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A Plethora Of Artsy Bars

From Dive To Divine
Hidden Gems, Quirky Cocktails, Hotel Havens, and HIGHer profile roosts. 

Tampa Bay Drinkery
2756 Central Ave
St. Petersburg, FL 33712

A newcomer, so still a bit of a hidden gem, is uptown on Central, just past the busier fray. 

Owned by Wellington Moto, who has artistically decorated the space with eclectic touches, from the upside-down hanging lamps to the elaborate decorative garlands.  You could be in a Gentleman’s Bar at the Turn of the Century as you listen to soft piano music while lounging on a Victorian settee. The elegant baby grand piano, raised up on a small stage area, is guarded by two large, jet black, ceramic dogs. A backdrop of dramatic red drapery and a vivid, gold Japanese screen frame, as if Lorenzo Medici commissioned its placement for each to have a gold-leaf glow.  The place reeks of artsy and interesting, as do the clientele.   

The short bar, in one corner of the space, has a row of windows behind it, allowing a cool breeze to waft in, or for you to opt for a stool on the sidewalk.  I was at the Drinkery the evening Kaitlyn Lampasso was the bartender.  She had me as a loyal regular when I ordered white wine and it arrived in a chilled glass, though she and the other bartenders pride themselves on their kraft cocktails. In fact, I was already won over as soon as I stepped into its calm, quiet ambience since it’s of the rare bars these days, sans the animation, color, and blare of televisions. 

Open only a brief time, it’s already become a classy hangout for the gay crowd who frequent the neighboring Grumpy Gringo Liquors and attached bar, also owned by Mr. Moto, while also drawing straight couples who want a little romance in a comfortable setting, friends of whatever persuasion who have info to share, and for loners into the music.  


HOSTESS, Wine Bar
2635 Central Ave
St. Petersburg, FL 33713

Also on Central Ave, St Pete, the Wine Bar at Hostess falls under quirky.  They close at nine, for a starter, and, what appears as once to be a family dwelling, it has a front room shop with various items from wine to glasses for purchase.  Go up the few Hollywoodish inner steps and a cozy parlor awaits you for intimate, even romantic, early drinks.  You can also opt for seating in a small garden area, perfect for a party of two or four having a private visit.  Back inside, behind the parlor, is a room used for various quirky offerings.  Hostess commonly holds bridal showers in this space. The agenda changes monthly, ranging from book signings to Cake decorating classes. Hostess is a unique approach to the usual concept of a bar. The night I was there, it appeared to be a “specialty” night for a private party, attracting a younger set. Gorgeous young women seem to be a theme for those enjoying Hostess.


HY at the Hyatt
25 2nd St N
St. Petersburg, FL 33701

I confess, I love Hotel bars! I’m not thrilled, however, that so many are taking over gem cities like Tampa and St. Pete, removing revered historical buildings, changing the special styles, and period architecture of our beloved environs.  That said, there is something about the air in a hotel bar, as if it’s fragile, holding its breath so as not to disturb you.  There’s a calm in the best ones, in order, I assume, to counter the frenzy and too-brightly lit lobbies. HY is pure Zen and I’ll gladly bask in its dim light, which, frankly, make me look better. It’s large, one-color wall art piece, spanning the length of the bar, implies steady seas. It’s wide, round-backed, padded bar stools provide a place for a weary traveler, even if just traveling from a few blocks away. Outside, First Avenue North might be teeming with passers-by, but inside, set back a bit, HY’s large, tinted windows keep you separate, removed, creating a sense of an evening’s private luxury. You can relax and perhaps chat with another solace seeker. If she is serving that night, Paula, one of the two alternating bartenders, is charming, and can mix you up a craft cocktail to soothe any jet lag. For me, it’s only flaw is it’s not one, but two large-screened TVs above the bar; jarring color amidst this otherwise relaxing, space of simple elegance. IF you don’t crane your neck, you can focus on Paula, or your companion, or swivel around and watch the passersby who can only vaguely see you behind the smoky windows.  


The Scott at the Cordova Inn
253 2nd Ave N
St. Petersburg, FL 33701

The Scott is a hidden gem, being off the beaten path of the mainstays of Central or Beach Drive in St Pete. This tiny space is rich in feeling, its most recent rehab capturing the spirt of the 1920s, when the Inn was first built. Sitting at the few seats of the bar, or on the sofas in what is an entrance area to the hotel, it’s impossible not to strike up a conversation, or for someone to start talking to you as if you are part of their party. Folks staying at the hotel make for interesting bar mates, carrying tales of why they’re in town, where they’re from, or discussing their membership in the hotel’s loyalty plan in the New Hotel Collection, which gives them entry to other Collection hotels in other locales.  If you want a personal moment with your companion, aside from the few separate seating areas inside, you can hope a couple of the rockers on the beautifully arched front porch are free. Swaying out there is like being at your family’s country estate had it been carried, a distance from Oz, as Dorothy’s Aunty Em’s farmhouse had, but straight to a city’s downtown. The Cordova, initially called Hotel Scott —hence the bar’s name — is one of the earliest hotels in St. Pete, dating to1921. Its bar captures, at least in my experience, what we might perceive of earlier eras, before slickness and shiny surfaces were trendy, and when we might have believed the world was made up only of friendly, no-frills folks.  Kudos Cordova for retaining the original architecture of this sweet haven, incorporating it into the new additions, rather than altering, or tearing it down. 


