Shoosty Bugs / An Art Infestation - MOAS

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

SHOOSTY BUGS An Art Infestation

CONTENTS

5 9

Preface

93 95 96 99

Revisited Culture Royalty Symbiosis Full-Circle

161 162 165 166 169 170 173 174 185 187 188 189 191 193 194 195 197 198 201 202 204 206 209 209 211

e Fiery Searcher Victorian Dragony Pear and Silkworm e Uncommon Fly Rhynchophorus Weevil

Opening Speech Curator’s Perspective e Artist’s Perspective

11 15 16 26 29 30 33 33 35 37 45 46 48 50 55 55 55 57 63 65 67 69 71 76 78 88 90 93

e Reveal Impressions Your Hosts Introduction

100 102 105 107 109 110 112 114 117 122 129 129 129 136 139 141 142 145 146 149 150 153 154 157 158

Megascolia of Ukraine Steampunk Pollinators

Goliathus CPU

Americana

Primiti

Valousia Hopper

e Interview Stephen’s Why Gallery Graphic

A Riot of Color Luna Becoming

Reviews

Silk

Nouveau

Community Education Current Shows Published Books

Teaching Decisions

Metamorphosis

Symbiosis

Bug Beginnings

MOAS Silk Panels e Museum of Arts and Sciences Shoosty Master e Gillipse Gallery e Story of Silk Lady Bug and Daodil e Color Wheel graphics Buttery Nouveau Dragonies at Night French Curve Beetles Turkish Buttery Stamped Bag

Making Art about Art

Tours

Love

Florida / Wakayama Cultural Alliance

Sustainability

Chromatic Fusionism Empowering Artists

Jamming Denmark ailand

Focus

From Tiny Bodies...

Tokyo Nara

...Comes Silk

and Computer Bugs Shaping Imaginations

e Guardian of Kofu Mom (99) and Jay Shoosty® Workshops MOAS Street Signs

How

Neighbors

Responsible AI

inking Duplex

Wallichii

Shock Reader Shakespeare Bug

Ancient Patterns

Shoosty Museum Show, How Does it Feel?

PREFACE

On April 3rd, 2025, I fulfilled the lifelong dream to have my art featured in a museum. I never imagined how it would feel because I never thought it was pos - sible. Yet, here we were at the opening, anticipation pal - pable. My wife, Diane, looked radiant in her new outfit, while old friends and family mingled over drinks, all smiles. Carly, my daughter, playfully called it my “Bar Mitzvah,” and our first grand - son stole the show in every photo.

at each other, eyes glowing. The show was spectacu - lar! Cherishing each step as guests poured in, I wish I could have captured everyone’s first impressions. All cameras were on us. On the wall we found my artist’s biography, and paused. Seeing my name and birth date, I thought of my late father and my mother, too frail to attend, and a few close friends recently deceased. We stood in awe, rel - ishing the thrill of what we’d achieved. This was no longer my show—it was ours, and not just ours as a couple, but like children, released to the world. I urge you to visit—it’s food for your soul. Paintings can spark your imagination, and no photo could capture the feeling of being in that space. The silk’s glow shim - mered under perfectly placed lighting, and the room’s scale gave the work focus and gran - deur. You will discover worlds within worlds. What does it feel like? It feels like I need a new set of goals. This night showed me my work can resonate— now, I’m driven to share it worldwide. I hope you’ll fol - low my journey and see how far this project can go.

Four months earlier, I finalized the designs and sent them to the man - ufacturers. Everything was shipped directly to the museum. When instal - lation time came, I offered to help, but the museum staff declined, assuring me they had it covered. At one point

e Baby

they closed the main museum for a few days to com - plete the setup. That was a powerful lesson for me, how seriously they approached the installation. On opening night, I still hadn’t seen the exhibit. A curtain hid the gallery, and I resisted the urge to peek, savoring the suspense. After a few speeches, Diane and I stepped forward holding hands as the first to enter. We were both profoundly touched. We looked

Jennifer Mcinnes Coolidge wearing Victorian Violin Bug dress designed by Shoosty in front of the large 12” tall panel at MoAS

The Birth of Shoosty Bugs: A Journey with Stephen Shooster By, Jennifer McInnes Coolidge, Executive Director The Atlantic Center for the Arts I’ve known Stephen Shooster for over a decade, first meeting him at his bustling South Florida com - pany—alive with the energy of family and employees working together in a sea of cubicles. At the time, I was serving as Director of Advancement for the Col - lege of the Arts at the University of Florida. I was in South Florida attending a conference with Lucinda Lavelli, Dean of the College. Stephen, a proud UF College of the Arts alum, welcomed us warmly. He was surrounded by his close-knit team of employees at that time. He eagerly introduced us to his family —all integral parts of their thriving business. Stephen proudly gave us a tour of his state-of-the- art computer center, a clear testament to his business success. But what truly stood out was the presence of his artwork throughout the space—his creativity was everywhere. We then visited his nearby art gal - lery, where a striking four-foot-square painting of an alligator caught our attention. That very piece now hangs in the Reitz Union at UF, marking Stephen’s first major art donation to the university. Since then, he has established a permanent scholarship that provides an annual stipend to an outstanding stu - dent selected by the College of the Arts. Our relationship deepened through shared mile - stones and challenges. Shortly after our visit, Ste - phen’s father was honored as Broward County’s Businessman of the Year—only to receive a leuke - mia diagnosis days later. In 2019, just before the pandemic began, the family sold the company—a hectic period during which Stephen also funded his scholarship. By 2022, he was ready to bring his art into the public sphere and reached out to me. At the

