAYED THE NIGHT I WAS THERE. THE BAND CONSISTED OF A SAX- APHONE, WASHBOARD, AND GUI- TAR, WITH AN OPENED GUITAR CASE TO COLLECT CHANGE.

License 1

Jake and Josh

LOOSLY BASED ON A PAINTING BY MATISSE, THE DANCERS OFFER A JOYFUL EXPERIENCE OF COMMUNITY.

The Dancers

BEAR CREEK CAMPFIRE, SAWANEE, FLOR- IDA. GOOFING AROUND THE FIRE LATE AT NIGHT AFTER A FULL DAY OF MUSIC AT THE FESTIVAL. A LITTLE DRINK, SOME INSTRU- MENTS, AND EVERYONE WHERE HATS THAT LOOK LIKE ANIMALS. Bear Creek

BEAR CREEK SILK PAINTING

Diane’s Birthday

Kevin Eubanks JUNE 2013, MIZNER PARK, BOCA RATON LISTEN

LISTEN

The Green Project

George Tandy Band BLUE JEAN BLUES, FORT LAUDERDALE, FLORIDA

THE JAZZ ESTATE, MILLWAUKEE, WIS JAY ANDERSON - BASS SAX DAVID WAKE - PIANO STEVE PAPLIN - GUITAR COLEMAN - BASS

JESSIE MATEO - SAX TIM RUSSEL - DRUMS

INK ON PAPER 2015

The Jazz Estate

INK ON PAPER 2013 THE JAZZ ESTATE, MILLWAUKEE, WIS

The Jazz Estate 2

Tavolinos Drummer

George Tandy with White Hat

George and Candi Tandy

George Tandy in Motion

PORTRAITS

AN OLD SCHOOL FOUNDRY LOCATED IN CRAWFORD BAY, BC, CANADA. WE DISCOVERED THS PLACE ON A TRIP WITH JAIME AND JASON TO CANADA WHILE JAIME WAS ATTENDING INNERCEPT.

Kootenay Forge

RED ROCKS

THE KILLER WHALE ELAT- ED BY MUSIC, FLIPS THE TEENAGE KILLER WHALE JUBULENLY AS IT BITES THE TAIL OF THE PIANO THUNDERBIRD.

STEVE MILLER AT RED ROCKS, LARGER THAN LIFE The Steve Miller Band

Tribes Listen 2

Tribes Listen

52 My Three Kids

Bluegrass in Boulder

DURING ROTATOR CUFF SURGERY I LOST THE USE OF ONE ARM FOR A FEW MONTHS. THIS DRAWING WAS COMPLETED DURING THAT TIME WITH MY OPPOSITE ARM.

THE COLLECTION OF KAI LAM.

Right Hand Jazz

Jazz Band

STREET PERFORMER ON PEARL STREET IN BOULDER, COLORADO

2015 APRIL 5TH 14” X 19” BOULDER, COLORADO

DRUMMER WITH A MASK WAS INSPIRED BY A VERY TALENTED STREET PERFORMER WHO WAS ENTERTAINING THE PEOPLE WALKING ON PEARL STREET IN BOULDER, COLORADO, APRIL 5TH, 2015. THE DRUMMING WAS EXQUISITE. COMBINED WITH THE MASK IT WAS HAUNTING.THE DRUMMER IMBUED THE MASK WITH A SPIRIT CAPTURED BY THE DRAWING. COMPLETED AS A CUBIST DRAWING THE DRUMMER HAS THREE HANDS, AN EFFORT TO SHOW THE SPEED OF THE ANCIENT RHYTHMS. NOTICE THE DRAWING STYLE IS A SERIES OF SHAPES WITH HASH MARKS AS SHADING.

Drummer with a Mask

Yellow Daisy YELLOW DAISY FESTIVAL STONE MOUNTAIN PARK, GEORGIA

SILK PAINTING MUSIC

Jason’s Mind

SNOOZE BREAKFAST RESTAURANT, PEARL STREET, BOULDER, COLORADO 2014

Snooze

MY SON WENT INTO A MENTAL HEALTH TREATMENT CENTER IN COURE D’LANE, IDAHO. THE PROGRAM TREATS THE WHOLE FAMILY. WE LEARNED LOTS OF TECHNIQUES SUR- ROUNDING MENTAL HEALTH. ONE OF THEM IS CALLED INTE- GRATED RECOVERY. IT TOUTS A HOLISTIC VIEW OF THE BODY. IN THIS PAINTING, MY SON, JAI- ME, SITS ON THE SANDS OF TIME WHILE A PROFESSOR AND HIS ASSISTENTS OFFER WIS- DOM IN THE FORM OF BOOKS. EACH CIRCLE REPRESENTS A RING IN ONES LIFE START- ING WITH CLEANLINESS, MOV- ING TO RELIGION, FAMILY AND THE OUTSIDE INFLUENCES A FULL AND RICH LIFE. A REFLEC- TION IN THE SANDS OF TIME IS OVERSEEN BY AN ANGEL WITH WINGS.

Integrated Recovery

STILL LIFE

NW INDIAN STYLE FANTASY

Still Life

LANDSCAPE

WATERCOLOR ON PAPER DIANE AND JAIME WHITE WATER RAFTING ON THE CHATANOOGA RIVER IN GEORGIA. THE RIVER SECTION IS CALLED BULL SLUICE.

