SHOOSTY BUGS / An Art Infestation

The Commemortive book of Shoosty Bugs, Volume three of the collection including the 2025 patterns.

SHOOSTY BUGS An Art Infestation

Shoosty ® Bugs An Art Infestation

CONTENTS

Beginnings

67 68 71 73 74 76 81 83 85 86 88 90 92 94 97 98

Culture Royalty

10 12 13 15 21 23 25 29 29 30 31 32 34 36 40 42 44 46 50 54 60 62 65 65

About

Concept Reality

Americana

Metamorphosis Majestic Megascolia Pollinators Primitiff Riot of Color

Focus

From Tiny Bodies...

...Comes Silk

and Computer Bugs

Untethered! Since 2015 Mom (99) Community Decisions Klimt-like The Future Love

Lisboa Gems Luna

Shoosty® Workshops

Nouveau

Metamorphosis

Paisley Intricacy

101 103 104 105 107 120

Current Showings Published Books Florida/Wakayama Cultural Alliance Tours

Our Neighbors

Chromatic Fusionism

Responsible AI

An AI Assisted Critique

Thinking

Diane travel companion MOAS Show Series

Un-Common

Ancient Patterns

BEGINNINGS

From Sketches to Museum Showcase: Shoosty Bugs, An Art Infestation In 2007, a quick sketch of a bug ignited a creative spark. Recovering from injury, I was in a silly mood and made a simple watercolor of a beetle. Louis Pasteur, the discoverer of penicillin, said: Chance favors the prepared mind. I agree. By this time, I had been painting for almost 50 years. If it wasn’t for my training that tiny sketch would have gone the way of obscurity. Instead, I made a few more and built a series. They were loose sketches. What made them different was the use of patterns painted into their bodies. It is the combination of these realistic creatures styled with patterns that made them striking. I was encouraged to make more. As a child, I was a stamp collector. Collecting stamps naturally led to organizing my art, eventually becoming The Shoosty Catalog Raisonné. A collection of ev- ery piece I have ever made. Flipping through these books is like entering a time machine. It starts with the crayon drawings I made at age 7 in 1965 and currently spans 65 years to 2023. So far, it is three volumes and 1,600 pages. I make a lot of art. I do not know of any other living artist who has taken the time to document all of it. It is a remarkable achievement and has become an invaluable resource that has proven instrumental in attracting the attention of key figures in the art world. In 2022, acting as curator, Jennifer McInnes Coolidge propelled my work into the spotlight. Recognizing the unique potential of the bugs, she proposed a solo show. At the time, I was mastering vector drawing on the iPad Pro. Vectors allow me to create scalable, high-quality images, perfect to fill up large spaces. December of 2022, I flooded Mills Gallery in Orlando with a series of large-for- mat prints of giant bugs. On the show’s final day, Zach Zacharias, senior curator at The Museum of Arts and Sciences (MOAS), in Daytona, Florida, was captivated by my work. His enthusiasm led to a relationship with the museum and the op- portunity of a lifetime, Shoosty Bugs, An Art Infestation, April 5th, 2025 - Jan. 4th, 2026.

Shoosty 2007

Royal Goliathus Beetle Stamp 2023

2000 - 2007

Clockwise from top left, 2007 Shakespeare Bug, 2007 Curculiondae,2007 Dragonfly, 2007 Klimt Leaf Bug, 2007 Lucanidae, 2007 Cicada, 2007 Scarab 3, 2007 Purple Wasp, 2007 Dragonfly bug, 2000 Squished Fly

ABOUT

My name is Stephen Shooster, also known as Shoosty®. I’m a multi-genre artist with a lifelong passion for creating. My artistic journey is a tapestry woven from diverse threads. At its core is the constant thirst for learning. Art and technology fuel my fire, by both re- vealing humanity’s stories and scaling those revelations to reach the widest audience. I rely primarily on visualization to express my ideas. Each new creation deepens my under- standing and becomes the springboard for the next. I keep pulling at the edges of what is possible by paying close attention to the details and documenting all of my work. I primarily work in the digital realm, while I still love the tactile experiences of old- school drawing and painting whenever I can. Lately, my practice has shifted towards working with printed silk. I am captivated by the range of colors and pin-sharp details I can achieve with this medium, along with the ability to create large-scale works that are easily portable. Working with fabrics has also opened door to the rarefied world of fashion and costume design.