time, I was working with the Orlando Philharmonic Orchestra and curating exhibitions at Mills Gallery. Without hesitation, I offered him a show. As I reviewed Stephen’s meticulously cataloged portfolio, a series of watercolor bug sketches stood out—playful, vibrant, and brimming with personality. As a seasoned curator, I recognized their potential and encouraged him to explore this direction. That moment planted the seed for what would become the Shoosty Bugs. Stephen’s first Shoosty Bugs exhibition opened in December 2020 at Mills Gallery. Departing from traditional canvas, he used a wide-format printer to create large-scale posters—transforming his whim - sical insects into bold, immersive experiences. Their vivid colors and imaginative forms evoked a sense of wonder reminiscent ofAlice in Wonderland. The show was a hit. In a clever twist, Stephen designed scarves featuring the bugs—offering guests an af - fordable, wearable piece of his art. They sold out quickly. On the exhibition’s final day, Zach Zacharious, se - nior education curator at the Museum of Arts and Sciences in Daytona Beach, Florida, visited the gal - lery. He immediately saw the broader potential of the work. Recognizing that Shoosty Bugs was more than just an art show, he invited Stephen to exhibit at the museum—offering him an entire gallery space with the simple words: “Stephen, this space is yours.” I can only imagine Stephen’s face in that moment—it was the realization of a lifelong dream. Watching the Shoosty Bugs take flight has been a joy and a privilege. I can’t wait to see where Stephen takes them next. Stephen has a limitless imagination and creative drive that I have rarely encountered. It is with great respect that I wish him all the best in his bold journey as an artist.

“It makes me smile every time I’m in The Shoosty Bugs Gal- lery” - Tabitha Schmidt, CEO, MoAS

Tabitha Schmidt, Executive Director of MoAS, holding Shoosty Bugs Passion Flower Scarf.

Mr. Gale Lemerand Stuart and Lisa Sigma

OPENING SPEECH

Don Bell Signs Bahama House Daytona Beach News Journal Daytona City Lifestyle Destination Daytona Beach Johnny Nomad Media Zgraph.

7:00 PM April, 3rd, 2025 Tabitha Schmidt, CEO, MoAS

Good evening everyone, good evening. Love all the chatter. Welcome everyone, I’m Tabitha Schmidt . I’m the CEO here at MoAS, The Mu - seum of Arts and Sciences in Daytona. We are thrilled you are here tonight. This is actually our very first opening of 2025. Here we are, the start of the 2025 season, and I will tell you it’s a doozy this year. There’s a lot coming so pay attention. First, I would like to thank our exhibit sponsors, without their financial support we would be un - able to bring traveling exhibits to the museum and the community. My sincere gratitude to:

Thank you so much. We couldn’t do this with - out you all. I would also like to ask our Board of Trustees. If you’re here please stand, wave your hand, and let everybody know you’re here in the room. We have a fantastic Board of Trustees. Thank you for everything you do, and to our dig - nitaries and civil servants, if you’re in the room, please raise your hand and let us acknowledge you this evening. So, developing and installing exhibits takes a lot of time and talent. This exhibit was curated in-house with the artist Stephen Shooster, who you will hear from shortly, and our team of high - ly capable creative staff. My sincere gratitude and thank you to the amazing team that put this beautiful and very interesting exhibit together with Stephen; Tamara Joy, our chief curator; Zack Zacharias, our Senior Curator of History; Jenelle Codianne, Director of Design; Stepha - nie Shaw, Registrar; Ryan Lowry, Exhibitions Manager; Caleb Handlin, our Preparator; Seth Mayo, our Planetarium Director and Curator of Science; Christian Traverson, our Planetarium Manager and Assistant Curator of Science; and Katie Wedderstrand, our Planetarium Educator.

