The winter edition of Art Connection is all about art with meaning and how to commission artwork that helps tell your personal story.
Art connection By the Celebration of Fine Art
Vol. 1 Issue 3 Winter 2023
art with personal meaning STORYTELLING THROUGH COMMISSIONED ART
PUSHING THE BOUNDARIES OF THE MEDIUM
editor's letter
Art is one of the most personal expressions of who we are and how we feel––for both the creator and the collector. The artist, of course, expresses their feelings through their works and we, the collectors, are drawn to a work of art for how it makes us feel or what meaning it has for us. The art we choose to surround us in our homes reflects our feelings and marks moments in time. As collectors, many pieces help tell the story of our lives. The most personal works of art are those we specifically choose an artist to create a custom commission for us. This process can be both exhilarating and intimidating. Inside the pages of this issue of Art Connection, we share stories of the commissioning process as well as some best practices to help navigate it. The artist spotlight is on portrait artist Robin Damore. Her stunning portrait works capture the emotion and spirit of each person she paints. She takes time to get to know her subjects, often setting up the photo shoot with items of significant meaning to them to help tell the story. The cover photo tells the story of long-time Celebration collectors Maxine and Roland Coleman and their special relationship. It is always fun to watch the unveiling of each piece and to see the true connection between artist and collector. They never fail to bring smiles and, sometimes, tears of joy. Discover best practices for commissioning your own works of art in the “6 Tips For Commissioning Art” feature. Many artists at the Celebration of Fine Art have worked with collectors and designers to create custom pieces with great success. Artists Isabelle Posillico, Pete Tillack, Ted Nuttall, Kirk Randle and Judith Dickinson share some of their experiences and recommendations for the best results. Collector Frank Racioppo also takes us through the journey of his custom collection and some tips he’s picked up along the way. It might just inspire you to ask your favorite artist for a custom piece of your own. Last, but certainly not least, magnificent glass and mixed media works are featured in a conversation with Seth Fairweather. Learn how he pushes the boundaries of experimentation to create art that’s never been done before. Seth’s new stacked glass pieces as well as his beautiful cast glass works are a study in design, trial and error and patience. The end results are breathtaking. As we enter into the last weeks of the 2023 Celebration of Fine Art event, we are grateful for each day of art lovers and artists connecting. We are already looking forward to next year’s show. In the meantime, we invite you to visit our website (celebrateart.com) and social platforms to see the latest and to shop year-round for the art and artists who bring you joy.
storytelling through custom art
~Susan and Jake Potje
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Contents
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ARTIST SPOTLIGHT: ROBIN DAMORE How Robin captures the spirit of each of her subjects through the art of deep connection.
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ART WITH PERSONAL MEANING Artist share how they help their collectors tell meaningful stories through custom artwork.
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FROM THE ARTIST STUDIO: A CONVERSATION WITH SETH FAIRWEATHER
See how Seth pushes the limits on what glass and metal can do, and why the challenge is part of the thrill for him.
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6 TIPS FOR COMMISSIONING ART
Tips and best practices for creating a piece you will cherish for a lifetime.
ART CONNECTION DISCOVER NEW AND CONNECT
CONTACT US Celebration Of Fine Art 7900 E. Greenway Rd, Suite 101 Scottsdale, AZ 85260
480.443.7695 | info@celebrateart.com celebrateart.com
artist spotlight: robin damore
For portrait artist Robin Damore, a painting isn’t complete until two things occur: she has adequately captured the spirit of the person or animal she has painting and she has overcome whatever challenge or lesson that painting has presented her. This criterion has led to an impeccable body of work and numerous awards (though Robin would never mention those). And the most surprising thing is, she didn’t start painting until her mid 40s––though you’d guess she’s been painting for a lifetime. “I used to be an owner of an ad agency with 150 employees and three partners,” she said. “I’d probably still be sitting in meetings –– richer –– but a lot less in love with my life and less fulfilled by my life’s work.” Robin dedicated nearly two decades to growing that agency, but when the opportunity presented itself to sell her stake, she knew it was time to embrace risk and pursue her interest in photography, drawing and oil painting. “I took my first painting class when I was 45,” she said. “It was just a one-week class and at the end of it, the teacher called me and said, ‘I can't believe you've never painted. You should come and study with me in New York.’ So I rented a little apartment in SoHo and painted with him. He told me I could start to sell commissioned work but it took me a long time to tell anyone that I was an artist. I thought art was for talented people, but not for me.” Going boldly where she’d never gone before The demand for her work and the accolades Robin has received have proven that art was in fact for her. She’s been a finalist in the Art Renewal Center’s annual portrait competition nearly half a dozen times, and most recently was awarded Signature Status by the Portrait Society of America, which is only given to artists who consistently demonstrate a high level of skill and sophistication of aesthetics. Though many of her works have been recognized, two in particular have