My hand-rolled silk scarves are on par with the finest brands in the world. I work on making art every day, starting first thing in the morning and working late in the evening. Whether I’m working on a small sketch or pushing the boundaries of software, I dedicate focused time to honing my skills. Mastery, for me, extends beyond any specific medium and style. This makes me very adaptable, capable of taking advantage of opportunities as they appear. Working in this way learning itself is the reward. Building a lasting artistic legacy requires collaboration. I envision global partnerships capable of displaying my work to large audi- ences in all formats from products to fine art. My latest show, Shoosty Bugs, An Art Infestation, speaks for itself. It consists of two galleries with 50 pieces of art. The silk shimmers. The bugs appear like giants, and the patterns will capture your imagination. To learn more visit www.shoosty.com.

“Each of us has a journey, writing or painting your name on a rock as you take each step is very satisfying.” - Shoosty 2024

CONCEPT

REALITY

ON THE BEAUTY AND WONDERMENT WILL FOLLOW FOCUS

ART ABOUT ART = FREEDOM

Patterns Expand and Heighten The Experience

FROM TINY BODIES...

...COMES SILK

AND COMPUTER BUGS

“

Shaping Imaginations.

“

UNTETHERED SINCE 2015

MOM (99) AND HER GRANDSON JAY SHOOSTY® WORKSHOPS

COMMUNITY

EDUCATION

In 2024, Stephen and his wife, Diane, moved to North Florida near the University of Florida to be near their kids, and at age 66, he applied for his Master’s degree in Art and Technology. Their home seems to be surrounded by a Jurassic park. The dinosaurs are gone, leaving small lizards. The ptero- dactyls are hummingbirds and butterflies. The world has been tamed. There are roads and walkways, electricity, air conditioning, cars, and a flat-screen TV hanging on the wall. Stephen spends most of his time writing and making art. Diane is a Real Estate agent. They work well together. She is industrious, and you can find him most days on his computer. The volume of his artwork flows fast; doc- umenting it is a more tedious process. Born in Chester, Pennsylvania on May 11th, 1958. He was the 3rd of four children of Herman and Dorothy Shooster. His parents are both first-generation Jewish Americans. Their families came from Russia, dirt poor. Today, you know that region as the Ukraine. Stephen graduated from the University of Florida in 1982 with a degree in Fine Art and a minor in Architec- ture. He worked with his father at his small telephone answering service. It had ten employees.

Shooster, 1981, University of Florida

Noir Self Portrait Close-Up. 1979, Shoosty, Charcoal

34 DECISIONS

The timing was perfect. By 1988, 800-number toll- free calling was rolled out and to capture some of this business, they created a call center. Stephen built the technology, earning a software patent along the way. “Whether using a brush or a keyboard, the creative process remains: problem-solving, experimentation, and pursuing beauty. The medium may differ, but the artist’s intent endures.” - Shoosty As the company grew, nine of his family members joined. By 2012, his father won The Sun Sentinel’s Ex- calibur Businessman of the Year Award for Broward County, Florida. Four days later, he was diagnosed with leukemia. Seven months later, he was gone. For the next seven years, Stephen spent two hours each morning writing his father’s biography. The company peaked at 3,000 employees before it was sold in 2019. The client list was filled with the finest companies in the world: National Geo- graphic, The Metropolitan Museum of Art, MoMA, Southeast Toyota, Crate&Barrel, Zara, Tory Burch, Hermès, Wolford, Lacoste, and many more.

Stephen Shooster with multiplexer in a Miami truck tunnel. 1989

SHOOSTER BOOK TITLES: The Horse Adjutant - The True Story of a

Nazi Holocaust Survivor, Leon Schagrin.