The Abbas Abdulhussein Family Lin Marinasio Bomar Construction Brown and Brown Insurance CiCi and Hyatt Brown Cobb Cole Embry Riddle Aeronautical University Expert Reserve Services

Giles Electric Halifax Health ICI Homes John Hall Chevrolet NASCAR Jill Simpkins David and Tony Slick Jean and Diane Rogers

This thing takes a village like you would not be - lieve, so you guys, I know this was amazing and hard work, and it looks beautiful. I hope you all en - joy it as much as I have. Before I say a few words about the exhibit, I would like to ask everyone to get out your tickets for the door prizes. We had you do that when you came in. We have three wonderful baskets courtesy of Stephen Shooster and they’re going to draw them, and I’m going to read them and if you have the win - ning ticket please come forward. The first winner is 705765, there is a lot of Shoosty fun in this basket. Our second winner is 705787, oh my god this is the lucky table. Our last winner is 705769. They are wonderful, Stephen and Diane, thank you for donating all of this. A couple of years ago, our Senior Curator of His - tory, Zack Zacharias, introduced me and our team to Stephen Shooster. He came to the museum with a portfolio of incredibly colorful bug creations. We were impressed with his style, his inspiration, his process, and his story. The seeds of this exhibit were planted then. Tamara Joy, our Chief Curator, joined us soon after, and has been with us a lit - tle over a year, and actually took the lead on this project and became the Lead Curator. She and the team have been working very closely with Stephen to curate and install what you’re going to see to - night. I would like to now introduce Tamara Joy our Chief Curator to say a few words about Stephen, our artist this evening.

Wendy Leuchter with Diane Shooster

Rachel Sacks-Tippet

CURATOR’S PERSPECTIVE Tamara Joy, Chief Curator, MoAS It’s a pleasure to finally come to the opening of Stephen’s, Shoosty Bugs, An Art Infestation . I want to echo Tabitha’s thanks to all of my colleagues. We could not do this without each other. So, thank you all my friends and colleagues, and welcome, Ste - phen Shooster and his wife Diane and the family. I’ve met a one of the daughters and I’m going to learn the other names, soon. Welcome, It’s pleasure to have you all here. We’ve been working with Stephen for more than a year on dis - cussing and planning the show. In the beginning, the staff had been formulating an idea of bugs everywhere in the museum, in a few different, various ways. And as Tabitha mentioned, during these discussions, Zach and Tabitha had already seen some of Stephen’s work. I think everybody just said, you know, this is it. This is the thing the key that will hold it all together, Shoosty Bugs . I was first introduced to Shoosty Bugs by Zach. I don’t know where he got it, but he showed it to us and it’s a big beautiful computer bug, The Integrated Goliath CPU . You will meet him in the gallery later. What intrigued me was this high-tech digitally created image was using silk as a canvas. I’m a textile person, so, you know, that hooked me right away. Just the idea of using this work to integrate science and art—that’s perfect for us. And in Shoosty Bugs , we were able to ask questions like, How do we embrace technology and stay connected to the natural world? Stephen embraces inspiration from all media and he com - munes with AI, but those building blocks, those old materials, silk, for example resonates with me.

Tamara Joy, Chief Curator, MoAS

When we first started talking about how to in- terpret the show I went back to my own training. I was in grad school. I was a teaching assistant. I taught textile science, and I looked at a lot of fibers through a magnifying glass. And I knew that silk was this super fiber. And I thought, Why are you using this as a canvas? As we started talking about silk, I mentioned some silk books that I had read, and you know, he’s very inter- ested, and correct me if I’m wrong, Stephen, I think you downloaded or bought one or two books, and I think you read them in a day. And we got back and started talking about it, and you were just so excited, and his love of learn- ing, and his openness to integrating new ideas, you know, that’s the heart of an artist.

Goliathus CPU, 48” x 48” 18 mm stretched silk twill , Shoosty, 2023

Then, a few months later, we were talking, and we found out that we both had studied paper making in Ja- pan. What are the odds of that? And so both of these, the origins of silk go back to 4,000 BC, an old mate- rial, life-changing, civilization changing, as was paper and you know we were talking more about that connec- tion with silk and his work and again, correct me if I’m wrong, those talks about silk, and the further investiga- tion, inspired you to make the silk moth scarf which I am wearing, and it is 100 percent silk.

Silk: A World History by Aarathi Prasad

Tamara Joy, Modeling, “The Story of Silk,” 18 mm silk twill, Shoosty 2024

Wow, I mean it’s kind of like all here. It’s the cycle of life and death. You’ve got the silkworm, you’ve got the silk co - coon, you know the spinning of the silk, and the silk moth. It’s like it’s all here. It’s the symbol of transformation and renewal, and I grabbed this silk early on, when Stephen brought a few for us, It’s like, That’s mine! And so it’s a storyboard, it’s a digital design, but also a storyboard, it’s “Wear the Art, Be the Movement,” that’s one of Ste - phen’s taglines.