Berkely Beach Club
109 8th Ave
St Pete Beach, FL 33706

As for a HIGHER profile spot, the Berkely Beach Club, atop the Berkely Beach Club Hotel in Pass-a-Grille, feels close to being on a Greek island. Its white decor, the breeze wafting from either the ocean on one side, or the inter-coastal waterway on the other, give that vacation vibe. The night sky completes the mood and makes you feel time is irrelevant. I happened to first go there just as the pandemic was starting, and two of us, basically, had the place to ourselves. One drink there felt like a complete-weekend escape. Of course, that sense of ownership changed once more people emerged post-pandemic, and folks recognized this rooftop oasis as the perfect place for catching brilliant sunsets, while sipping some colorful drink to match the sky. Set on one of the small streets of charming Pass-a-Grille, it’s a restful escape from the throngs, of late, roaming St. Pete’s nightlife districts, 


Cane and Barrel Rooftop Bar
110 2nd St N
St. Petersburg, FL 33701

At the AC Hotel in downtown St Pete, this bar makes one feel a bit like they’re in a Monet painting; that is, when Monet started losing his eyesight, and the water lilies were stretched out on huge canvasses. Or you might liken it to a modern take on the French era when all surfaces were wallpapered with busy prints. In this case, splashes of paint, not paper, cover the ceilings and walls of this eighth-floor hideaway. With its Cuban influence, the white globe sconces are typical of at least one old restaurant I visited in Havana. The white-counter bar has a base of bright blue, with carved leaf decorations. Those simple, ornamental garlands reminded me of Havana’s early touches, still lingering in the old town section; touches of great beauty, clinging on amidst great decay. There is nothing decaying on this rooftop, however. It’s crisp with an abstract vibe, and if you step outside to its expansive balcony, you suddenly feel as if you have a secret view of the city of St Pete, which only those already seated in well-spaced tables and chairs, know about.  

I am gob-smacked by how varied, impressive, sophisticated and, frankly, by just the numbers of night-life settings that seem to have sprung up overnight in Tampa Bay and St Pete specifically. In my journey through just a few of the area bars, I have been impressed with the thought and effort that has gone into the design elements of these establishments. Each one makes a statement and creates an ambience and mood wholly different from what might be right next door. Each makes you feel welcome in their own way. Hats off to the artists and entrepreneurs that are making each time we journey out to a “watering hole,” an adventure in discovery and exploration. It’s like being on safari, wondering what new creature might reveal itself to you. I say, slip into those doorways, take those lifts, you might find your own next Cheers, where everyone just might learn your name. 

The Art Landscape in 2025

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This year is dynamic and multifaceted, reflecting technological advancements, environmental consciousness, and evolving cultural narratives. 

Here are some key trends shaping the art world this year:

Sustainable and Eco-Conscious Art

Environmental themes are prominent, with artists like Aurora Robson crafting sculptures from discarded plastics to comment on consumer culture and ecological responsibility. This movement emphasizes the use of recycled materials and eco-friendly practices to create art that not only inspires but also advocates for environmental stewardship. 

Revival of Traditional Crafts

There’s a resurgence in traditional crafts such as weaving, ceramics, and woodcarving. Artists like Grayson Perry are blending these age-old techniques with contemporary themes, offering a tactile counterpoint to the digital saturation of modern life . 

Art as a Tool for Mental Health

The therapeutic potential of art is being increasingly recognized. Artists are creating works that explore emotional landscapes and provide calming, introspective experiences. This trend underscores art’s role in promoting mental well-being and facilitating emotional expression 

Cultural Heritage Meets Contemporary Art

Artists are merging cultural heritage with modern styles, creating works that honor ancestral legacies while engaging with contemporary themes. This- fusion results in a rich tapestry of art that resonates across diverse audiences and fosters cross-cultural dialogues. 

Biotech and Living Art

Artists are exploring the intersection of biology and art, creating installations that incorporate living organisms. These works, often referred to as bio-hybrid art, challenge viewers to reconsider the relationship between humanity and nature, blending scientific innovation with philosophical inquiry. 

Immersive and Participatory Experiences

Interactive art is gaining momentum, with exhibitions that invite audience participation. These immersive experiences blur the line between creator and viewer, fostering deeper connections and expanding the role of the audience in the creative process. 

Artificial Intelligence and Algorithmic Art

Artists are increasingly collaborating with AI to push creative boundaries. 

Surrealism in Home Decor

Surrealism is making a comeback in interior design, with bold colors, unexpected combinations, and dreamlike elements becoming popular. This trend allows individuals to express creativity and imagination within their living spaces. 

Elevated Recognition for Women and Indigenous Artists

The art world is witnessing increased visibility for women and Indigenous artists. Heidi Hahn’s exhibition “Not Your Woman” challenges traditional portrayals of women, presenting complex and evolving female figures through expressive, layered oil paintings. This trend reflects a broader commitment to inclusivity and diverse narratives in art. 

Charismatic Maestro Seeks to Spread ‘Deep Truths’

Look up raconteur in the dictionary, and you just may find a picture of Michael Francis staring at you.

Francis, music director of The Florida Orchestra, is a charming Englishman whose posh accent only serves to highlight a playful public-speaking style when holding forth on an evening’s music program or other musical matters.

His enthusiasm for schooling audiences on program highlights comes leavened with humor, and one can imagine his boardroom keepers’ satisfied smiles at such examples of his personal touch.

Before landing in the Tampa Bay area — with his Lutz-native missus, Cindy — Francis already had established a reputation as a musical comer, with a string of successful conducting gigs in Europe after segueing from a lustrous playing career. Daughter Annabella, now 10, was born shortly after the couple’s arrival in the U.S., and in 2019 Francis became a naturalized citizen.