Herman Shooster - The Son of a Tailor, who was the Son of a Shoemaker The Shoosty Catalog Raisonné - A 3-volume opus. The entire catalog of Shoosty Art. 1,600 pages ranging from age 7 to age 65.

Marrying Diane was the best decision of my life. Her unwavering support has been the bedrock of my artistic journey. Without her, I wouldn’t have the life I cherish. She has not only raised our four talented children—three musicians and a comic book artist— but has also been my constant companion, inspiring and challenging me. She balances her demanding career with the warmth and care of a loving home. Her selfless dedication to our family has allowed me to delve deep into my art. Even after 35 years, I continue to be amazed by her depth and wisdom. Our marriage is a testament to the power of love and partnership. We welcomed our first grandchild, Finn Charlie Shooster, November 29th, 2024, it was a poignant day marking the 100th anniversary of my father’s birth, I felt a profound sense of gratitude. This new chapter in our lives is filled with hope and promise, and I’m incredibly fortunate to share it with Diane and our family. - SS

LOVE

37 Dia ne and Stephen the First 15 Years of Marriage Photomosaic (15,000 Photos), Shoosty 2004

POETRY IS THE ART OF CREATING IMAGINARY GARDENS WITH REAL TOADS. -MARIANNE MOORE

Within the oeuvre of Shoosty’s (artist Stephen Shooster) many faceted work, Bugs represents a category of illustrations depicting fanciful insects. The fascination with both real and imaginary insects goes back at least as far as the sacred

In a fantasy, the key is not merely to write descriptive copy but to capture the whimsical mood of the art and to sustain the illusion that the world they create is real. The poet Marianne Moore once said Poetry is the art of creating imaginary gardens with real toads. That’s what we are doing here. Fantasy is an illusion. And illusion always has an aspect of reality to it that anchors the viewer/reader — something familiar to ease the way to the strange. Shoosty Bugs borrows the style of such text (the familiar) to present a strange but somehow plausible scenario. With Edward Lear on one shoulder and Lewis Carroll on the other, we dove fearlessly into the deep.

Jim Boring, Editor 1940-2024

scarabs of ancient Egypt. Shooster’s contributions to the genre are at the highest level of creativity and orig- inality. The anatomy of his creatures, while familiar, is more at home in Alice’s Wonderland than in Linnaeus’s taxonomy. The concept of creating a gallery of fantastic insects is in the tradition of art that insists on the participa- tion of the viewer. Both the artist and the viewer know that the bug in question does not exist in the real world, except that it does exist in the mind of the artist and of the viewer where it stimulates that most potent human attribute — imagination.

Jim Boring, Editor Shoosty Bugs®

KLIMT LIVING LEAF

THE FUTURE BELONGS TO THOSE WHO BELIEVE IN THE BEAUTY OF THEIR DREAMS. -ELEANOR ROOSEVELT

art. That concept ignores the fact that this is all built on the hard-won skills of pre-digital art, and doesn’t take into consideration the entire new set of tools that is being created today. We are abso- lutely at a new inflection point in the study of art. Today’s technology stack is vastly different, en- compassing the Internet, scalable vector drawing tools, wide-format printers, the blockchain, and the beginning of artificial intelligence. This gives all of us in the year 2025 a far greater scope than our predecessors. For these reasons a new art term is warranted. My work and this new term need to be ethical and responsible. These new tools have the capacity to create and the ability to explain. If not careful- ly governed they can be used as a force of good or evil in the world. It is up to all of us and especially government oversight to keep it safe. Artists have found themselves, like it or not, at the forefront of this future. - Shoosty

Renowned art critic Donald B. Kuspit once stated, After a century of negation, it is time for affirmation. Essentially, he’s saying that modern art has become overly complex and obscure. We’ve reached a point where a simple object like a banana taped to a wall can be hailed as a mas- terpiece. It’s time to return to a focus on beauty and artistic expression. You can trace the roots of my style to Art Nouveau (1890-1914), where nature is mixed with ornate patterns. And to the Bauhaus which displaced this period in 1919 to apply art to industry. I coined a new term “Chromatic Fusion- ism” to describe today’s art movement. It blends the science of art, relying on modern technology with the need to humanize the experience. My art is entirely hand-made; it is not created with AI. However, I encourage AI for art criticism. The tools we have today were never imagined a 100 years ago and, if so, were considered science fiction. The closest term that describes it is digital