The Silk Story 36” x 36” 18 mm stretched silk twill , Shoosty, 2023

Other inspirations Stephen looks, and appreci - ates are art historical movements, he mentions, Art Nouveau and the Bauhaus. These are both early 20th century, or turn of the 20th century movements. Both, philosophical and aesthetic, they’re marked by technology, and industry, but also the curves, the soft elegant curves of the Art Nouveau movement. There is another movement that came around the same time, Steampunk . Any Steampunk enthusiasts out here? It also has offshoots, like Cyberpunk and Bio-punk. These advancements of technology are both optimistic and cautionary tales. How do we integrate these things? Most Steampunk is set in the 19th century. I think you know Lewis Carroll’s Alice in Wonderland ; The Time Machine by HG Wells; Frankenstein by Mary Shelley , all the way up to Japanese Anime. So, the way Stephen has borrowed and looked, and been inspired by the weird and whimsical,

is a way I think we could sum up Steampunk. The punk part of that means rebellious, uncon - ventional, and edgy, a rejection of the status quo, and I think we could apply this to Stephen’s work. Shoosty Punk . In my observation, Stephen never stops looking forward and finding connections. He is venturing down a path of new ideas at warp speed. The family is nodding. They know their dad. They know, working with Stephen, it was a little bit like trying to fly a colorful kite during a ty - phoon. It’s a wild ride. And by the way, Stephen has made kites. He hand-stitched and brought in kites for us to look at on silk they’re amazing, but the best person to talk about Shoosty, the artist, is Stephen Shoost - er. So, Stephen, please come up and explain yourself.

Steampunk Bumble Bee decorative kite, Silk stretched and sewn around an aluminum wire frame, apx. 7 feet x 7 feet.

THE ARTIST’S PERSPECTIVE

I want to thank everybody for being here. It’s such a great honor for all of you to be here at the premier opening of my first museum exhibition. The muse- um people blew me away. Each one of them taught me how to behave and how to be a better artist. In doing so, I got to admire how they actually work, which was terrific. My show is really about a rejection of modern art and a return to beauty. I dug back in time and brought out the patterns of the world and then made them current by redrawing them with pin-sharp vec- tor graphics, making them as beautiful as possible. Then, I applied them to something familiar, the bugs, but when you get up close you realize you hardly know anything about these creatures that surround us. My bugs are more related to Alice in Wonder- land than Linnaeus’s Taxonomy . We are all about to see them for the first time, as I have not seen the installation either. It’s behind the curtain.

Books mentioned: Alice in Wonderland, The Time Ma- chine, Frankenstein, Linnaeus’ Philosophia Botanica

Stephen Shooster, aka Shoosty

Shoosty Bugs / An Art Infestation, Private VIP Opening. April 35r, 2025

THE REVEAL

Stephen Shooster After a lifetime dreaming of my work in a museum, and two years of relentless, 10-12- hour days—crafting a 3D model, animations, vector graphics, a new book, and pushing past my discomfort to connect with others—it all clicked. With Diane, my unwavering rock, I stood trembling at the VIP opening. As the curtain swept back, the mezzanine blazed to life—scale, colors, and details so vivid they stole our breath. The evening hummed with magic, tears brimming in our eyes. Warm speeches hailed how my work lands and resonates—a rush I can distill to one word: exhilarating.

This milestone owes much to key people: Jennifer McGuiness Coolidge , The Bug Cu - rator, steered my relentless art-making into in - sects, a lane where she saw my dreams, inven - tions, and hunger to learn could reach a wider crowd. It worked! Zach Zacharias , Sr. Curator of History at MoAS and fossil hunter, unearthed my work like one of his finds and flung the door wide. Tabitha Schmidt , CEO of MoAS, bet on my vision and handed me the reins. Tamara Joy , Curator and Fabric Expert, shaped public perception and refined my vision. Jenelle Codianne , Director of Design, wield - ed tech wizardry to wrangle my stubborn, run - away muse. Stephanie Shaw , Registrar Ryan Lowry , Exhibitions Manager Caleb Handlin , Preparator Seth Mayo , Astronomer turned engineering ace, mapped software and space like a star chart for my bugs. Clair Mitchell , Marketing Director, wove com - munity ties with insight. Christian Traverson , Planetarium Manager and Assistant Curator of Science.

Katie Wedderstrand , Planetarium Educator. Jim Boring , my editor, murmured, ‘The world lags behind,’ softening my self-doubt and fram - ing a first edition’s flaws as its soul. J.J. Royer , Chief Advancement Officer, envi - sioned programs to elevate my work and en - gage the community—fellow artists, take note: step into her shoes and ask, “How can I serve the community to lift the museum and, in turn, our world?” Countless others made this possible: the self - less staff—from security to facilities, installa - tions to the front desk, store managers to the COO and CFO—and the docents, donors, and visitors who fuel this timeless institution. I ap - plaud you all. Above all, I owe this to Diane , my wife and executive producer; our kids, who’ve shaped us beyond imagining; my parents— Dorothy Shooster , 100 and a social media star, and Herman Shooster , who taught me humility, gave me freedom to dream, and built a finan - cial foundation through his own business vision; my friends, steadfast through thick and thin; and dreamers eager to take my work further—I’m yours, truly. To all of you, I dedicate every ounce of myself.