The maestro is currently in the home stretch of his 10th well-received TFO season. Last year, he signed the latest of a pair of contract extensions, committing him to TFO through the 2029-30 season.

Michael  Francis

“It’s great to be able to enjoy such long friendships and long relationships – not just with the orchestra but also with the staff and board members,” Francis enthused in a recent phone chat. “And it’s very exciting to be building an orchestra and trying to ensure that the orchestra is not only here for years to come but also thriving, even as Tampa Bay has been going through its own remarkable transformation.”

As for the current season, he mused that it featured some “milestone concerts” for the orchestra, including the March performances of Janáček’s challenging tour de force, “Taras Bulba,” and February’s epic collaboration with the Master Chorale of Tampa Bay on Walton’s “Belshazzar’s Feast.”

“Those kinds of things can be very, very rewarding,” Francis said. “But the key thing for the conductor is that we are not the most important person in that gloriously transformative performance experience. It’s all about the audience.”
Which is why he has such a passion for “communicating the deep truths of the orchestra (so) an intellectual understanding can enable the emotional response,” he added.

Over time, a conductor’s success is measured by any number of subjective criteria: Do their orchestras play well? Do they get along with players, bosses and the public? Are top principles and other players recruited to improve the orchestra? Does the maestro attract first-rate guest soloists?

Francis would seem to rate very good to excellent in all such categories. Even his “stick work” appears crisp and on the mark, with good eye contact with orchestra members.

Francis has had several enviable recording opportunities over the years, and the results have been quite solid. One of the latest — of the Mahler-reorchestrated version of Beethoven’s Symphony No. 5 — has drawn positive notices, and I’d personally have to call it revelatory.
He’s also recorded more than a half-dozen other albums with various ensembles, though none yet with TFO, whose 2012 Delius album predates him. (Notably, the economics of music recording have been in decline in recent years.)

Francis, 49, had an annual salary of $335,210 in 2022, according to the latest available financial-disclosure document. His predecessor, Stefan Sanderling, was paid $256,486 before he left mid-contract in 2012, when his relationship with management hit the skids.
Francis came aboard as TFO music director for the 2015-16 season with a three-year contract, which was followed by an initial contract extension through 2025.

Busy, busy…

The TFO music director’s other conducting gigs include serving as music director of the Mainly Mozart Festival in San Diego and as chief conductor of Deutsche Staatsphilharmonie Rheinland-Pfalz in Germany. He’s also enjoyed regular guest-conducting performances with the LSO and other top orchestras.

Yet Francis insists his work in Tampa Bay is easily as gratifying as anything else he has done to date.

“This is one of the best-prepared orchestras in the world,” he said. “We work hard, we prepare hard, and we have a lot of fun.”
A onetime double bassist with the LSO, Francis’ first big conducting break came with that same orchestra in 2007, when he was asked, on short notice, to sub for the famous Russian conductor, Valery Gergiev. Soon afterwards, Francis replaced composer/conductor John Adams in a program featuring some Adams pieces, and his podium career was off and running.

At TFO, there hasn’t been much not to love about Francis’ first decade. I’d confess just one teensy personal doubt: I’m ambivalent about the “mystery pieces” the maestro inserts into Masterworks programs — short works not revealed prior to the concert. They are always performed marvelously but sometimes make for a tough fit with the rest of the program, either timewise or otherwise.

One of last season’s mystery pieces — preceding intermission ahead of a 70-minute Mahler symphony — was the final chorale scene from Francis Poulenc’s 1957 opera, “Dialogues des Carmélites,” about the beheading of 16 French nuns. Surprise!

“Well, that was a bummer,” one patron was heard to mutter afterwards. It may have boosted business at the lobby bar, however.

Bill Edwards & Mahaffey Theater

A Year of Milestones

St Petersburg’s beautiful and beloved waterfront theater known simply as “the Mahaffey” among locals, but more formally as the Duke Energy Center for the Arts — Mahaffey Theater, celebrates its 60th year in 2025. In January, Bill Edwards, the business juggernaut and noted philanthropist at its helm for nearly a decade and a half, marked his 80th. Both have undergone major reinventions, and both have contributed generously to the fabric of this city over the years. With continued strategic management and some much-needed investment, the theater, if not Edwards, could persist for generations, serving as a treasured asset to the community for decades to come.

Completed in 1965, the Mahaffey first opened on the shores of Tampa Bay as a component of the Bayfront Center, a sizable, city-owned entertainment complex that included the theater and a conjoined indoor arena. The double venue presented performances as varied as the Barnum & Bailey Circus, leading rock n’ roll acts, ice shows, symphonic performances, dance, touring stand up comics, and important local and civic events, among others.

The theater underwent a major, $23-million renovation in 1987-88, during which a mezzanine level was added, as well as swank box seating and an orchestra pit. It was after this significant remodel that the theater became the Mahaffey Theater for the Performing Arts, in honor of the Mahaffey family’s considerable contribution to the capital campaign.

2005 saw another major renovation, with the by then less-needed arena demolished to make way for the signature atrium and plaza. This renovation, finally, capitalized on the venue’s spectacular location and breathtaking bay views, which has helped to make it a coveted spot for private events in between scheduled shows.

In 2011, Bill Edwards, through his enterprise Big3 Entertainment, was awarded the contract to manage the Mahaffey. In what can only be termed as an extreme labor of love, Edwards has worked hard in the interceding years to build value for the community, and to improve the visitor experience at the theater for patrons and performers alike.