Bull Sluice

Puna Cuna

OIL ON LIVE EDGE WOOD SANTO DOMINGO

THE DOMINO PLAYERS, IS BASED ON A DRAWING COMPLETED IN SITU OUTSIDE THE PLAZA DE ZONA COLONIAL, OLD CITY, SANTO, DO- MINGO REPUBLIC. LOCALS COM- PETE FOR THE JOY AND LAUGH- TER OF SLAPPING THE DOMINO TILES AND KNOCKING OUT THEIR OPPONENTS. A CULTURAL TRADI- TION HAND DRAWN AND PAINTED BECOMES A TREASURE. The Domino Players

LOCATED IN THE OLD CITY OF PHILADELPHIA, THE CEN- TER FOR ART IN WOOD IS A MUSEUM FOR WOOD WORK- ERS. FASCINATING OBJECTS LINE THE SHELVE S. INK ON PAPER

The Center of Art in Wood

UNIVERSITY OF FLORIDA LIBRARY EXTENSION JUDAICA LIBRARY KEN TRIESTER, ARCHITECT 2015 GRAND OPENING JEWS CREATED A PORTABLE , THE RELIGION OF THE BOOK

UF Judaica Library

ARCHITECTURE

SILK NEW ORLENS 2014

The French Quarter

SILK AUGUST 13TH, 2014

Philadelphia City Hall

DYE ON SILK

EDINBURGH 2015 St. Giles Catherdral

CATAGORIES INK ON PAPER LANDSCAPE

Karkow Castle

Palace District ATHENS, GREECE JULY 18TH, 2014

BY CASSIDY SHOOSTER

One Hellas of a Cool Cat

The Parthenon

Nerid’s Monument

Presbytrian Church w/Figure

MYTHOLOGY

PEGASOI ON SILK

DRAWING PEGASOI IN ATHENS

Apollo with the Pegasoi APOLLO RIDES A CHARIOT WITH SINGERS AND A LYRE THAT CONTROLS FOUR PEGASOI, FLYING HORSES. THE BRIDAL ALSO HAS SINGING BIRDS. THE HORSES ARE FACING ARTEMIS WHO HOLDS AN ARROW AND THE ANTLERS OF A MOOSE. PATTERNS FILL THE SPACE.

Power of the Conch Shell

NW Indian Influenced

THE KILLER WHALE GIVES THE BABY KILLER WHALE A BOOST. THE BABY TRYS TO CHOMP ON THE TAIL OF THE THUNDERBIRD AS THE BEAVER TOTEM STANDS BY WATCHING THE HIJINX. Killer Whale Teaches Baby

THE KILLER WHALE PLAYS A ALTO SAXO- PHONE AND OUT POPS A THUNDERBIRD.

Killer Whale Plays Sax

EDDIE THE KILLER WHALE SINGS ABOUT THE THUNDERBIRD.

THE THUNDER BIRD STRIKES LIGHTENING ON THE KILLER WHALE WHILE THE THREE TENOR’S SING SONGS OF THE SALM- ON WHO IS DRIVEN BY MYTH MAN. Thunderbird Strikes the Killer Whale

Eddie the Killer Whale

THE KILLER WHALES GIVES THE BABY KILLER WHALE A BOOSTWHILE THE THUNDER BIRD TEACHES ITS KIN AND STRIKES OUT AT THE KILLER WHALE.

THE RAVEN PLAYS SOPRANO SAX.

Killer Whales and Thunderbirds

The Raven

DRAWING BASED ON A UNKNOWN ARTIST

Killer Whale Study

KILLER WHALE CHILD

THUNDERBIRD

Killer Whale Eats a Guitar

Tribelicious Totem

Tweetbird

Tribelicious Figure

THE KILLER WHALE DECIDES TO BE A ROCK STAR SINGING SONGS OF THE THUNDER BIRD.. Squawking Tribel Figure

Killer Whale Decides to Become a Rock Star

THE KILLER WHALE GIVES A BOOST TO THE BABY KILLER WHALE WHILE TWO THUN- DERBIRDS STRIKE LIGHT- ENING AT THE SAME TIME INSPIRING EINSTIEN’S THE- ROY OF RELATIVITY... AND TWO SALMON SWIM OBLIVI- OUS TO HIS EPIPHANY.

Theory of Relativity

The Raven BASED ON A MASK AT THE SEATTLE MUSEUM OF ART

Tribelicious with Ruby

FOSSILS

NATURAL HISTORY MUSEUM OF UTAH UNIVERSITY OF UTAH 2015 LATE JURASIC PERIOD

Tyranosaurus

NATURAL HISTORY MUSEUM OF UTAH UNIVERSITY OF UTAH 2015

Stegosaurus

NATURAL HISTORY MUSEUM OF UTAH UNIVERSITY OF UTAH 2015 LATE CRESTASCEOUS PERIOD

Triceratops

Dark Star at the Depot THE DEPOT - SALT LAKE CITY, UTAH GREATFUL DEAD TRIBUTE BAND DARK STAR 2015 THE BEST PART ABOUT SPENDING TOND OF TIME DRAWING IS WHEN I GO INTO A NEW LOCATION AND USE WHAT I WAS DRAWING ALL DAY IN A DIFFERENT WAY. IN THIS CASE DINOSUARS ARE PERFECT TO GO ALONG WITH THE GRATEFUL DEAD.

THE ART OF WRITING

Handwritten

Typwritten

Electronic

Galt Library Concept

ANIMALS

2012

Mr. Beefy

SHOOSTY 2010-2015 THE FINE ART OF STEPHEN SHOOSTER, AKA SHOOSTY COPYRIGHT SHOOSTER PUBLISHING

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