#foreverthankful

Opening the Curtain

First Glance

Shoosty Bugs / An Art Infestation - MoAS, Daytona, Florida, April 3rd, 2025 to Jan. 4ht 2026. Gale Lemerand gallery, floor to ceiling silk panels

Pentaptych, 5 panels of silk 12’ x 25’, Left to Right, Japonisme Beetle, Scythian Beetle, Fiery Searcher, American Cockroach, Ukrainian Megascolia Wasp

First Impressions

“WOW, IT’S LIKE, IT’S HARD TO EVEN DESCRIBE THIS, IT WAS A LOT OF MEETINGS AND YOU CAN’T EVEN IMAGINE, CAUSE WE SAW THIS IN THE HOUSE, BUT IT’S NOT THE SAME THING, OBVIOUSLY, WOW” - Diane Shooster 2025

Diane and Stephen Shooster

IMPRESSIONS

Tabitha Schmidt, CEO, MoAS, Stephen and Diane Shooster, Tamara Joy, Senior Curator MoAS

YOUR HOSTS

TABITHA SCHMIDT, CEO, MOAS STEPHEN AND DIANE SHOOSTER TAMARA JOY, SENIOR CURATOR, MOAS PLUS THE ENTIRE MOAS TEAM

INTRODUCTION

Shoosty Bugs / An Art Infestation - Stephen Shooster is a fine artist and writer born in 1958, in Chester, Pennsylvania. Before joining the family’s small telephone answering service business, he earned a BFA from the University of Florida. Stephen’s art is influenced by his early life experiences, his career in technology, his extensive writing and exploration of the Holocaust, and most importantly, his inquisitive nature. His commitment to freedom and his belief in art as an expression of that freedom are key influences in his works. His artistic process begins with writing, which he describes as ‘thinking on paper. ” His visual world is inspired by multiple themes and styles, including music, the natural world, and a wide range of conceptual art. Operating under the nom-de-guerre Shoosty, the artist fuses digitally conceived images with a variety of media, most recently silk. His bug creations have captured the imagina- tion of a growing following. Indeed, Shoosty Bugs have taken on a life of their own. These fanciful insects, both real and imagined, represent a long history of human fascination with bugs. One of the oldest known examples of insect art is a 14,000-year-old engraving of a cricket carved into a fragment of bison bone found in a cave in southern France. Scarab beetles are common in Egyptian religious art and cicadas are central to Navajo creation myth. Shoosty’s contribution to the genre is “more at home in Alice’s Wonderland than in Linnaeus’ Taxonomy. ”

“The concept of creating a gallery of fan- tastic insects is in the tradition of art that insists on the participation 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 the viewer where it stimulates that most potent human attri- bute - imagination.” -Shoosty

Reading the Artist’s Bio

“Finding a subject that is so easily loved is rare. As annoying as bugs can be, they are crucial to life on this planet. Shoosty Bugs are so inventive that they seem to crawl and fly everywhere and are easily scalable. I can create endless types of patterns, all by hand, using my techniques. The results are perfect for clothing, accessories, all kinds of products, books, and more. At scale they are remarkable.” - Shoosty

THE INTERVIEW When I started college, I was set on woodworking. I took woodworking classes through the education de- partment, using my independent study credits. Eventu- ally, I ran out of credits, and they told me, You can’t stay here any longer. I asked, “Where should I go?” They pointed me across the street to the Art Department. Art was like woodworking without the wood—way cooler because it opened up endless possibilities. You could dive into fantasy or anything you could imagine. It was incredible. So, I asked myself, “If I were successful, what would I want to do with all my time?” The answer was obvi- ous: I wanted to be an artist. But, I had no idea if I could make it work. My dad had a small company, and he was convinced art could not be my career—kind of like Michelangelo’s father. He pushed me to take practical classes. So, I studied accounting, physics, and other subjects. I even minored in architecture, and was ready to pursue a master’s in it. But then my dad said, “I want you to stay home and help me grow the family busi- ness. I want one of my four kids to work with me.” So, I stayed. The business was a telephone answer- ing service in the early 1980s. By 1988, 800 numbers were released, and I built a call center from scratch. All I ever wanted to do was make things. I got used equipment, set it up, wrote the software, and with a small team, we made it work. The company grew from 10 people in over 40 years to 3,000 employees. I found success on that path. Somewhere around 500 or 600 employees—maybe 700—I started creating art and writing full-time. Not for money, but for love. That’s the best way to be an artist. Doing it for money is a terrible approach. For 20, maybe 30 years, I made things constantly. I also raised four kids. If you ask them who my favorite child was, and put them in separate rooms, they’ll all say the same thing: “Adobe,” as in Photoshop.

STEPHEN’S WHY The toughest thing in the world is thinking about WHY. It is an awfully tough problem, and when you start learning about philosophy or read any philosopher, oh my god, it’s so hard to do. To really do it right, takes so much effort. Whenever I think of the word Why, I don’t do it that often, but I had to do it, because I had to come up with my art statement.