Believing presentation is vitally important, he freshened and upscaled the lobby, the seats, the boxes, and the green room, added a members lounge, and more, much of it done at his own expense for a building he does not own. In all, Edwards estimates he has spent in the vicinity of $12-million of his personal fortune on expenses related to the venue.

Class Acts, a curriculum-focused edutainment series begun by the city over three decades ago, brings school children from all walks of life to the theater to learn in a non-traditional environment. Initially serving about 500 students annually, Edwards grew the series to include both indoor and outdoor events, as well as a multi-week theater camp. It now serves tens of thousands of students annually, much of it paid for by the Bill Edwards Foundation for the Arts, which he seeded with his own initial contribution of one million dollars.

Other upgrades came at no cost. An arrangement with Imagine Museum founder Trish Duggan brought a strong visual art component to the lobby areas. Most recently, Edwards added culinary arts to the Mahaffey’s lineup, opening Sonata Restaurant and Lounge in 2023 with hours corresponding to scheduled shows. The upscale eatery offers a white-tablecloth dining experience focused on coastal cuisine.

From the dining area, British artist Luke Jerram’s giant, ethereal moon sculpture, also on loan from Duggan, competes with the bay for diners’ attention. At twenty-three feet in diameter and illuminated from within, it lends and otherworldly air. The massive-but-lightweight fabric artwork, which owes its faithfully-accurate presentation to topographic imagery from NASA, maintains its spherical form by means of an internal fan. And though it may seem an unusual choice of artwork for a performance venue, the pairing of restaurant and sculpture, Edwards pointed out, is a punny nod to Beethoven’s Moonlight Sonata.

Despite the love and care Edwards has lavished on “his” beloved theater, it is once again in need of major investment. The beautiful veneer cannot compensate for deprecating technology and critical infrastructure needs. Hurricane Helene broke windows and filled the orchestra pit with ten feet of water, ruining its mechanical and electrical workings in the process. Other control systems are at the end of their useful lifespan, as is the roof, which threatens to ruin the experience Edwards has taken such pains to create.

The lighting and sound systems have served well, but they too are showing their age and are in need of a major upgrade. Edwards can’t attract many of the leading shows, he says, because the equipment is out of date, requiring rentals to fill the gaps. This pushes costs too high, thins out profit margins, and sends acts looking elsewhere. The price tag to do everything needed comes to about $40-million, and Edwards is hoping that some of the money that was earmarked for the Rays stadium deal might be redirected to making the theater whole and competitive again. He can’t invest any more himself, but he is adamant the work that needs doing is well worth the cost.

The building is rock solid, according to Edwards. If it was torn down there’s no way anyone could build anything close to it for the cost of bringing it up to date, and its successful continuation is very much a legacy he’d like to leave.

Edwards’ dedication to the theater and his willingness to lavish so much time and money on it may seem strange to some, but in many ways, it makes perfect sense. Born into an impoverished, abusive, addiction-crippled household, he took his first job at seven years old packing eggs. By the time he was fourteen, he’d left school to work full time as a commercial fisherman.

Physically, he says, it was the hardest job he ever had. Like many youngsters, he and some friends formed a band. More than a passing interest, for young Edwards it became a lifeline, and one that would stay with him, to greater and lesser degrees, throughout his life. At seventeen and a half, he forged his mother’s signature to join the marines. Shortly before his tour in Vietnam was scheduled to end, he was grievously injured. The VA spent two years patching him up physically and discharged him. A hard transition back to civilian life and failed marriage followed. The sum of his heartbreaks and troubles weighed heavily, and he was determined to change his life for the better.

Edwards got involved in the mortgage business, and founded what would go on to become the largest veteran lender in the country. He prided himself on hiring people others wouldn’t, locating his office on the bus lines so his employees could get to work, often providing a few professional outfits to get them going. As they rose out of poverty, many began buying cars, necessitating a deal with a nearby church for weekday parking. The onetime mortgage mogul reckons he was the largest employer in St Petersburg for a time.

Other ventures included the founding of Big3 Entertainment in 2000, a now-shuttered record label and full-service recording studio that worked with big names Including AC/DC, Cheap Trick, Destiny’s Child, Robin Thicke, Usher, and Virgin Records. Other projects include his resuscitation of the Treasure Island Tennis and Yacht Club and the Tampa Bay Rowdies. He subsequently sold both to new owners.

Something of a professional contrarian, Edwards seems to relish in doing what others say can’t or shouldn’t be done. In one classic example, he produced a Sargeant Pepper live show that ran for three months in Las Vegas because John Lennon once famously said it couldn’t be done – the music was too complex. But a determined Edwards positioned the orchestra on a mezzanine above the band, and it worked.

By all accounts a major philanthropist, Edwards has given generously both locally and outside the area to support initiatives he believes in. For twenty years he put on a holiday event during which he gifted frozen turkeys and bicycles to needy families and their children, only ceasing when the pandemic interrupted his momentum. In certain circles, Edwards is proud to be known as the “Bicycle Guy.” Over the decades, he estimates, he has given over $100-million to charitable causes.

And though he’s reached his limit on personal spending for the Mahaffey, he’s committed to seeing that the refurbishment happens. Because music and the arts saved his life. And perhaps nobody enjoys a comeback story more than Bill Edwards. •

Chad Mize: St. Pete’s Godfather of Art

In St. Petersburg where sun-soaked walls double as canvases and creativity spills onto every corner, one figure has persistently left his mark. Chad Mize, with an unmistakable style and determined vision, has become the bandleader of the St. Petersburg art scene. If this city has a patron saint or guiding hand, it would be him: the godfather of St. Pete art.