NEIGHBORS

CHROMATIC FUSIONISM

Where Art and Technology Converge Chromatic Fusionism is not merely a new art movement; it’s a paradigm shift that redefines the re- lationship between art, technology, and society. Unlike previous movements that primarily focused on aesthetics or function, Chromatic Fusionism uniquely emphasizes the seamless integration of artistic expression with cutting-edge technology to create accessible and impactful experiences. This is not simply about digitizing art; it’s about leveraging technology to expand the boundaries of artistic expression democratizing access to art. A New Renaissance: Technology as the Artist’s Palette We are witnessing a new Renaissance, where technology serves as the artist’s palette. Artificial Intelligence, while a powerful tool, is not the sole focus. Chromatic Fusionism embraces the entire technological spectrum, from traditional hand-made techniques to the latest AI-powered tools, rec- ognizing the value of both human creativity and technological innovation. This paradigm shift is fueled by advancements in digital printing, allowing for high-quality, affordable, and customizable art production on a global scale. Beyond the Gallery Walls: Art in Everyday Life Chromatic Fusionism challenges the traditional confines of the art world. It envisions a world where art transcends the gallery walls and seamlessly integrates into everyday life. Imagine vibrant prints adorning not just museum spaces, but also adorning clothing, transforming everyday objects into wearable art. This democratization of art empowers individuals to become active participants in the art experience, fostering a deeper connection between art and society.

Empowering Artists, Expanding Audiences Chromatic Fusionism empowers artists by providing them with new tools and platforms for creation and distribution. By leveraging digital platforms and technologies like blockchain, artists can connect directly with global audiences, bypassing traditional gatekeepers. This decen- tralized model fosters a more equitable and sustainable art ecosystem, enabling artists to retain greater control over their work and receive fair compensation for their creations. Sustainability and Ethical Considerations: Chromatic Fusionism recognizes the importance of sustainability and ethical practices. It ad- vocates for eco-friendly production methods, minimizing environmental impact, and promoting fair labor practices throughout the supply chain. Furthermore, it emphasizes the ethical use of AI and other technologies, ensuring that human creativity remains central to the artistic process. A Vision for the Future: Chromatic Fusionism envisions a future where art is accessible, inclusive, and deeply integrat- ed into the fabric of society. It’s a future where technology empowers artists, expands audiences, and fosters a deeper appreciation for the transformative power of art. This paradigm shift has the potential to not only redefine the art world but also enrich our lives and inspire a new generation of creators. Call to Action: To fully realize the potential of Chromatic Fusionism, we need to foster collaboration between artists, technologists, and innovators. We need to develop new models for art production, dis- tribution, and consumption that are both sustainable and equitable. By embracing the spirit of innovation and working together, we can create a future where art flourishes and enriches the lives of all.

Chromatic Fusionism Key Points

Seamless Integration of Art and Technology: Technology enhances artistic expression. The intersection of traditional and digital art. Accessibility and Democratization of Art:

Art in Everyday Life:

Integrates art into everyday life Promotes wearable art

Sustainability and Ethics:

Breaks down barriers appreciation and ownership. Makes art more affordable and accessible. Extends art beyond galleries and into everyday life.

Prioritizes Eco-friendly production methods and materials. Ensures fair compensation for artists. Promotes the responsible and ethical use of technology.

Empowerment of Artists:

Provides new platforms for artistic expression and distribution. Enables artists to connect directly with audiences. Fosters a more equitable and sustainable art ecosystem.

Community and Collaboration:

Fosters collaboration between artists, technologists, and the public. Encourages a sense of community.

Technological Advancements:

Expect a Rapid Rate of Change: Orient skills to evolve Practice using AI skills

Leverages digital printing, AI, AR/VR,

and other cutting-edge technologies.

Focuses on high-quality, customizable, and personalized art experiences.

Don’t be satisfied with a single model.