Thoughts on Why:

• If you draw every day, every single day, even- tually you’ll find yourself . I think that is such a great feeling because, especially if you study art history, because you’re actually learning about history as you go. And you’re really learning about yourself, and the world, and everything around you. Art history is history, and it’s terrific history. It’s so much fun to learn that I encourage every- body, pick up a book, look at the art, give it time to reveal itself, enjoy it, ponder not WHY, but HOW they actually did it and you will never be disap- pointed. • Whenever anyone asks me WHY, I always switch it to HOW. It’s so much more fun. Then, I can look at the table and say, How did they get that edge, or I can look at anything and ask, How did it get done. And that is a place where I can actually make progress, and so I would say, you can say WHY, I’ll say HOW.

GALLERY GRAPHIC “The thread that binds my art to the grand tapestry of human history is as delicate and enduring as silk itself. Each glistening strand, spun by the tireless silkworms, becomes the foundation upon which I celebrate the intricate beauty of the insect king- dom. It’s a remarkable convergence, this marriage of artistic ex- pression with the very creatures that birthed this extraordinary material. From the dawn of human creativity, artists have sought inspiration in the natural world, and here, I find myself echoing that timeless pursuit. It’s a humbling realization, a testament to the profound artistry woven into the very fabric of our exis- tence.” - Shoosty 2024

This quote is written around the edge of the entire graphics gallery.

Silk Cocoon

TEACHING

Josh Hoffenberg, Jason Shooster, Carly Shooster

Mrs. Cici Brown

Shoosty ® Bugs An Art Infestation Shoosty Bugs

In 2024, Stephen and his wife, Diane, moved to North Florida near The University of Florida to be with 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 Juras - sic park. The dinosaurs are gone, leaving small lizards. The pterodactyls are hummingbirds and butterflies. The world has been tamed. There are roads and walkways, electricity, computers, air conditioning, cars, and a flat-screen TV hanging on the wall. Stephen spends most of his time on the com - puter. Diane is a Real Estate agent. They work well together. She is gregarious. He is most days on his desk. The volume of his artwork flows fast; documenting it is a more tedious process. Born in Chester, Pennsylvania, May of 1958. He was the 3rd of four children of Herman and Dor - othy Shooster. His parents are both first-genera - tion Jewish Americans. Their families came from Russia, dirt poor. Today, we know that region as the Ukraine. Stephen graduated from The University of Flori - da in 1982, with a degree in Fine Art and a minor in Architecture. Upon graduation, he worked with his father at his small telephone answering ser - vice. It had ten employees. 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 mostly from scratch, earning a software patent along the way.

Shooster, 1981, University of Florida

Stephen Shooster with multiplexer in a Miami truck tunnel. 1989

DECISIONS “Whether using a brush or a keyboard, the cre- ative process remains: problem-solving, experi- mentation, and pursuing beauty. The medium may differ, but the artist’s intent endures.” - Shoosty As the company grew, nine of his family members joined. In 2012, his father won The Sun Sentinel’s Excalibur Businessman of the Year Award for Bro- ward County, Florida. Four days later, he was diag- nosed 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. BOOKS : e Horse Adjutant - e True Story of a Nazi Holocaust Survivor, Leon Schagrin. 2011 Herman Shooster - e Son of a Tailor, Who Was the Son of a Shoemaker, 2019 e Shoosty Catalog Raisonné e Entire Catalog of Shoosty Art 3 volumes, 1,600 pages, from age 7 to 65

BUG BEGINNINGS

From Sketches to Museum Show- case: Shoosty Bugs, An Art Infestation In 2007, a quick sketch of a bug ignit- ed a creative spark. Recovering from injury, I was in a silly mood and made a simple watercolor of a beetle. I was encouraged to make more. Louis Pasteur, the discoverer of pen- icillin, said: Chance favors the pre- pared 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 been forgotten. In- stead, I made a few more and built a series. ey were loose sketches. What made them dierent was the use of patterns painted into their bodies. It is the combination of these realistic creatures styled with antique textile patterns that made them striking. As a child, I was a stamp collector. Collecting stamps naturally led to or- ganizing my art, eventually becoming e Catalog Raisonné of my work. It is a collection of every 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 current- ly 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 in- valuable resource that has proven in- strumental in attracting the attention of key gures 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 pro- posed a solo show. At the time, I was mastering vector drawing on the iPad Pro. Vectors allow me to create scal- able, high-quality images, perfect to ll up large spaces. e iPad gave me the freedom to do this anywhere. December of 2022, I ooded Mills Gallery in Orlando with a series of large-format prints of giant bugs. On the show’s nal day, Zach Zacharias, senior curator of e 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 opportuni- ty of a lifetime, Shoosty Bugs, An Art Infestation, April 5th, 2025 - Jan. 4th, 2026.