Born in New Orleans but raised in Bradenton, Mize has Florida roots that run deep. Like many creatives, he ventured elsewhere before returning home. He earned a BFA in Visual Communications from Ole Miss near Oxford, Mississippi, then moved to Boston in his twenties. There, he honed his skills with an unlikely gig, drawing sidewalk character portraits in front of Faneuil Hall. Unpolished though it may have been, the job laid the groundwork for the improvisational style he still embraces.


In 1998, Mize put those skills to work as an illustrator for a digital textbook company, creating Flash animations that brought educational content to life. Laid off just a week before 9/11, he pivoted quickly, co-founding the creative studio Bluelucy with partner Phillip Clark. The change also brought him back to Florida.


He considered settling in Sarasota but ultimately chose St. Petersburg, thanks in large part to the Dali Museum. If a small city could support a world-class institution like that, he reasoned, there had to be more potential. St. Pete was a sleepy town in the early 2000s, with very few galleries or even businesses open in downtown, but it was just at the beginning of the renaissance of the area. A 2000 article in the Tampa Bay Times teased, “Don’t Look Now, but St. Pete is Almost Hip.” Emphasis on “almost.” Still, the high-rises came, the BayWalk complex opened, the Rays baseball franchise launched, and the city slowly blossomed. Mize was there, nudging it forward.
Anyone who lived through the 2000s art scene remembers the warehouse parties with Mize and the Vitale Brothers, which were gritty, electric gatherings pulsing with creativity. A regular cast of artists, dreamers, and young creatives filled the spaces, all hungry for something authentic. Galleries began popping up along Central Avenue: Craftsman House, Shapiro’s, Davidson Fine Art. In 2009, the transformation of the 600 block into a hub for artist-run shops and galleries gave local creators both a gathering space and a venue to sell work. Bluelucy, at 653 Central Avenue, thrived. This was foundational for Chad and his creative work.


Some of the city’s first murals were painted by Mize behind Bluelucy. Iconic images like Twiggy and Mr. Sun still remain, albeit partially obscured by “upgrades.” Each month, Bluelucy hosted themed exhibitions featuring dozens—sometimes over a hundred—local artists. These shows offered more than exposure; they offered income. As Mize has always understood: artists need to eat, too. That mentor-like generosity only furthered his reputation as the community’s godfather.


2010 marked a turning point. That year, Mize met his now-husband Dan Schmidt, and while traveling, he spotted a shirt design: Paris/Tokyo/London/Torrance. Inspired, he created his own version: Paris/Tokyo/London/St. Pete, a now-ubiquitous design that can be spotted on sidewalks and in shops all over the city. No, it wasn’t an original concept, and yes, others have copied it since. But Mize made it happen and made it iconic.


Chad Mize became pivotal to the art scene. Bluelucy closed in 2014 due to increased rents, but as a door closes, a window opens. In 2015 he was asked to help with the brand new SHINE Mural Festival, and coordinated closely with Jenee Priebe, the director of the festival. He worked tirelessly behind the scenes, assisting in community projects and helping any way needed. He has now personally painted over 120 murals of his own design, mostly in Tampa Bay, but also in Miami and other cities. Whether or not he is in the spotlight, he’s always involved in a myriad of projects: painting, mentoring, designing, and building.

In 2018, he opened MIZE Gallery on MLK Jr. Street. For five years, it became a vital space for monthly exhibitions, featuring a growing roster of Bay Area talent. Even during the pandemic, he adapted with virtual shows and online sales, further helping to support the arts community, and showcasing his own tenacity in the face of difficulties.


Muralist, designer, painter, and entrepreneur, Mize uses bold cartoon-like imagery to comment on politics, religion, contemporary culture and to add just plain fun into the life of his work. His unmistakable style appears everywhere, adorning Coach brand bags and gracing the faces of paddle-ball rackets, on t-shirts and walls across the city.


The short-lived opening of the SPACE gallery in an old giant formerly PSTA bus depot on south 28th street in 2023 not only expanded the capacity to show the work of local artists but added performance to the mix. It hearkened back to those early warehouse art parties in the aughts with loud boisterous crowds and cutting-edge art. It was the place everyone wanted to see and be seen. Everyone would talk about it for days. Artists included Bay area stalwarts like Bask, Zulu Painter, Vitale Brothers, IBOMBS, Frank Strunk III, and of course Andrea Pawlisz.


Pawlisz, a key collaborator at both SPACE and MIZE Gallery, worked closely with Mize on every facet of these ventures. Unfortunately, the city wasn’t keen on the large gatherings at SPACE, and it shuttered after only a few shows. But its short life only added to Mize’s legend. He keeps pushing boundaries, making things happen, elevating others.

2025 brings the year of the museum and new opportunities to experience his work. Mize is currently a featured artist at the James Museum, displaying his work in the beautiful stone entry canyon. He is curating art pop-ups at Green Bench Brewery. He has opened a new “Side Spot” mini-gallery next to his husband Dan’s Uptown Eats restaurant. And in a full circle moment, Mize’s work will also soon also be displayed at the Dali Museum. The very venue that he visited as a child and that inspired him to move to St. Petersburg has now asked him to participate in an upcoming exhibition. “Outside in: New Murals Inspired by Dali” is scheduled to open May 24 and will feature the work of twelve former SHINE mural artists painting inside the museum walls. It’s a fitting tribute to the city’s evolution and to Mize’s role in it.