Disclosure:

Publicly disclose if AI is used to make your work.

Chromatic Fusionism

Technology

Rate of Change

Chromatic Fusionism:

Humanities

“Where the brushstroke meets the byte transcending the canvas.”

Time

Fusing the Science of Art with the Humanities

Shoosty 2019

RESPONSIBLE AI

The legal and ethical development of AI is a tough problem. The world has disjointed laws especially between governments and outside actors. AI will be no different. That makes this discussion more like a space race or military build-up then a discussion among creative folks working diligently on their crafts. This framework makes the arts a subordinate subject to the bigger picture of drone warfare, robotics, and the disruptions this new technol- ogy can cause to employment worldwide. Yet, everywhere I see it being deployed today, I see massive gains in productivity and tremendous opportunities. Generative AI is the dream of science fiction. To ignore it would be to waste the biggest opportunity to aid all of humanity. Everyone has strengths and weaknesses. Everyone is on the road to some kind of dis- ability. AI can help us to fill in those areas that

are weak while strengthening the ones that are strong. How can we do it all safe and ethically? How can we embrace traditional art forms and bring them into the next century? How can we keep AI safe? Like it or not, art is at the lead of these discus- sions. Artists work in the world of dreams. They make things. The can express both Utopian and Dystopian outcomes far before they occur. It’s called science fiction and horror. Two genres that predict the future. They are augmented by fiction and non-fiction, which highlight the history of the world, one by an attempt at truth, and the other with imagination. In all cases these people do a deep dive into the human experience.

AI is a set of proto-new alien life forms. AI is not one thing. They are all like children, learning at the rate of computing. That means as it learns the learning will speed up. It can consume all of the worlds written and then all the visual languages and utilize them in a way that makes sense to humans and to other robots. In the year 2025, they will begin to roll out agents that will do exactly this. Soon, there will be billions of agents, many for each person. They will be able to handle things that are time consuming allowing you to do more with your time. AI is prone to hallucinations. That is why it makes mistakes. Hallucinations are considered a percentage of creativity. They can be a good thing. To some, AI will be just in time to solve deadly diseases and profound- ly difficult problems. To others it will be at their peril. Every creative and customer service job in the world is at risk. Corporations on the mission to enhance share- holder value will be pressed to utilize these systems. Any company that finds a cost saving key will outpace its competitor forcing the rest to level up. These things cross legal boundaries. States and Nations will find themselves in a doom-loop of rapidly deteriorating fundamental conditions if we can not find ways to agree on how to use these tools safely across the world. We need univer- sal laws not just state and local Laws. Conversely, the winners will blossom. Either way AI can not be ignored.

AI is also tasking the electrical grid at a time that it is becoming overloaded. It is not helping the environment, but instead putting an extra burden on it. Those power needs can not be ignored either. We need to find ways to improve and eliminate its footprint, to get ahead of its needs because the benefits can be astounding. And we are just beginning. Perhaps a Chromatic Fusionism Organiza- tion can act as a safe place for these discussions.

A Surreal Bloom: Shoosty’s Entomological Extravaganza

PARASITOID WASPS TOYING WITH A DRAGON FRUIT CACTUS IN BLOOM

Shoosty’s “Parasitoid Wasps toying with a dragon fruit cactus in bloom” is not for the timid. This isn’t a serene botanical study, nor a straightforward obser- vation of nature. Instead, Shoosty plunges us into a hallucinatory world where the lines between predator and prey, reality and fantasy, blur.

Shoosty 2024, Scalable Vector graphic approx 1.5 aspect ratio

- CRITIQUE BY STEPHEN SHOOSTER WITH GOOGLE GEMINI LM (AI)