Shoosty 2007

Royal Goliathus Beetle Stamp 2023

Framed Originals 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

MAKING ART ABOUT ART

My artistic journey is like a tapestry wo- ven from humble threads. At its core is a constant thirst for learning. Art history and technology fuel my inspi- ration. Studying history reveals human- ity’s stories, while technology enables scaling to reach the widest audience at the lowest cost. I write daily for hours, but primarily rely on visualization to express my ideas. I hope each new creation deepens my un- derstanding and becomes a springboard for the next. In this way, I keep pulling at the edges of my work while paying close attention to details and documenting the process. My chosen craft is the computer, though I still cherish the tactile experiences of traditional drawing and painting. Lately, my practice has shifted toward working with printed silk. I’m captivated by the vibrant colors and pin-sharp details my methods allow. My silk scarves rival the finest brands in the world. Silk is perfect for large-scale, easily portable works. Experimenting with silk has led to other fabrics, opening the

door to the rarefied world of fashion and costume design. I now have a complete fashion line, and I’m working on a ballet with the premiere scheduled for early February 2026. I create art every day, from the moment I wake up until I go to bed. My iPad is al- ways nearby. Whether sketching or push- ing the boundaries of software, I dedicate focused time to honing my skills. Mastery, for me, extends beyond any specific medium or style. This adaptabil- ity allows me to seize opportunities as they arise. Working this way, learning it- self is the reward. Combining writing with creating art has led to deep reflection on its meaning. In 2024, I coined the term “Chromatic Fusionism” to describe the combination of science and the human- ities. Building a lasting artistic legacy re- quires collaboration. That’s why I priori- tize exhibitions and envision global part- nerships to bring my work to the masses. As my editor said,, it takes the world time to make discoveries. That’s the current stage of my work.

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

Marrying Diane was the best decision of my life. Her unwaver- ing support has been the bedrock of my artistic journey. With- out 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 seless dedication to our family has allowed me to delve deep into my art. Even aer 35 years, I continue to be amazed by her depth and wisdom. Our marriage is a testa- ment to the power of love and partnership. We welcomed our rst grandchild, Finn Charlie Shooster, No- vember 29th, 2024, it was a poignant day marking the 100th anniversary of my father’s birth, I felt a profound sense of grati- tude. is new chapter in our lives is lled with hope and prom- ise, and I’m incredibly fortunate to share it with Diane and our family. - Shoosty

LOVE

51 Diane and Stephen the First 15 Years of Marriage Photo-mosaic (15,000 Photos), Shoosty 2004

Diane Shooster

My work is a Chromatic Fusion - a blend of Color Theory, Science, and The Human Experience. - Shoosty

SUSTAINABILITY Ethics, and Responsible Artificial Intelligence Shoosty proposes the Chromatic Fusionism rec- ognizes the importance of sustainability and ethical practices, by advocating for Eco-friendly produc- tion methods, minimizing environmental impact, and promoting fair labor practices throughout the supply chain. Furthermore, it emphasizes the ethi- cal use of AI, and other technologies ensuring that human creativity remains central to the artistic pro- cess. Shoosty views AI as a set of proto-new alien life forms. CHROMATIC FUSIONISM Shoosty’s work has always been a celebration of nature - its colors and patterns. It is an extension of Art Nouveau and Bauhaus - mixing intertwining sources of the natural world with the hard precision of industrial production. Inspired by recent technolog- ical advancements, the artist’s work has taken on a whole new character. In embrace of this new path, Shoosty has coined the term Chromatic Fusionism to distinguish ideas that are shaping artists today from processes of the past. Shoosty describes Chromatic Fusionism as a “par- adigm shift” that redefines the relationship between art, technology, and society - “ It uniquely emphasiz- es the seamless integration of artistic expression with cutting-edge technology to create accessible and impactful experiences.” By leveraging technological developments, such as digital printing and Artificial Intelligence , serve the artist’s palette, Shoosty sees traditional hand-made processes as part of an all-in- clusive creative spectrum.

“They are all children... learning at the rate of computing... as it learns, the learning will speed up.” While acknowledging the societal disruptions posed by generative AI Shoosty also perceives massive gains in productivity, opportunity and the key to solving profoundly difficult problems, such as deadly diseases. States and nations will find themselves in a doom-loop of rapidly deteriorating fundamental conditions it we cannot find ways to agree on how to use these tools safely across the world. EMPOWERING ARTISTS Expanding Audiences Within the core concept of Chromatic Fusion- ism, Shoosty envisions a future where artists are empowered to create work that is accessible, in- clusive, and deeply integrated into the fabric of society, fostering a deeper appreciation for the transformative power of art. Technology has pro- vided artists with new tools and digital platforms, such as blockchain, that connect artists directly with global audiences,bypassing traditional gate- keepers. This decentralization model fosters a more equitable and sustainable art ecosystem, enabling artist to retain greater control over their work and receive fair compensation for their cre- ations.

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

“

HOW

iPad Pro

Apple Pencil

Affinity Designer

UNTETHERED Since 2015

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 in - sects goes back at least as far as the sacred scarabs of ancient Egypt. Shooster’s contributions to the genre are at the highest lev - el of creativity and originality. 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 participation 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 1940-2024

In a fantasy, the key is not merely to write de - scriptive 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 imagi- nary 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 plau - sible scenario. With Edward Lear on one shoulder and Lewis Carroll on the other, we dove fearlessly into the deep.