Chad Mize is everywhere. His artwork wraps buildings, pops from t-shirts, and brightens unexpected corners of the city. He curates, paints, designs, and connects. And when his name is mentioned, it’s often with reverence. A passionate connector, a supporter of others, and a creator of unmistakable work, his influence spans decades. He’s a role model and a mentor. Just don’t expect him to ask you to kiss the ring. •

CHAD MIZE

Saint Petersburg Month of Photography

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Returns for its Third Edition in May 2025

Saint Petersburg Month of Photography (SPMOP) is back this May for its highly anticipated third edition, offering a month-long celebration of the art of photography across the Tampa Bay area. The festival will feature an exciting lineup of exhibitions, events, and programs, including a special showcase of the five finalists for the prestigious 2025 Photo Laureate award, as well as a solo exhibition by the current Photo Laureate, Ric Savid.
“We believe photography is both an art form and a powerful reflection of our community,” says Marieke van der Krabben, Executive Director of SPMOP. “The Photo Laureate program sits at the heart of this mission, giving a photographer the time and space to create a body of work that celebrates the diverse voices, stories, and landscapes of the Tampa Bay region. This exhibition represents the culmination of that journey—an inspiring testament to the power of creative trust.”

St Pete Artist Grants

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The City of St. Petersburg has launched the Individual Artist Grants designed to provide vital operational support to practicing, professional artists across all mediums and disciplines. 

Up to 40 local artists will each receive a $5,000 grant to advance their creative practice, with up to $200,000 in direct funding distributed across multiple disciplines. 

“I am thrilled to announce the launch of St. Pete’s new Individual Artist Grants,” said Celeste Davis, Director of Arts, Culture, and Tourism for the City of St. Petersburg. “These grants are designed specifically to support individual professional artists, providing not just financial assistance but also a testament to our dedication to fostering creativity, arts business growth and positive impacts in the Visual Arts, Literary Arts, Performing Arts, Music, Theater, Dance, and more. We believe in nurturing the creativity of local artists and empowering them to make a lasting impact on our community.”

Eligibility

  • Must be a working professional artist living or working in the City of St. Petersburg with plans to continue doing so following the grant award period. For the purpose of this grant, a working professional artist is defined as a person who has created a recognized body of work over a sustained period and pursues this work as a means of livelihood. 
  • Applicants must be at least 18 years of age. 

Grant Funding Policies

  • Individual Artists Grants provide funding to assist underwriting general allowable expenses of artists during the specified fiscal year. 
  • Applications will be accepted until 5 p.m., May 31, 2025.
  • Grant award period is June 1 – September 30, 2025.
  • Grant expenditures must take place the grant award period.
  • Award amounts are $5,000 each.
  • Public grant review and scoring takes place on Wednesday, June 18 and Wednesday, July 7 from 10am-12pm. Applicants and the public are invited to attend. 

For more information and to apply, visit Individual Artist Grants.

Plein Air Days: A Celebration of Live Art In Gulfport

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The Gulfport Merchants Chamber (GMC) is proud to present Plein Air Days, an immersive art experience showcasing local artists as they capture the charm and vibrancy of Gulfport in real time. Running from April 12-19, 2025, this interactive event invites the community to witness the artistic process firsthand, culminating in a special Gulfport Night Market on Saturday April 19th where attendees can engage with artists and vote for their favorite painting.

“Plein Air Days “is a testament to Gulfport’s deep-rooted support for local artists,” said Scott Linde, President of the Gulfport Merchants Chamber. “Our town is a haven for creativity, and this event highlights the beauty of Gulfport through the eyes of talented painters. Gulfport is Open and Shining: Just Waiting for You to experience its artistic spirit.”

Artist Participation & Workshop

Artists interested in participating in Plein Air Days must register by April 12 with a $20 application fee. Registration details can be found at visitgulfportflorida.com.

To kick off the event, acclaimed artist and instructor Jane Haskins will lead a Plein Air Workshop on April 12, offering participants an opportunity to refine their outdoor painting techniques. The workshop fee is $25.

Gulfport Night Market & People’s Choice Award

On April 19, the community is invited to the Gulfport Night Market from 5:00 p.m. to 9 p.m., where the completed Plein Air paintings will be on display. Visitors can meet the artists, explore their work, and cast their vote for the People’s Choice Award, which will be announced at 8 p.m.


Gulfport’s Plein Air Days is an invitation to celebrate art in action, showcasing the talent that thrives within the community. Whether as an artist or an admirer, all are welcome to be part of this inspiring event.


For more information and to register, visit visitgulfportflorida.com. •

Creative Clay Celebrates April with Art

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Creative Clay Celebrates April with Art, Inclusion, and Community

This April, Creative Clay continues its 30th anniversary celebration with a vibrant series of events that uplift the voices of artists with disabilities and invite the community to connect through folk art, live music, and creative expression.

Friday, April 4, 10am–2pm, Creative Clay hosts its First Friday Art Market featuring folk art, ceramics, handmade cards, and artist portraits. Enjoy live music by Koala Fire, karaoke, and food from Twisted Garden. Don’t miss the special plant swap and sale—featuring artist-made ceramic planters. Special guests Goodness Gracious Great Balls of Love there!

Saturday, April 12, 5–9pm brings the Second Saturday ArtWalk exhibit Retrospective 30: Featuring 30 Years of Creative Clay’s Artists at Creative Clay’s Good Folk Gallery. Enjoy decades of paintings, sculptures, and ceramics alongside live T-shirt printing with Big Frog, a plant sale, portrait drawing, and music by Deb Ruby.