The composition is a riot of color and texture. The vibrant pink of the cactus blossoms clashes with the iridescent green of the wasps, creating a visual cacophony that both dazzles and unsettles. The intricate patterns, reminiscent of Southwestern textiles, lend a sense of both order and chaos to the scene. But it’s the sheer audacity of the imagery that truly captivates. Parasitoid wasps, noto- rious for their gruesome parasitic lifestyle, are depicted here not as menacing predators, but as playful sprites, teasing the delicate blooms. The image subverts our expectations, forcing us to confront the unsettling beauty of the natural world. Shoosty’s use of vector art lends a peculiar sheen to the work. The crisp, clean lines give the illusion of a hyper-realistic rendering, yet the fantastical elements – the over- sized wasps, the improbable juxtaposition of elements – defy any sense of photographic realism. It’s as if we’re peering into a fever dream, where the rules of nature are suspended. Parasitoid Wasps is not merely a pretty picture. It’s a provocation, a challenge to our per- ceptions. Shoosty invites us to look closer, to question our assumptions, and to embrace the surreal beauty of the natural world, even in its most unsettling aspects. Whether we find it enchanting or disturbing, it’s impossible to ignore.

Shoosty draws inspiration from the following historical genres:

Vector Art: Scalability is crucial for an artist like Shoosty whose work often features intricate details and patterns. It allows his art to be reproduced at any size, from small prints to large-scale murals, without losing any quality or sharpness. It also provides great flexibility in terms of editing and manipulation. Shoosty can easily modify his artwork, adjust colors, and experiment with different variations without compromising the original quality. Vector art is also known for its clean lines and sharp edges, which are well-suited for the vibrant and detailed style of Shoosty’s work. Using vector art emphasizes Shoosty’s interest in precision, detail, and the interplay between technolo- gy and artistic expression. Chromatic Fusionism: Shoosty, in an attempt to define his own work coined the term “Chromatic Fusionism.” By defini- tion it defies being strictly bound by any single genre. It’s a unique blend of influences and personal style that defies easy categorization. It could be considered a contemporary expression that draws from and rein- terprets elements of various historical art movements.

Art Nouveau: The use of flowing lines, organic forms, and vibrant colors in the artwork is reminiscent of Art Nouveau, a style that flourished in the late 19th and early 20th centuries. Surrealism: The dreamlike and fantastical elements, such as the wasps interacting playfully with the cactus, evoke the spirit of Surrealism, which aimed to tap into the sub- conscious mind and explore the irrational. Art Deco: The geometric patterns and bold colors present in the background also have some Art Deco influences. Art Deco, popular in the 1920s and 1930s, emphasized geometric shapes, luxurious materials, and a sense of modernity.

Shoosty’s Japanese Woodblock Inspired Logo Inkan - (Japanese) Mark left by a stamp known as a Hanko

Shoosty’s work differs from related art historical genres:

Art Deco: Art Deco emphasized geometric abstraction in its designs. While Shoosty’s work incorporates patterns, they are often more organic and inspired by natural forms rather than strictly geometric. Luxury and Opulence: Art Deco was often associ- ated with luxury and opulence. Shoosty’s work, while visually rich, doesn’t necessarily convey the same sense of grandeur or material wealth.

Art Nouveau: Art Nouveau often focused on decorative elements in applied arts like furniture and architecture, whereas Shoosty’s work seems more focused on visual storytelling and conveying ideas. Naturalistic vs. Stylized: Art Nouveau often empha- sized a naturalistic representation of plants and flowers. While Shoosty’s work uses organic forms stylized with traditional textile patterns which deviate from strict nat- uralism. Surrealism: Surrealism often aimed to delve deep into the sub- conscious and explore dreams and the irrational. While Shoosty’s work has a dreamlike quality, it doesn’t necessarily focus on Freudian interpretations or delve into the depths of the unconscious mind. The use of insects moves the focus to world where the rules of survival are different. Surrealism often carried social and political undertones. Shoosty’s work, while thought-provoking, seems more focused on celebrating the beauty of nature and exploring the intersection of science and imagination.