Jim Boring, Editor Shoosty Bugs®

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

Renowned art critic Donald B. Kuspit once stated, After a century of negation, it is time for affirma- tion. Essentially, he’s saying that modern art has be- come 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 masterpiece. It’s time to return to a focus on beauty and artistic expres- sion. You can trace the roots of my style to Art Nouveau (1890-1914), where nature is mixed with ornate pat- terns. And to the Bauhaus which displaced this pe- riod in 1919 to apply art to industry. I coined a new term “Chromatic Fusionism” 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 crit- icism.

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 art. That concept ignores the fact that this is all built on the hard-won skills created prior to digital art, and doesn’t take into consideration the entire new set of tools that is being created today. We are absolutely 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 prede- cessors. For these reasons a new art term is war- ranted. 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 carefully gov- erned they can be used as a force of good or evil in the world. It is up to all of us and especially govern- ment oversight to keep it safe. Artists have found themselves, like it or not, at the forefront of this future. - Shoosty

NEIGHBORS

RESPONSIBLE AI

e legal and ethical development of AI is a tough problem. e world has disjointed laws es- pecially between governments and outside actors. AI will be no dierent. at makes this discussion more like a space race or military build-up than a discussion among creative folks working diligent- ly on their cras. is framework makes the arts a subordinate subject to the bigger picture of drone warfare, robotics, and the disruptions this new technology can cause to employment worldwide. Yet, every- where I see it being deployed today, I see massive gains in productivity and tremendous opportuni- ties. Generative AI is the dream of science ction. To ignore it would be to waste the biggest oppor- tunity to aid all of humanity.

Everyone has strengths and weaknesses. Everyone is on the road to some kind of disability. AI can help us to ll 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. ey make things. ey can express both Utopian and Dystopian outcomes far before they occur. It’s called science ction and horror. Two genres that predict the future. ey are augmented by ction and non-ction, 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. ey are all like children, learning at the rate of computing. at means as it learns the learning will speed up. It can consume all of the world’s written and then all the visual lan- guages 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. ey will be able to handle things that are time-consuming allowing you to do more with your time. AI is prone to hallucinations. at is why it makes mistakes. Hallucinations are considered a percentage of creativity. ey can be a good thing. To some, AI will be just in time to solve deadly diseases and profoundly dicult problems. To others, it will be at their peril. Every creative and customer service job in the world is at risk. Cor- porations on the mission to enhance shareholder value will be pressed to utilize these systems. Any company that nds a cost-saving key will outpace its competitor forcing the rest to level up. ese things cross legal boundaries. States and Nations will nd themselves in a doom loop of rapidly de- teriorating fundamental conditions if we can not nd ways to agree on how to use these tools safely across the world. We need universal 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 en- vironment, but instead putting an extra burden on it. ose power needs can not be ignored either. We need to nd ways to improve and eliminate its foot- print, to get ahead of its needs because the benets can be astounding. And we are just beginning. Perhaps a Chromatic Fusionism Organization 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 2024, Scalable Vector graphics, approx 1.5 aspect ratio

Shoosty’s “ Parasitoid Wasps Toying with a Dragon Fruit Cactus in Bloom ” is not for the timid. is isn’t a serene botanical study, nor a straightforward observation of nature. Instead, Shoosty plunges us into a hallucinatory world where the lines between predator and prey, reality and fantasy, blur.

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

e composition is a riot of color and texture. e vibrant pink of the cactus blossoms clashes with the iridescent green of the wasps, creating a visual cacophony that both dazzles and unsettles. e intri- cate 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. Par- asitoid wasps, notorious for their gruesome parasitic lifestyle, are depicted here not as menacing predators, but as playful sprites, teasing the delicate blooms. e 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. e crisp, clean lines give the illusion of a hyper-realistic rendering, yet the fantastical elements – the oversized wasps, the improbable juxtaposi- tion 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 perceptions. 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 nd it enchanting or disturbing, it’s impossible to ignore.

Historical Genres: Art Nouveau:

Vector Art: Scalability is crucial for an artist like Shoosty whose work oen 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 sharp- ness. It also provides great exibility in terms of editing and manipulation. Shoosty can easily modify his artwork, adjust colors, and experiment with dierent 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 pre- cision, detail, and the interplay between technology and artistic expression. Chromatic Fusionism: Shoosty, in an attempt to dene his own work coined the term “Chromatic Fusionism.” By denition it dees being strictly bound by any single genre. It’s a unique blend of inuences and personal style that dees easy categorization. It could be considered a contemporary expression that draws from and reinterprets elements of various historical art movements.

e use of owing lines, organic forms, and vibrant colors in the artwork is reminiscent of Art Nouveau, a style that ourished in the late 19th and early 20th cen- turies. Surrealism: e 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: e geometric patterns and bold colors present in the background also have some Art Deco inuences. 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

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