All events are free and open to the public. For more information, visit www.creativeclay.org or follow us on Facebook, Instagram, and LinkedIn (@creativeclaystpete)

The Subversive Eye:

Surrealist and Experimental Photography From the David Raymond Collection at the Dalí Museum

And the Influence of Sigmund Freud

The Subversive Eye: Surrealist and Experimental Photography from the David Raymond Collection, exhibited at the Dalí Museum in St. Petersburg, Florida, showcases a collection of provocative and imaginative photographs that push the boundaries of visual perception. This exhibition highlights the work of pioneering photographers who drew heavily from the principles of Surrealism — a movement deeply rooted in Sigmund Freud’s theories of the unconscious, dreams, and repressed desires.

Freud’s influence is palpable in the works featured in The Subversive Eye, where photography becomes a medium to explore the hidden dimensions of the mind, blur the boundaries between reality and fantasy, and challenge societal norms. Through techniques such as double exposure, solarization, photomontage, and unexpected juxtapositions, these photographers applied Freudian ideas to create dreamlike, subconscious imagery that reflected the deepest recesses of the psyche.

Manuel Alvarez Bravo
Manuel Alvarez Bravo (Mexican, 1902–2002), Optical Parable (Parábola óptica), 1931, Printed c. 1938–1939, Gelatin silver print, 7 1/4 x 8 1/2, inches Collection of David Raymond, © Archivo Manuel Álvarez Bravo, S.C – vintage gelatin silver print

Freud’s Influence on Surrealist Photography

Freud’s theories, particularly those outlined in The Interpretation of Dreams (1899), provided a framework for Surrealist artists to explore the unconscious mind and reveal latent desires. Three core Freudian concepts shaped the photographic works included in The Subversive Eye:

1. The Unconscious and Repressed Desires – Freud proposed that repressed desires, often of a sexual or violent nature, reside in the unconscious and manifest through symbols in dreams. Surrealist photographers, inspired by this notion, sought to access and represent these hidden desires through their work.

  • Man Ray, a key figure in Surrealist photography, employed techniques such as solarization and photograms to produce ethereal, otherworldly images that echoed the fragmented and symbolic nature of dreams. His photographs, such as Noire et Blanche (1926), often juxtaposed the human form with inanimate objects, evoking a sense of eroticism and mystery that mirrored the tension between desire and repression.

2. Dream Imagery and Symbolism – Freud believed that dreams use symbolic language to express unconscious thoughts. Surrealist photographers adopted this approach by using visual metaphors and unexpected juxtapositions to create scenes that disrupted conventional logic.

  • Hans Bellmer, known for his disturbing images of dismembered dolls, explored the idea of fetishistic desire and objectification, reflecting Freud’s theories on sexual repression and the uncanny. His photographs, which often evoke a sense of discomfort and fascination, expose the darker dimensions of the unconscious.

3. The Uncanny and Doubles – Freud’s concept of “the uncanny” (Das Unheimliche) described the unsettling feeling that arises when something familiar becomes strange or distorted. Surrealist photographers embraced this idea by creating unsettling, fragmented compositions that blurred the line between reality and imagination.

  • Claude Cahun, a gender-fluid photographer whose work explored identity and transformation, used self-portraiture and double exposure to create unsettling and ambiguous images that challenge traditional perceptions of gender and self. Cahun’s work resonates with Freud’s exploration of the fragmented self and the duality of human identity.

Key Photographers in The Subversive Eye and Their Freudian Connections

1. Man Ray: Master of Photographic Automatism

Man Ray (Emmanuel Radnitzky)
Man Ray (Emmanuel Radnitzky) (American, 1890–1976), Self Portrait Distortion, c. 1928-1930, Gelatin silver print, 7 x 9 5/16 inches, Collection of David Raymond, © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2024
  • Man Ray’s contributions to Surrealist photography epitomized the application of Freud’s ideas to visual art. By embracing automatic processes like solarization and photograms, Ray tapped into the unconscious and produced imagery that defied rational interpretation. His work, which often featured fragmented female forms and erotic symbolism, echoed Freud’s exploration of the relationship between desire, repression, and the unconscious.
  • Freudian Influence: Man Ray’s Le Violon d’Ingres (1924), where a woman’s back is transformed into a musical instrument, suggests the fetishization of the female body, an idea closely aligned with Freud’s theories on sexual objectification and sublimation.
Man Ray’s Le Violon d’Ingres (1924)

2. Dora Maar: Psychological Landscapes

Dora Maar (Henriette Theodora Markovitch)
Dora Maar (Henriette Theodora Markovitch) (French, 1907–1997), Leaf Abstraction, 1930s, Gelatin silver print, 11 x 9 inches, Collection of David Raymond, © 2024 Artists Rights Society (ARS), New York / ADAGP, Paris
Man Ray, Portrait of Dora Maar, 1936. Image via The Red List.

Dora Maar, a French photographer and painter closely associated with the Surrealist movement, used her camera to explore themes of alienation, memory, and psychological distress. Her photomontages, often featuring distorted perspectives and fragmented bodies, evoke a sense of unease that aligns with Freud’s concept of the uncanny.

  • Freudian Influence: Maar’s work frequently explored the blurred line between reality and dream, exposing the anxieties and desires hidden within the unconscious. Her compositions, rich with symbolic imagery, serve as visual manifestations of repressed emotions.