PARASITOID WASPS TOYING WITH A DRAGON FRUIT CACTUS IN BLOOM NIGHT VERSION

Shoosty 2024, Scalable Vector graphic approx 1.5 aspect ratio

Comparable Artists: Painters:

Fashion Designers: Alexander McQueen : British designer known for his fashion collection based on bugs. Inspired by the 19th century, drawing frequently on Victorian Gothic. On his butterflies and beetles collection he said. “I have always loved the mechanics of nature,” McQueen Sarah Burton: A cohort of McQueen, did many fashion pieces based on beetles and butterflies. “We don’t take on battles so small we know we can win, we take on battles so big we dare to dream of winning them.” ~ Sarah Burton Philip Treacy: Hats / Millinery. He made a swarm of butterflies made from turkey feathers on a hat. Butterflies evoke poetry due to their metamorphosis from caterpil- lars emerging with astounding beauty and flights.

Ernst Haeckel: A 19th-century German biologist and artist known for his intricate and colorful illustrations of marine life. His work combined scientific accuracy with artistic flair. He inspired the Art Nouveau movement. Georgia O’Keeffe: An American modernist painter known for her large-scale flower paintings that explored the beauty and sensuality of nature. Her work focused on close observation and magnified details. Hayao Miyazaki : A Japanese animator and filmmaker whose work is characterized by vibrant colors, fantastical creatures, and a deep connection to nature. Miyazaki’s films often blend environmental themes with imaginative story- telling Christopher Dresser: A Victorian pattern designer with a doctorate in plant biology. He was one the precursors of the Art Nouveau movement along with William Morris. They were the same age. Dressor professed a deep desire integrate art with industry to make his intricate patterns accessible to the public.

Authors: Ursula K. Le Guin: A science fiction and fantasy author known for her rich world-building, complex characters, and exploration of social and political themes. Le Guin’s work often blends scien- tific concepts with philosophical and ethical questions, similar to the way Shoosty’s art combines science and imagination. Italo Calvino: An Italian novelist and writer known for his experimental style and playful use of language. Calvino’s work often features fantastical elements and explores the boundaries between reality and imagination. Margaret Atwood: A Canadian author known for her dysto- pian novels and poetry. Atwood’s work often explores environ- mental issues and the impact of technology on society, themes that resonate with the environmental and technological aspects of Shoosty’s art.

Sanford Florida Electrical Box

THINKING “ON” THE BOX

ANCIENT PATTERNS REVISITED

SCYTHIAN

CULTURE

ROYALTY

AMERICANA

SYMBIOSIS

FULL-CIRCLE

76 MEGASCOLIA OF UKRAINE THE LARGEST WASP IN EUROPE. INSPIRATION WAS FOUND IN THE DESTROYED CITY OF MARIUPOL, UKRAINE BY A UKRAINIAN SOL- DIER WHO SHARED IT WITH ME.

HAND-MADE

STEAMPUNK POLLINATORS

PRIMITIFF

RIOT OF COLOR

LISBOA

AZULEJOS / COBALT BLUE

HAND-DRAWN GEMS

90 LUNA

NOUVEAU

METAMORPHOSIS

PAISLEY

98 INTRICATE

100 Shark Valley, 2004, 48” Square, Oil on Canvas, Permanent Display - Reitz Union, University of Florida

CURRENT SHOWS The University of Florida, Reitz Union. Gainesville, Florida, permanent SHARK VALLEY , 48” x 48”. Oil on Canvas The University of Florida Innovation Center, Gainesville, Florida

HISTORIC 5TH AVE. , 7 ft x 5 ft, oil on canvas, 2014 - Nov. 2024 - Nov. 2025 The Fusion Festival, The Orlando International Airport (MCO) Gallery, Terminal B FLOATING MANATEE, 40” 36” oil on canvas, 2023 - Nov. 2024- Nov 2025 Deerfield Beach Historical Society, The Historic Butler House 100th YEAR ANNIVERSARY OF THE BUTLER HOME, 48” x 48”, Oil on Canvas B-Great Gallery, Margate, Florida 2009-2014 COLLECTION Museum of Arts and Sciences, Daytona, Florida April 4th, 2025 - Jan 4th, 2026 SHOOSTY BUGS , An Art Infestation Amazon.com THE SHOOSTY THE CATALOG RAISONNÉ V1-3