from Star Trek, at the age of 84. Titled "Live Long and Prosper,” the piece was completed in 2017 and has since been shown throughout the country, gaining tremendous fanfare. It was recently recognized in Southwest Art magazine’s Artistic Excellence competition and she got a call on Valentine's Day that Smithsonian’s National Portrait Gallery is adding it to their collection. "For me, a painting is not done until I'm and Roland––the subjects of this portrait––and it was clear from the start that Maxine ran the show and that was just fine with Roland,” Robin said. “There was such great energy and dignity in this pair.” The other features Nichelle Nichols, Lt. Uhura gained national and international attention. The first, titled “It’s All About Maxine" (featured on the front cover of this issue), was named a finalist in the Art Renewal Center’s 16th Salon. The portrait is of Maxine and her husband Roland, and almost effortlessly captures the energy between the couple. “I fell in love with Maxine
"Live Long and Prosper" by Robin Damore
spiritually connected to it."
"It's All About Maxine" by Robin Damore
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“I've seen a lot of portrait artists who can get the likeness of their subject but spiritually, the person is absent in the painting,” Robin said. “For me, a painting is not done until I'm spiritually connected to it. There's a little bit of magic that has to happen at some point in the creation of the painting. Until that happens, it's not done. That can be the most challenging thing––getting to a place where I can say, ‘Okay, now I recognize them. They're here with us. This makes sense to me.’” Creating magic through connection Part of that magic begins during the photo shoot, which is how Robin prefers to start every commission piece. This is her opportunity to establish a connection with the people behind the painting and tap into their spirit. I like to meet my people and photograph them because I get a feel for who
they are," she said. "The idea that I’m going for when I’m shooting is that they’re thinking about something as opposed to a forced look on their face.” Luckily, Robin is also skilled at getting them to relax and settle into themselves. Part of how she achieves that is by creating a genuine connection and treating each painting as a spiritual experience––something she carries through the entire process from the photo shoot to the unveiling. “I always do an unveiling ceremony because, for me, it’s a spiritual experience,” Robin said. “It’s all part of that tradition of mine of creating a meaningful connection with the subject and having them see it with me for the first time.” As a result, her portraits are rich with emotion, connection and spirit––and that’s something she takes very seriously. “Usually, people are not commissioning paintings of themselves,” Robin said. “Often it's of someone they love. And I hope that the painting gives them a moment in time that captures that person and delights them.”
Watch Robin's interview here.
"Birds of a Feather" by Robin Damore
"Driven to Know" by Robin Damore
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Art with Personal Meaning
"Believe" by Pete Tillack
Commissioning artwork really began to take root during the Renaissance period, when visual arts flourished. At that time, it was typically reserved only for those with power, stature and ample financial resources. Luckily, that is no longer the case. In fact, commissioned artwork has become more accessible to art lovers on a range of budgets. Today’s commissions come in all shapes, sizes and forms––representing people, places, significant moments and memories. They’re paintings, sculptures and even wearable art, and each is as unique as the individual collecting the piece. Commissions truly come in all flavors and for artists who do commission work,
their goal is to create something memorable, communicate a story, or bring life and joy to a particular space in their home. Several artists shared why they love commissions and the process they go through to ensure they create something their collectors will love. Isabelle Posillico: I do quite a bit of commissions for people who have a lot of different gemstones or jewelry that they have inherited or been gifted that maybe is not their style but they like some of my pieces. I can work with their gemstones and put them into other pieces. I can work with their gemstones and put them into other pieces. I recently did a series for a client with her stones and some of mine to create a very personal piece. I’ve taken cocktail rings apart and put them into rings like my “Three Flavors” rings or my “Dance Partner” earrings. Sometimes people will have a pendant that maybe they received as a child and they love it because there’s a story with it but they’d never wear it now. I can put that into another piece of jewelry that they’ll wear.