3. Hans Bellmer: Exploration of the Repressed

Hans Bellmer’s disturbing and provocative images of dismembered dolls were a direct exploration of Freudian ideas about repression, trauma, and fetishism. His work confronts the darker dimensions of the unconscious, often portraying distorted and fragmented bodies that evoke discomfort and fascination.

  • Freudian Influence: Bellmer’s La Poupée (The Doll) series (1934–1937) challenges societal norms of beauty and desire, reflecting Freud’s notion that suppressed desires often resurface in distorted or symbolic forms.

4. Claude Cahun: Identity, Transformation, and the Fragmented Self

Claude Cahun’s avant-garde self-portraits, which challenged gender norms and conventional identity, embodied Freud’s theories on ego, id, and superego. Cahun’s use of masks, disguises, and role reversals suggests a deep exploration of the fragmented self and the duality of human identity.

  • Freudian Influence: Cahun’s use of self-portraiture to explore the multiplicity of identity aligns with Freud’s theories of the fragmented psyche and the conflicts between the conscious and unconscious mind.

Freud’s Legacy in the Techniques and Themes of the Exhibition

The works showcased in The Subversive Eye demonstrate a profound connection to Freud’s ideas, not only through their subject matter but also in their techniques. Many photographers in the exhibition used methods that mirrored Freud’s free association and dream analysis, allowing unconscious imagery to surface:

1. Photomontage and Collage

  • Inspired by Freud’s concept of the fragmented psyche, Surrealist photographers like Max Ernst and Dora Maar employed photomontage and collage to create dreamlike juxtapositions that challenged linear perception and narrative.

2. Double Exposure and Solarization

  • Man Ray’s solarization technique, where light reverses portions of the photographic image, creates a surreal visual effect that evokes the uncanny and mirrors Freud’s ideas about the blurred boundaries between the conscious and unconscious.

3. Automatic Photography

  • Drawing parallels with automatic writing, some photographers experimented with unplanned, spontaneous photography, allowing their unconscious minds to guide the composition and subject matter.

Salvador Dalí and The Subversive Eye: A Freudian Connection

Given that The Subversive Eye is showcased at the Dalí Museum, the exhibition naturally invites comparisons to Salvador Dalí’s own Freudian-infused work. Dalí, who described his artistic process as “paranoiac-critical,” used his paintings to give visual form to unconscious desires and fears, mirroring the approach taken by many of the photographers in the exhibition.

  • Shared Techniques: Just as Dalí meticulously rendered dreamlike landscapes with symbolic imagery, the photographers featured in The Subversive Eye used photographic manipulation to create visually unsettling and symbolically rich works.
  • Exploration of the Unconscious: Like Dalí’s surreal worlds, the photographs evoke the unconscious through fragmentation, distortion, and symbolic language, making Freud’s ideas visible in unexpected ways.

Dalí’s Meeting with Freud

Dalí’s admiration for Freud culminated in a meeting with the psychoanalyst in 1938 in London. Dalí famously brought his painting The Metamorphosis of Narcissus (1937) to show Freud, hoping to demonstrate how his work embodied Freud’s theories. Although Freud was reportedly skeptical of Surrealism, he acknowledged Dalí’s extraordinary ability to visually articulate the unconscious, stating: “I have never seen a more complete example of a Spanish fanatic.”

The Metamorphosis of Narcissus (1937)

Freud found Dali surprisingly refreshing and eye-opening, as he explained to their mutual friend Zweig, “Until then, I was inclined to look upon the surrealists… as absolute (let us say 95 percent, like alcohol), cranks. That young Spaniard, however, with his candid and fanatical eyes, and his undeniable technical mastery, has made me reconsider my opinion.”

Freud’s Lasting Impact on Surrealist Photography

The Subversive Eye: Surrealist and Experimental Photography from the David Raymond Collection stands as a testament to the enduring influence of Sigmund Freud’s theories on visual art. Through dream-inspired imagery, fragmented compositions, and symbolic juxtapositions, the photographers featured in the exhibition explored the deepest recesses of the human psyche, echoing Freud’s revolutionary insights into the unconscious. Whether through Man Ray’s ethereal photograms, Dora Maar’s psychological landscapes, or Hans Bellmer’s provocative dolls, these works exemplify the Surrealist mission to subvert reality and expose the uncharted territories of the mind.

Freud’s influence continues to shape contemporary art and photography, reminding us that the subconscious remains a boundless source of creative inspiration.

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The Subversive Eye: Surrealist and Experimental Photography from the David Raymond Collection exhibition at The Dalí Museum features over 100 works by more than 50 artists. ​Notable artists include Eileen Agar, Eugène Atget, Hans Bellmer, Brassaï, Dora Maar, Lee Miller, Lucia Moholy, Osamu Shiihara, and Man Ray. ​

The exhibition is curated by William Jeffett, Senior Curator at The Dalí Museum, with works on loan from artist and art collector David Raymond. ​

LINK: Salvador Dalí Museum

Visitors can also engage in interactive experiences, such as a “photo studio” to recreate surrealist techniques on their smartphones, and an AI-powered Dream Tapestry that transforms written dreams into black-and-white surrealist images.

The Subversive Eye: Surrealist and Experimental Photography 
at the Dalí Museum

Runs through May 4, 2025

(included with general admission tickets to the museum)

Presenting sponsor of The Subversive Eye is Marion R. Rich, with a deep appreciation for Surrealist photography.
Supporting sponsors: Ingrid and Jake Jacobus and Adele Visaggio.
Airport Partner: St. Pete Clearwater International Airport (PIE) and Hotel Partner: TradeWinds Resort on St. Pete Beach.