Ringwood, United States

I am JET III and these are my initials and my registered trademark. I am modern, one of a kind, a “fine artist” in the technological age...

I am JET III and these are my initials and my registered trademark. I am modern, one of a kind, a “fine artist” in the technological age and can be reached through…


Featured Artwork of the Week
“Dueling Vincents” – Impressionism Cafe Group and was
also Featured in Works on Paper Group
“Flight of Fantasy” was featured in Art At Its Best! Group
“Lifetime” was featured in Works On Paper Group
“Orange Hills” was featured in Impressionism Café Group
“Signs of Falling III” was featured in – If It Doesn’t Belong Group
“Frida Painting” – Top ten of the PiMT Group challenge
“The Jockey” was featured in ! Inspired Art ! Group
“Purple Weeds” was featured in Oil Painting Group
“The Fisherman” was featured in Wildlife and Pet Paintings Group
“Tulip Twins” was featured in photographers of Redbubble Group
“Temararious Advertising” was featured in Layered with Texture Group
“Purple Wildflowers” was featured in All About Flowers Group
“Blacktip” was featured in Fishlike Group
“Dueling Vincents” was featured in Mixed Media Group
“Fish Tale” was featured in Water Media Group
“School” was feature in Live, Love, Dream Group
“Purple Sketchbook” was featured in If It Doesn’t Belong Group
“Purple Snowflakes” was featured in A Fascinating Purple Group
“Original Rembrandt” was featured in Acrylic Painting Group
“Tales to Spin” was Featured in PEACE, LOVE & TRANQUILITY Group
“Vinny” TOP TEN Impressionism Cafe Challenge
“Clocking the Boardwalk” was featured in Oil Painting Group
“The Apartment” was featured in Oil Painting Group
“Blue Flame Landscape” was featured in Oil Painting Group
“Watching a Winter Shoreline” was featured in Oil Painting Group
“Orange Hills” was featured in Oil Painting Group
“The Last Hole” was featured in Oil Painting Group
“Blue Border Bridge” was featured in Oil Painting Group
“Japanese Bridge” was featured in Oil Painting Group
“Snipe” was featured in Oil Painting Group
“Snake in the Grass” was featured in Oil Painting Group
“The Pine Bush” was featured in Oil Painting Group
“Prospect Shadows” was featured in Oil Painting Group
“Circling Birds” was featured in If it doesn’t belong Group
“Put in Stone” featured in Live, Love, Dream Group
""Compressed Landscape" was featured in Live, Love, Dream Group
“Upsweep” was featured in Remodernist Painters’ Group
“The Frog Pond " was featured in Remodernist Painters’ Group
“The Frog Pond Side A” was featured in Remodernist Painters’ Group
“Into the Light” was featured in Spirit and Psychic Peace Group
“Snowstorm Moonrise” was featured in Out of the Blue Group
“Bull Artist” was featured in the Around The World Group
“Lamp Post” was featured in Hand painted or drawn Buildings and Architecture Group
“Robin” was featured in ! Inspired Art ! Group
“Waterlily Abstraction” was featured in Waterlily, Lotus and Hydrangea Group
“Mammoth” was featured in Around the World Group
“Red Bricked” was featured in the Monochrome Group
“Distant Reflections” was featured in the Tuesday Afternoon Group
“The Keys” was featured in Art At It’s Best Group
“Star Leaves” was featured in A Fascinating Purple Group
“The Keys” was featured in Impressionism Café Group
“Core of the Matter” was featured in Painters Universe Group
“Rainforest” was featured in Mixed Media Group
“Purple Pillar Rembrandt” was featured in Printmakers and Printmaking Group
“Upsweep” was Featured in “Painters Universe” Group
“Lamp Post” was Featured in “Tuesday Afternoon” Group
“Daffy Dill” was Featured in the “Inspired Art” Group
“Woodland Stream” was Featured in the “Inspired Art Group”
“Frick In Museum painting” was Featured in the “Painter’s Universe” Group
“Heading Downtown” was Featured in the “Which Way” Group
“Three Trees” was Featured in the “Painters Universe” Group
“Structure” was Featured in the “Painters Universe” Group
“Riding the Wind” was featured in the Painters Universe Group

I have lived by my art and my original ideas. and this is what makes me what I am as a person, and as an artist. Each is a reflection of the other as “Art imitates Life” and "Life imitates Art.

My “Giant Progression” was formulated in 1979 and is a totally different idea than past ideas of what art should be. Each artwork is a stepping stone, or progression to the next idea, like in a process. I have also invented many other new artistic ideas, such as my “Reversible art” circa 1980-83.

My “Reversible Paintings” change and give you a choice. Try to understand, that having a truly original idea in art is almost an impossible thing to do. I have posted my varied ideas here for all to see.