Kirk Randle: I just finished a large commission of this young couple that got married in Lake Como in Italy. The piece was of that location and it now hangs in their dining room. We worked together very closely on it to get it right––everything from the framing to the size so they knew exactly what they were getting. Pete Tillack: People come to me because of the stories that I involve in my pieces. And everybody, and every family, has a story. So I include many things such as virtues of the family, important dates, businesses, and family members, but all hidden throughout the piece. It’s almost like a “Where’s Waldo?” sometimes. them and be something special." ~ kirk randle "Usually, I'm creating the focal point of the house. So it has to mean something to
"Her Secret" by Ted Nuttall
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Judith Dickinson: I love working with people and getting to know them in a special way. Each one is such a challenge. It’s almost like a puzzle to figure out. Especially someone’s face––to figure out exactly what is that likeness. Every face is so different. Even twins have such different characteristics. Very minute details can make you either capture the likeness or not. But I like that challenge. -------------------------------- Trusting the artist is key, but one of the most important parts of the commission process is the artist’s ability to extract the story and what the collector wants to communicate. And that’s a skill many have fine tuned over the years. Pete Tillack: It’s a tool. One I didn’t mean to grow, but I did through my travels. A lot of the time I was by myself so to meet people, I would have to start conversations and learn to talk to people and be honest with a lot of things. Being really honest with people allows them to be honest with you. It’s sort of amazing how open people get with me. And I hold it. It’s in my memory bank and it comes out in the pieces to their degree of comfortability.
TED NUTTALL: I’m after that moment of expression or emotion that I saw on their face when they’re sitting for me in the studio. As I paint, I’m trying to evoke that expression and emotion that was in their essence, and also trying to imbue the painting with how I felt the moment I experienced that expression and emotion. I think of them more as recordings of moments of expression and emotion. Judith Dickinson: I work with them through the whole process. I’ll
"Lake Reflections" by Judith Dickinson
show them my sketch, which I always start with, and they can follow each stage of the process. So they get involved in it from the start. Some people just want me to do it and surprise them and others want to be really involved through the whole thing. Kirk Randle: I have to be sensitive to who the people are and what they're about. The piece that I'm creating is something I'm not
going to live with. I have to be sensitive to what interests them. I have to listen to what they want and how they want it. Then I go about trying to come up with something that's going to work for that space. Usually, I'm creating the focal point of the house and so it has to mean something to them and it has to be something special for them. So, I try to engage them and draw them into what we're doing, then take all that information and start executing the piece of artwork.
"After the Rain in the Wind River Mountains" by Kirk Randle
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Robin Damore: I'm always looking for what makes the subject who they are––what’s most beautiful about them, spending time and photographing them, I get to know what I think about who they are. Then I'm looking to capture that in a photograph and then the photograph really informs the painting. It's not a copy of the photograph, but it's a really good guide. -------------------------------- Over the years, these artists have learned a thing or two about the commission process and offer up advice to art lovers who may be interested in pursuing a custom piece. Good resource and background material is always helpful. Photography or details about the person, animal, place or event will help them convey the story and likeness in their work. Some will prefer to set up a photoshoot to make sure they're starting with the right resource material. Others may want to come scout the location where the art will be hung or to gather details through interview-style conversations. Beyond the resources, artists who do commissions want collectors to be a part of the process. They welcome input, questions and feedback to ensure they're capturing the vision.
"The Desert Duo" by Barbara Rudolph
"Dream Big" by Pete Tillack
"Equestrian" by Robin Damore
Of course, a successful reveal is the goal of every commission, and to get there each artist has a process that’s as unique as their work. Pete tillack: Although most have seen my work and have listened to the stories, there’s a fear some collectors have [about commissioning work]. So I’ll create a digital representation of the piece so there’s a visual of where it’s going to go. They know they’re going to get what they want. I use that as a reference to paint the piece. I try to allow them to see all the processes as it goes forward. It’s a great process. It’s fun. And I create something special for each collector. Isabelle Posillico: I work closely with them. I’ll give them a drawing or sketch, or if they have a piece I’ve already created that they like, I can give them other options for stones. Kirk Randle: I try to diffuse any anxiousness. For first- time commissions, they're not quite sure where it’s going or what they're getting, so try to diffuse all of that. I remind them
I’ll bring them through the process. That means I'll be sending texts and photos as the piece is being produced so they can see how the painting is progressing and provide feedback. I want their input because it's their painting. It's not mine. "I think there has to be some kind of connection and story between you and who you are painting. I've found I can create that as I'm painting them. " ~ Ted nuttall -------------------------------- The entire process of putting a custom work together is often deeply rewarding for the artist and the collector. From the discovery process to the final reveal, commissioning artwork often results in a lifelong friendship and a special artifact that is cherished for generations.