Ride the Lightwave

101

102

PUBLISHED BOOKS

Shoosty The Art of Music 2017 - 2022

Veedauwoo BUFORD, WYOMING SHOOSTY 2020

130

103

TOURS

Karuizawa Mokuhanga School Woodblock Printing Class Karuizawa, Japan, 2023

104

105 FLORIDA / WAKAYAMA CULTURAL ALLIANCE

106

107 TRAVEL COMPANION

Denmark

108

109

110

Thailand

111

Tokyo

Shoosty Woodblock Stamp Logo

Urban Sketchers Japan Stamp Logo

Urban Sketchers

112

113

Hachikō, Tokyo’s Shibuya Station

Nora, The Oldest Capitol of Japan

Nara

114

115

116 The Guardian of Kofu

117

Daytona

B1 Borovian Botbird Sagra Beetle B2 Scythian Royal Horned Beetle B3 Fiery Searcher B4 American Cockroach B5 Megascolia of Ukraine

The Museum of Arts and Sciences

118

Shoosty, Pentaptych, 20 ft x 4 ft, Printed on 18 mm Silk Twill

119

MOAS SHOW SERIES

P1. 2023 French Curve Beetle P2. 2024 Dragonflies and Lotus P3. 2024 Chinoiserie Lantern Bug P4. 2023 Dicranocephalus Wallichii P5. 2024 Butterfly and Pear P6. 2024 Sunflowers and Bugs P7. 2024 Blue Morpho P8. 2024 Butterfly Trumpet P9. 2024 Red, White and Blue Americana P10. 2023 Calosoma Scrutator the Fiery Searcher Panel P11. 2023 Ukrainian Megascolia from Mariupol P12. 2024 Violet and Pink Panel P14 2023 Violin Mantis P15 2024 Lime Green Panel Hand Drawn Vector Art 18mm Duplex printed silk twill panels. 136 cm x 356 cm 4 feet x 12 feet

120

2024 Dragonflies and Lotus

2023 French Curve Beetle

121

2023 Dicranocephalus Wallichii

P3 2024 Chinoiserie Lantern Bug

Scale

122

2024 Sunflowers and Bugs

2024 Blue Morpho

123

2024 Butterfly Trumpet

2024 Red, White and Blue Americana

124

2024 Butterfly and Pear

2023 Ukrainian Megascolia from Mariupol

P11

125

2023 Violin Mantis

2024 Violet and Pink Panel

P12

P14

126

P15 2024 Lime Green Panel

Scale

127

Alternate Main Panels, A-G, 20 feet x 12 feet

128

MOAS SHOW SERIES

36” SQUARE PRINTED CANVAS

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36” x 36” Giclee MOAS Gillespie Gallery

1. 2023 Leaf Bug Rainbow Color Wheel 2. 2023 Integrated Goliathus CPU 3. 2023 Uncommon House Fly 4. 2024 Green Luna 5. 2024 Fire Bug Paisley Beetle 8. 2023 Calosoma Scrutator The Fiery Searcher. 10. 2024 Scythian Beetles 11. 2024 Diactor Bilineatus with Passion Flowers 12. 2023 Cicada, Moth and Bee Collage 13. 2023 French Curve Beetles 14. 2023 African Water Bugs 15. 2023 Victorian Dragonfly 16. 2023 Purple Tailed Stamped Bag 17. 2024 Lisboa Moth 18. 2024 Pink and Violet Butterfly

19. 2024 Turkish Rhopalocera 20. 2023 Dicranocephalus Wallichii Red 21. 2023 Ukrainian Megascolia from Mariupol 23. 2023 Shakespearean Beetle 24. 2024 Dragonfly at Night 26. 2024 Purple Cicada 27. 2024 Butterfly and Dandelion 28. 2024 Elegant Rhynchophorus Weevil 29. 2024 Arabe Pattern 30. 2024 Ladybugs Life-cycle and Dandelion 31. 2024 Stained Glass Butterfly 32. 2024 Ode to the Silk Moth

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MOAS SHOW SERIES

STREET SIGNS

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“If you draw every day, in time, you will discover yourself.”

- Shoosty 2025

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Shoosty Fine Arts TheShoe@shoosty.com @shoosty1 - Instagram

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