I work on hundreds of artworks at one time, and some for many years. I assure you they are all my original artworks and each is different in it’s own way. I have been working on them for the past 30 years. Look at the dates listed with each artwork and see when they were done!

To look at my art in an intelligent fashion, you would have to really take your time, sit down and look carefully at the many contributing factors, like exactly when each was begun, when each piece was started next in the progression, what was part of the series I was working on at the time, when, or for how long they were worked on, when they were actually finished, and what other pieces were being worked on at the same time.

I have over 4000 artworks (so far) and only a few hundred here. I am not copying photographs, I am inventing new ways of seeing. I also take photographs, but I am using my vibrant imagination in my hand drawn art. Even my prints are all original, hand drawn, and each one is unique and different. My paintings here are from 1979 through today, but there are plenty more that you also haven’t seen. Come back and visit from time to time and you can see my new uploads.

Any of my future artworks posts may be from the past, or may be newly minted artworks, this also makes it an interesting process. What you are seeing here are my different artistic time periods all at once (my progression) and mixed in an interesting fashion onto this site.

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.

“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 combination, 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 way, or side to show, and for how long. Variety and change are it’s core ideal.

My convertible sculpture takes this idea one step further by increasing the possibilities of choice, and providing alternate combination. Prior to inventing the reversible work I was interested in reinventing impressionism’s ideals and methodology in a modern context. I have used Abstract, Impressionistic, Expressionistic, Scenic, Pop, Dadaist, and Surrealist thinking among other influences. Over the past years, I fought for the environment and it is now ingrained in my work.

I have met many famous artists such as Larry Rivers, Roy Lichtenstein, Anselm Kiefer, Julian Schnabel, Susan Rothenberg, Keith Haring, Jean Michel Basquiat Andy Warhol among others and have discussed art with them. I met Leo Castelli, 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 and a solo exhibition 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 added 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 nature’s beauty and constant change eventually found their way onto the artistic endeavors produced there.

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.

These 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 became a master printer 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.


2009 Ringwood Public Library, Ringwood, NJ
2007 Kean University, Nancy Dryfoos Gallery Union, NJ (2 solo exhibitions)
2007 Ringwood Public Library, Ringwood, NJ (2 solo exhibitions)
1997 Skulski Polish Foundation Gallery Clark, NJ
1990: The Emerging Collector, N.Y.C., BHF Bank, N.Y.C.
1987: Helio Galleries, N.Y.C., Nite Gallery, N.Y.C.
1986: Pene du Bois Gallery, N.Y.C.
1984: Lucky Strike Gallery, N.Y.C.,
1983: Eighty Washington Square East Galleries, N.Y.C

Two Person:
1987: Nite Gallery, N.Y.C.
1982: Le Nid Gallery, Northport, N.Y.

Group Exhibitions:
2008: House of Mirrors On-line exhibition curated by Luca Batoni
La Casa degli Specchi – 2008 – mostra online
2008 Morristown Community House Art Exhibition
2007 Morristown Community House Art Exhibition
2007 Bergen County Annual Art Exhibition Paramus, NJ
2006 James Howe Gallery Kean University Union, NJ
2001: St. Catherine Patron of the Arts Art Exhibition Ringwood, NJ
1998 Skulski Gallery International Graphics Exhibition Clark, NJ,
1988-1993: The Emerging Collector Gallery N.Y.C.
1990: The Arsenal Gallery N.Y.C. Curated by Joshua Teplow:
1990 Woodstock Art Exhibition Curated by Anne Debriano,
1989 Kilimanjaro, N.Y.C. Curated by Anne Debriano,
1989 Mars Bar, N.Y.C. Curated by Toyo;
1989 65 Bleeker Street Gallery,
1989 Nice Biennial Nice, France,
1988: Emerging Collector, N.Y.C.
1987: Now Gallery N.Y.C.
1987 Helio Galleries, N.Y.C.
1987 Cuando Exhibition Space. N.Y.C.
1987 Artifacts Gallery Miami, Florida
1987 Nite Gallery, N.Y.C.
1987 ABC No Rio Gallery, N.Y.C. COLAB:
1987 The Art Director’s Club Gallery Juried by Patterson Sims, Holly Solomon et al.,
1987 Discovery Gallery, Glen Cove, N.Y.
1987 Discovery Metro Gallery, L.I.C., N.Y.
1986: Jus De Pomme Gallery, N.Y.C. Curated by Emma Harvin,
1986 Helio Galleries, N.Y.C.,
1986 Eastman Wahmendorf Gallery, N.Y.C.
1986 Now Gallery, N.Y.C.
1986 No Se No Gallery, N.Y.C.
1986 Fusion Arts, N.Y.C.
1986 Forefront Gallery, L.I.C., N.Y.,
1986 Civilization, N.Y.C.
1986 Lebron, Sinclair,and Upton Legal Offices, N.Y.C.
1986 The Field, N.Y.C. Benefit and Auction,
1986 Nite Gallery, N.Y.C.“Taking Liberties”,
1986 Greenwich Auction Room, N.Y.C.
1985: Eastman Wahmendorf Gallery, N.Y.C.,
1985 Nite Gallery N.Y.C. curated by Louis Lopes
1984 65 Spring Street, N.Y.C.
1984 Westbeth Gallery, N.Y.C.
1982 Art Complex East, Riverhead, N.Y.,
1982 Wilbur National Bank, Oneonta, N.Y.,
1982 Kaber Gallery, N.Y.C.,
1982 Shirley Scott Gallery, Southampton, N.Y.
1981 The Art Students League
1981 Five Towns Art Exhibition, Woodmere, N.Y.
1979 Le Grand Illusion Gallery, N.Y.C.,
1979 S.U.N.Y. Albany Gallery
Performance Art:

2004 – 85th- 83th Streets and Second Avenue NYC
1986 Now Gallery, N.Y.C.
1986 Fashion Moda, Bronx, NY
1986 Fusion Arts N.Y.C.
1986 Tompkins Square Park, N.Y.C.
Sponsored by the N.Y. Council on the Arts, N.Y.C.
1986 Pene Du Bois Gallery, N.Y.C.
1985 Now Gallery, N.Y.C.
Parrish Art Museum, Southampton, N.Y.
1981-1983 Cow Harbor Day, Northport, N.Y.

Web Listings:



MY Art Space


The Brooklyn Art Project

Create Culture

JETIII is Listed in the World Artist Directory



The Art World

Behance Network




Fine Art America


Global Art Collectors

They used to tell me that it was wrong to make art in this manner, that I had to pick something and stick with it, and that all my art exhibited in a room should exactly match. I disagreed, and still do!

I looked back at salon style, old frames and incorporated the frame into my art in a new way. they told me that the frame should not compete with the art and I said “why can’t the frame be the art too. Why can’t the frame work with the art in a completely new way?”

I did produce art that looks like the same person painted them, it just is harder to analyze and took me a much longer period of time to work it out. What would work for me, was my inspirational approach as long as I was constantly making art I would never give up making art.

I wanted art that changed, so I invented reversible art. My first drawing was something that you could just turn around upside down or side to side, but eventually I made twice the amount of art one painting on each side and even around the frame too. Then in 1983 I made convertible sculptures that were changeable and move-able.

They told me that art should hang in only one direction. I wanted a gallery director, or an owner, to also have a choice, or decision in the way the art would hang. I also felt that if Picasso had different artistic periods and inventions, why shouldn’t I go through different periods and invent new ways of seeing things in my own art. Although Picasso died in 1973 and I never got to meet him, I learned a lot from him and why he didn’t care what you thought of his art, or if you understood what he was doing.

I invented something different in 1979 that I called a Giant Progression where each artwork would lead me to the next idea in a process of art creation. No style was out of my grasp and I used impressionism, realism, expressionism, surrealism, etc. My vibrant color was another thing that was not done in the minimal art period. In 1979-83 I was creating art that was based on earlier styles, but made in a completely new context.

In 1982-83 I also re-invented action painting, and by the mid 1980’s was making them huge and in front of crowds.

Time and the cyclical nature of the work would alter the work over the course of my lifetime. I worked on multiple pieces at one time over a long period of time and finished some others quickly, some all at once, others very slowly, a little at a time, and others that I was never quite satisfied with were worked on again and again.

I never limited my styles, approaches, or media and had no fear of going back and working on some of these earlier pieces, if I really felt like it. Some of my artworks marked, or signified a specific time period, and I never altered them. If you look carefully by date I was far ahead of my time, and even my own teachers borrowed directly from my ideas.

My work was not trendy, or well understood in the 1980’s and finally now can be seen on-line and appreciated better over the course of my lifetime.

When I met with Gerhard Richter and we discussed our art, he was the only one at that time (around 1987) that could understand my point, as he either worked realistically or abstractly, but my concept was quite different, however, there were some similarities.

Larry Rivers and I discussed the unfinished aspects of his work which I appreciated, probably due to the many unfinished drawings that I had all at one time and the nature of my small drawings themselves.

Andy Warhol was visibly shaken when he looked at my art and also suggested I go into fashion design, and making of multiples, but I had no interest, only in the designs for myself. My silkscreen pop approach really solidified itself after his death and shortly thereafter.

I always wanted each artwork to stand up individually and each individual to find at least one artwork they could appreciate. Where Warhol wanted to bore you with his art and would accept commissions, this was not my desire.

My prints are usually unique in that each is different or later hand finished differently.

  • Joined: February 2010
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