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and drop a drape so that the subjects are seeing the painting for the first time.
judith dickinson: Commission portraiture will be on someone’s wall almost forever because usually it will be passed down to their children, and their children’s children perhaps. So that’s very special. There’s just something about faces that we all love. When you can see your great- grandfather’s face in a portrait, it’s something very special. Ted Nuttall: I love painting people. And with commissions, what makes it meaningful is that someone who really cares about this particular person liked my work enough that they wanted me to paint them. So part of it is I really want to please the people I’m doing the painting for and I do pride myself in trying to capture the likeness and the expression, but also hopefully capture the story and the meaning and the essence of the person. I find that exciting and challenging.
Pendant by Isabelle Posillico
Isabelle Posillico: One of my favorite commissions was when one of my clients years ago brought all of her little rings, pendants and earrings from when she was a little kid. We made pendant for her and each piece in it was a gift from her mom or dad. With the stones together, we created a whole story. And that became her story. She remembers where she got each stone. Even though it wasn’t in the same original setting, it became a new setting that she could wear and it became very personal to her. It was just very memorable. Pete tillack: I enjoy the challenge of it. I’m working for someone else to create their story. They’ve gifted me this ability to do that for them, and there’s a bit of pressure in that. I like that though because I’m always trying to challenge myself. And that’s the best thing about it. "People come to me because of the stories that I involve in my pieces. And everybody, and every family, has a story." ~ Pete Tillack
robin damore: I love working with people and anybody who's decided that they want to do a portrait is usually excited, and maybe nervous about the whole process. Usually, people come away saying, “I had so much fun!”. It's a really fun process to spend the time focusing on what they're going to wear, how they're going to look, what's their best side, and discovering the composition. I like every step along the way. I always have a ceremony [for the reveal] where I cover the painting
Watch the full video here.
"Temporary Beauty" by Pete Tillack
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from the artist studio:
tall. These pieces were more than a year in the making, involving research, experimentation and problem solving at nearly every step along the journey. But A CONVERSATION WITH seth fairweather staying until they'd throw me out at midnight, that I hadn't really been that enthusiastic about anything else." Even though he was almost instantly Seth wouldn’t have it any other way. "These new stacked pieces
seth
was pre-med with no interest in art until a program
requirement forced him into an art class. He chose glass blowing and the rest is history. Seth Fairweather is equal parts artist and solutionist. In fact, he’s crafted his occupation around solving puzzles. But these are no ordinary puzzles. Instead of the typical jigsaw-cut cardboard, Seth uses materials that are far more challenging: glass, metal and bronze. But the thrill of a challenge is a big part of what fuels this talented sculpture artist to continually test new concepts and push the boundaries of what’s been done before. “It’s about chasing that high of solving the problem and figuring out how to do something,” he said. “It’s not just figuring out how to do something that I haven't figured out and someone else has. It’s figuring out something that no one else has done.” And this is what led to one of his most ambitious projects to date: stacked-glass sculptures that tower well above 10 feet "It’s about chasing that high of solving the problem and figuring out how to do something."
were about a year and a half of research and development, and experimenting––building something and then saying, ‘This isn't good enough,’ and throwing it away,” Seth said. “Then refining and troubleshooting. Then figuring out how to move them and how to install them safely. These were the hardest things I've taken on so far.” In addition to his penchant for problem solving, Seth also loves the chemistry, physics and science behind what he does. Given his background as a pre- med student, it’s easy to see how science and anatomy influence his work. An accidental u-turn “I was pre-med before I got into art,” Seth said. “I had an art requirement I had to get out of the way when I was in school and I took glassblowing and just never wanted to do anything else. I realized when I was breaking into the studio to work at 3 o'clock in the morning and
Stacked glass sculptures by Seth Fairweather
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I want to make and not knowing how to do it and having to figure out how to do it. It's why my work tends to change year to year. I don't want to just regurgitate and do the same thing that I already know how to do. What excites me is the problem solving.” Being faced with challenges is one reason why Seth also loves creating custom pieces for collectors. It’s often a great prompt for him to test new concepts.
with a potato on a stick causing it to bubble to get an even, homogenous color. Whether shaping, fusing, blowing or casting, Seth is often working in at least 1,200 degrees Fahrenheit temperatures. Needless to say, this type of work is not for the faint of heart. But for Seth, the outcome and conveying an idea through the simplicity of these raw materials is deeply fulfilling. “There aren’t many of my pieces that are just, ‘This is a nice piece of glass or metal.’ The story, the concept, is a driving force for me,” he said.
