JET III Biography
I am JET III and these are my initials. I am modern, one of a kind, a "fine artist" in the
technological age. I was there in NYC's East Village during the 80's, participating in solo and many group art exhibitions.
I have also raised a family since that time and kept the painting and drawing going in the mountains of New Jersey.
I have been concentrating on the subtleties of nature in my drawings and paintings, while living in an era that's reliant
on wires and megabytes and I have also fought silently over the years for environmental protection.
I have come a long way since my first New York City exhibition in 1979, or when most of my paintings were stolen after
an art show one year later. After the theft, I concentrated on completing works that I already had started and beginning a new set of artworks.
My Dot paintings were the result!
"My work is a progressive reaction to society and is an effigy to life in general. It is built on imagination,
abstraction, representation, experimentation and observation. The work disregards personal style and symbolism by
maintaining in endless form, color combinations, transformations, manifestations, an efflorescence of artistic precedents
and ideals, and a kaleidoscope of dissimilar modes of expression.
It was begun in 1979 as a giant progression, the body of work has evolved into an amazing array or artistic
precedents including reversible paintings, convertible sculpture, and also include hundreds of drawings done on,
buses, trains and subway trains. The idea of a progression is a modern concept where each painting is a step by step
idea process elevating the artist to a higher level and broader spectrum of activities and after invention in 1979 has
resulted in over four thousand works of art.
My "Reversible" paintings, an idea that I invented in drawings in 1980 and made into paintings in 1983, actually have
two different ideas contained on a single artwork, however, until they are hung or suspended from the ceiling, the owner,
gallery director, or curator is forced into making an artistic decision on their own, choosing which side to show and for
My convertible sculpture takes this idea one step further by increasing the possibilities of choice, and providing
combinations. Prior to inventing the reversible work I was interested in reinventing impressionism's ideals and methodology
in a modern context.
I have met many famous artists such as Larry Rivers, Roy Lichtenstein, Anselm Kiefer, Julian Schnabel, Susan Rothenstein,
Keith Haring, Chuck Close, Gerhard Richter, Jean Michel Basquiat, and Andy Warhol, among others, and have discussed art with them.
I have also met Leo Castelli, Mary Boone and countless other art gallery directors at openings, museums and exhibitions.
Large advertisements of my art shows have been spread across noted NYC art papers, magazines and newspapers including
The Village Voice, The N.Y. Gallery Guide, Say Arts, Cover Arts, and The New Common Good.
In 1988 I installed window installations at one of the last East Village galleries called the Emerging Collector.
They were of my golden winter weeds, rare dead migratory seabirds, an unusual drawbridge, and a curving, splotchy, waterway
littered with debris. I had painted in full view of the N. Y, Airport, and Coastal Trade, literally a "Gateway to the City"
outside in the plein air tradition, but I did my paintings in the dead of the coldest winters. With found objects as integral
parts of the framing materials, the paintings were a strong statement to clean up our land, air and seas. These paintings and
the beach scenes of the tidal flats in Brooklyn where I painted in the winters of 1987 89 were a harsh reality. The pollution
and degradation intermixed with natures beauty and constant change eventually found their way onto the artistic endeavors
For two seasons I recycled found objects, recovered cluttering the desolate almost abandoned waterways; in an area of the
national park service located on the Jamaica/Sheepshead Bay, part of the Gateway National Seashore. I removed from her twisted
and convulsing shores the debris, cleaned and used as framing material for the oil paintings (that had been produced on the
spot in one day) artifacts of broken glass bottles. Objects tossed aside or in the water a hundred years prior, in my ancestor's
day. The framing materials also consisted of modern wooden reminders of our rich heritage of pollution, the visual reminders
of a day in the corroded seashore that once was his ancestor's backyard playground.
The paintings done in Brooklyn were shown collectively in solo Exhibitions in 1990 at the Emerging Collector Gallery,
but many of the frames had to be destroyed in order to get the art home. Some of these few remaining framed artworks were
again exhibited in 1997 at the Skulski Polish Foundation Gallery in Clark, New Jersey.
I have a Masters of Studio Art from NYU in 1983 where I studied under Ross Bleckner, Diane Blell, Marilyn Karp,
John Kacere, Adele Weber, and Bob Kaupelis, among others. I received a Bachelors of Fine Art from SUNY Albany in 1979
where I studied drawing, painting, sculpture and photography. I've attended the Art Student League of NYC (Painting Award),
New School University in NYC (Etching), School of Visual Arts (Design), and Ramapo College of NJ (K-12 and Art Teaching
Certifications). I have also worked as a graphic artist in photography and later I became a master printer also utilizing
silkscreen and airbrush printing methods to make my own handmade fine art prints and artworks. Since that time I have worked
digitally, as well as by hand by drawing and painting.