David Wiseltier ó Mixed Media Conceptualist.

A graduate of New York Cityís prestigious High School of Music & Art and the recipient of a scholarship in fine art to the Parsons School of Design, David continued to create, show and sell his work while pursuing an award-winning career as an advertising Creative Director in NYC and an instructor at NYCís School of Visual Arts.

A resident of the Hudson Valley, the regionís natural beauty and motion inspire his art.    Media include watercolors, acrylics, fabrics and sculpted paintings.  His shadow boxes and natural stone sculptures bring new life to natureís cast-offs.

David has exhibited at the Theatre for the New City in NYC, the Bruce Museum in Greenwich, the Manyunk Arts Festival, the EUE Gallery in NYC, Artforms Gallery in Albany, Arts & Crafts on Park Avenue, Tivoli Artists Coop in Tivoli, NY, Suite Designs Gallery in Fishkill,  NY and at the Cunneen-Hackett Cultural Center in Poughkeepsie.  His work is also held in private collections.

Motion is the underlying theme in much of the work, representing the often unnoticed  speed in which time slips by.

David 's creativity was first recognized by his kindergarten class mates. Play dates were filled with battles fought with armies of miniature plastic solders and tanks. Back then, David would create mountain roads with the folds from blankets. David's childhood use of blankets has emerged in his art today.

He attended grade school on New York City's lower east side. There he practiced penmanship with pens dipped in ink wells. This influenced his use of pen and ink as he was continually drew at home.

Like most kids at that time, David and his pals were caught up in the TV westerns. Nobody understood how David could draw while watching TV!

David's junior high art teacher, Mrs. Seligman, persuaded his parents to allow him to take an entrance exam for the High School of Music and Art. He was accepted there and eventually graduated with honors.

Davidís early art as influence by
The Cisco Kid

David's artistic ability even played a role in his military service. He reproduced a 5"x 7" nativity scene on a enormous scale: 10 feet high and 20 feet long. It appeared on the top of the fourth training regiment building. David mixed primary colors by the gallon and, as he painted, nothing seemed to make sense to anyone else The panels looked pixilated up close, but once his sections were displayed on top of the building it all came together. It became more lifelike the further away one looked at it.

Mrs. Seligman
by David Wiseltier

When living in Woodstock, NY, in addition to his painting and sculptings, David became interested in creating miniature worlds using objects he found in the forest. Soon his house was full of branches, stones, pine cones, bones and dried everything.

One holiday stretch the weather kept everyone indoors and he foolishly had his 3 children clean and straighten the house while he chopped wood for the fireplace, not realizing that his oldest son didn't understand ........

The gang threw away most of his forest findings to make  the house neat. When the mistake was discovered everyone felt bad for David. So as a group they went out to forage, each person bringing back a box full of unique objects. Michael filled a box full of pine cones that had been eaten, leaving the stems and tips untouched making them look like miniature palm trees. His other son brought back a box of grape vine twists, His third son's box was full of fallen paper birch. This gave David his inspiration for "thinking inside the box". At that time he began to use some of his treasured findings in his sculptings as textural accents.

Like Da Vinci, David's creativity has led him beyond painting and sculptings to various inventions. One example is his patented toy, The SnowSkirmish Snow Ball Maker.

David's studio is now located in New York's Hudson River Valley. The twists, turns, and the way the Hudson widens and narrows conjoined with the texture and shape of the mountains continue to inspire the movement and texture of his work.

David's appreciation of the motion, synchronization and grace of dance was moved into a new paradigm once he viewed ballet through binoculars.

Being up close was like being on the brush stroke of a Van Gough to David. But texture, motion and color are now replaced by muscles, motion and sweat. His appreciation for the ballet has led to many of David's latest works.    Home >>>