Watch Seth's interview here.
“A collector might want something in a different color or a different size, or they’ll like the style of my work and want me to design something specifically for their space,” he said. “I like those kinds of projects because there’s no right or wrong answer. It’s talking to a client or
hooked on the craft of glassblowing, it took the suggestion of some close friends for Seth to even consider art as a career path. “I was with a couple of friends from school and we were talking about what we were all working on,” he said. “I was feeling a little lost at the time and said all I want to do was arts and crafts all day. And then someone said, ‘Well, then why don't you just do that?’. And it was the first time I really thought about actually just doing that. So that was kind of a turning point.” While Seth’s work ranges significantly in terms of subject matter, much of it, particularly in the early days, has figurative and anatomical influences. In fact, he’d often draw inspiration from things he read in psychology and medical journals. A constant evolution Though much of Seth’s work still portrays the human figure, he’s continually striving to introduce new concepts. “I like problem solving,” he said. “I like being faced with an idea of something I
someone who’s interested in something and coming up with a solution together that they’re excited about and then having to figure out how to do it.” To reach a solution, whether for a commissioned piece or a concept he’s testing, Seth uses a variety of different tools, techniques and approaches–– all of which involve extreme heat. An ever-growing toolset “I get excited about the chemistry, the physics and science behind it all,” he said. “For my sand cast glass, I pour liquid glass into a mold made out of sand at about 2,400 degrees Fahrenheit and let it cool anywhere from two weeks to a month depending on the thickness.” Seth will also often color his own glass using different metal oxides which he puts into a furnace with molten glass. He stirs the combination
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6 TIPS FOR COMMISSIONING ART
"Bull Market" by Pete Tillack
how to capture your story through custom artwork.
communicate that to the artist. If you don’t have reference photos, in many cases, the artist will go take their own if it’s of a particular place, person or animal. If it’s a portrait, they may ask to interview the person or have several sittings with them. Particularly, with portraits, artists want to capture the essence of that person and often that detail is in the slightest subtleties in the face. A combination of good reference materials and your candid feedback will be very important to creating a piece you are happy with. Tip 5: Trust the artist Ultimately, this is an endeavor of trust. Keep in mind you chose that artist for a reason. Trust them and their process and try not to put too many limitations on their creative freedom. Every good artist will put their heart and soul into creating something you will love, and they will bring you along every step of the way to make sure you are happy with the direction. Tip 6: Don’t be afraid to ask A commission can be as simple as changing the size, scale or color of a piece the artist has already created. Don’t be afraid to ask what is possible. Some artists have even collaborated on pieces to get the client exactly what they want. Commissioning art is an exhilarating experience and a unique way to memorialize a significant part of your life’s story. And you just might make a new lifelong friend out of the process.
true whether it’s simply tailoring an existing piece to your specifications or commemorating a specific person, place, time or event. Tip 3: Don’t overlook the details Be sure to discuss size and scale, color palette, framing, and timeline. Some artists will create small- or large-scale studies and color samples for you to approve first before they dive in with a full-blown work. Ask about their process and policies before you begin. Every artist will structure payment terms differently. Some require 50% at the start with the balance due at the end once you’ve approved the piece. Also check your state’s tax laws. In some states, commissions are tax free, but there are specific parameters that dictate what a true commission is. Timeline is also important. In some cases, particularly if you’ve commissioned a piece from a show, the artist may not be able to start the piece until after the show or may have a backlog of commissions to work through. If this is the case, it can be a couple of months to a year before you get your final piece. Just be sure to ask at the start so expectations are aligned. Tip 4: Provide as much information as possiblE If you have any reference materials like photos, share those with the artist and note things you like or dislike about the photo. For instance, if it was captured on a rainy day, but you want the painting to reflect clear, blue skies,
While every artist approaches commissions differently, there are some best practices to consider to get a custom piece of art you will love and
cherish for years to come –– and hopefully pass on to your future generations.
Tip 1: Align with the right artist One of the most important things to any commission is to trust the process and the artist. To do that, you have to find an artist whose work you like and feel will capture what you’re after. You may have a favorite abstract artist, but if you are looking for a highly detailed figurative piece, it’s often best for all involved to work with the artist who specializes in the style you’re after. Any good artist will know his or her limitations and will be upfront about what they can and cannot do. Don’t be disappointed if they don’t feel they aren’t the right person for the job. Being candid and transparent from the start will avoid costly mistakes and even bigger disappointments in the long run. Tip 2: Working with the artist The artist should spend the time to really understand what you are looking for and ask detailed questions. They are portraying a story and most artists will put a lot of care and time into this part of the process. Since they are working to transform your vision into a physical piece, they should ask a lot of questions. This is
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Collector viewpoints
Commissioning artwork
Creating custom artwork requires a partnership between the artist and the collector. So, we’d be remiss if we didn’t share some perspectives from a couple of long-time art lovers and collectors who have commissioned artwork of their own. Maxine Coleman and Frank Racioppo share their experiences with commissioning custom artwork.
Maxine and Roland Coleman with artist Robin Damore just after the big reveal.
Frank Racioppo poses with a painting gifted to him by several friends at the Celebration of Fine Art.
And what has happened after that with the recognition that we’ve gotten has just been unbelievable. Now, it’s hanging in the spot that Robin helped pick between our dining and living areas. You can’t miss it. When people come in, that’s exactly where they’re drawn. We’re just very happy. "I knew it would be a good portrait, but I wasn't prepared for what I saw." ~ Maxine Coleman
maxine coleman
frank racioppo
Robin [Damore] was so helpful in making sure we were in the right place and had on the right clothing. Everything was just perfect. And I knew that it would be a good portrait, but I wasn’t prepared for what I saw. I was overwhelmed. And not only by what I saw but by all of the other people who were around [during the unveiling] who said, “We have been watching this for months and we’ve been waiting for you to come down here to see your reaction to this.” This was from some of the artists as well as other people who were walking around the show and had to stop because they saw a crowd forming. One of the ladies who stopped said it brought tears to her eyes. I just was overwhelmed and absolutely thrilled.
After we had purchased several pieces of art for our new home and had fulfilled our needs, we started to get a little deeper into art. My wife and I tried to fit art into our space, but also into our family history and that’s what the big motivator was. I had a picture from 1915 of my grandfather standing in front of his barber shop with his assistants. We were able to get an artist who was willing and able to do the commission. From that picture, he produced an outstanding painting, which I was able to share with four 90-year-old ladies––my father’s sisters who were still alive. So, that started us on a trek of family heritage and how we could accumulate art that represented our family through the years. >>
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From there, it went into pictures of my children and then a picture of our trip to Italy. That was particularly special because everyone was in attendance and we had pictures from several different places in Italy. Initially, we didn’t know which to choose and after speaking with an artist, he suggested we do several. We ended up with a very large painting in the shape of Italy with all of the different stops along the way and everyone’s picture was a part of it. It was just so special. That personalization is what I think art is all about. You can have it your way. The artists who do commissions will change color or size, and that flexibility is what makes it so wonderful. When you can personalize it or curate it to your specific needs, it fills that need in the best way I can imagine. I also enjoy watching it unfold. Choosing what you’re going to do, working with the artist on a particular arrangement you want and then watching it come to life––that is really special.
Portraits of Frank's children by artist Judith Dickinson.
My advice for those considering a custom piece: don’t be bashful. Search for an artist. The artists here at the Celebration are wonderful. They’re very personable. Find someone whose work and style you like and have a dialogue about it. And if it works, great, but if it doesn’t, then move on to another artist. Sometimes the timing is not perfect and you have to be prepared for that.
Come with your ideas and ask questions of the artist. If you find one who will do it, start the process. It’s very rewarding and so special. It’s worth taking that step. Even if it’s not a family picture, it could be something you have special space for and if you work with the artist, they will come to your home, look at what you’re trying to achieve and help solve the problem. They are problem solvers.
"I enjoy watching it unfold. Choosing what you're going to do, working with the artist on a particular arrangement you want and then Watching it come to life––that is really special." ~ frank racioppo
Multiple generations of baseball players in Frank's family.
A family trip to Italy commissioned by Frank Racioppo.
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The Celebration of Fine Art Through March 26, 2023 Same location! (The Loop 101 & Hayden Rd. in Scottsdale, AZ)
get your tickets here!
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