Photography: Beach Chic Vintage

“Lifeguard Hut” B&W Photograph, 16″ x 24″ by Jennifer Carrera Turner (2020)
Ethereal Seascape “Dali’s Seashore” Photograph, 16″ x 24″ by Jennifer Carrera Turner (2016)
Ethereal Seascape “Dali’s Seashore Crossed” Photograph, 16″ x 24″ by Jennifer Carrera Turner (2016)
“Lifeguard Hut” Magenta Tint Photograph, 16″ x 24″ by Jennifer Carrera Turner (2020)
“Seafoam Calm” Magenta Tint Photograph, 16″ x 24″ by Jennifer Carrera Turner (2020)
“Sea Oats” Magenta Tint Photograph, 16″ x 24″ by Jennifer Carrera Turner (2020)

Copyright Notice

© Jennifer Carrera Turner and Carrera Art Studio, 2011 – 2023. All rights reserved. Unauthorized use and/or duplication of this material or images without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jennifer Carrera Turner and Carrera Art Studio with appropriate and specific direction to the original content.


Photography Exhibition: Jennifer Carrera Turner 2018

Solo Photography Exhibition by Jennifer Carrera Turner featuring “Historic Catholic Churches” Religious Series and includes the introduction of “The Obsolete Existence: Industrial American Landscape”. This exhibition is the reception event following the “Duo Lopez Tabor” concert, performed by Mozart-Brahms-Latin American Duo: Alfonso Lopez, violinist and Michelle Tabor, pianist held at 3:00pm, January 21, 2018. St. Patrick Catholic Church, Palm Beach Gardens, FL.

Aviation Photography: Stuart Airshow

By Jennifer Carrera Turner

My photography from the Stuart Airshow 2016, Witham Field: featuring Skip Stewart Prometheus Pitts, US Air Force F16 Viper, US Navy F-18 Super Hornet, Randy Ball Mig-17 Jet Aerobatic and aircraft on display.

For artistic compositions please see: Photography Gallery Aviation Portfolio in the menu.2016-jennifer-carrera-turner-102016-jennifer-carrera-turner-82016-jennifer-carrera-turner-92016-jennifer-carrera-turner-132016-jennifer-carrera-turner-122016-jennifer-carrera-turner-112016-jennifer-carrera-turner-142016-jennifer-carrera-turner-72016-jennifer-carrera-turner-52016-jennifer-carrera-turner-42016-jennifer-carrera-turner-62016-jennifer-carrera-turner-22016-jennifer-carrera-turner-32016-jennifer-carrera-turner-152016-jennifer-carrera-turner-162016-jennifer-carrera-turner-172016-jennifer-carrera-turner-212016-jennifer-carrera-turner-182016-jennifer-carrera-turner-192016-jennifer-carrera-turner-202016-jennifer-carrera-turner

Copyright Notice

© Jennifer Carrera Turner and Carrera Art Studio, 2011 – 2016. Unauthorized use and/or duplication of this material or images without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jennifer Carrera Turner and Carrera Art Studio with appropriate and specific direction to the original content.



Artist Mark Fox : The Norton Interview

By Jennifer Carrera Turner

Norton Museum of Art, West Palm Beach, FL – Last Thursday’s Art After Dark 2016 series at the Norton, had a wonderful presentation that I was so enamored to have been in attendance for. The lecture of sorts titled “Mark Fox in Conversation” was organized by Tim B. Wride, William & Ross Soter Curator of Photography. The lecture was held in an expansive room bathed in a fuschia lighting with countless rows of seating for patrons and observers which soon became occupied entirely. An intimate stage positioned at the front of this room, with chairs for Mark Fox and Tim B. Wride, was back dropped with an illuminated projected screen on the wall surface.  The popular exhibition at this time in the Norton by Artist Mark Fox, was the magnificent high-definition film “Giverny: Journal of an Unseen Garden” created during his three months as artist-in-residence within Claude Monet’s iconic garden in France.

This incredible art installation had been granted to the Norton by the generosity of Beth Rudin DeWoody and of Joanne Leonhardt Cassullo (through the Dorothea Leonhardt Fund at the Communities Foundation of Texas). As if that were not enough, we all then beheld the presence of Mark Fox (who is based in New York City) in our assemblage not only to tell us of his artistic experience in France, but also about his work in general. There was a welcoming introduction of Mark Fox and Tim B. Wride as they entered onto the stage by Adelia Gregory, the Assistant Curator of Education at the Norton.  After complimentary remarks and gratitude for Mark’s presence with us, spoken by Mr. Wride, he further expressed the calm feeling that his art installation bestowed upon visitors – best described reasonably as a “Zen Installation.”


Mark then began speaking and exhibiting for us through the projected screen behind them, images of the type of artwork he is well known for. He described most of his early work as having enjoyed creating art with the many “pure black ink drops” whether they were accidental or intentional. These ink drops did not remain confined, rather he “collects” them in a way by cutting them out and piecing them seamlessly together. These “pieces” grow and grow connected together into an enormous size of art that is absolutely astounding. His view on using materials and executing his ideas, Mark says “to be open and NOT narrow minded”.


For some sculptures he would often use “everyday cardboard” – utilizing both their flat surfaces for drawing or painting on – even sometimes peeling the paper away to reveal the commercial ink saturations and leaving those images exposed. The cardboard is also used for the features of its open fluting which adds a different textural aspect and transparent feeling. He would also use enormous collections of individually created drawings, sketches and paintings on paper in which he combines into stacks upon stacks – sandwiching them and creating these large – measured in “feet and not inches” life size sculptures. He often uses objects that are “salt-of-the-earth” to provide support for his large sculptures, for example sawhorses.


Mark incorporates a lot of text or written words throughout his work, whether printed or cut-out of paper or metals. All of the textual writing have sacred meanings derived predominantly from Catholic Religious beliefs. The use of holy doctrines, references to the Virgin Mary, and religious symbolism are very important in much of Mark’s work. He created a theme such as this using objects that were received from 9/11 Ground Zero for example a sawhorse, dust and religious votive candleholders from St. Patrick’s Cathedral. Something that was most comical during the evening, was that Mark shared with us his love of 1970’s disaster films of which he entertained with some brief video clips. The disasters (unusually enough) took place on the grounds of Art Galleries or Museums and were subjected to tornadoes and floods. Ultimately the films conclude with mass irreparable destruction to fine priceless works of art within the building. While explaining his “love” of this type of film (which is a genre I honestly never knew existed) I could hear the silent chuckling throughout the audience as we were all wondering “what must Mr. Wride” be thinking right now? It was an awkward transition most certainly and was a subtle boost in excitement of a different sort.

 The Versailles Foundation’s Munn Artist Award was accepted by Mark Fox in 2010. He was one of the chosen few invited to hold residency at the Monet Foundation in Giverny, France. Unbeknownst to most of the world, Monet’s famous garden had become unkempt following his death in 1926. Fortunately in the 1970’s, a group of philanthropic Americans founded an entire restoration and held the stipulation that U.S. Artists would be selectively invited to spend time there each year. Fox, having been chosen was told upon arrival that he was not subjective to work in Monet’s impressionistic style but rather they had hoped that the “environment would inspire him.” With Mark’s work being so modern, it would be hard to imagine what could he possibly come up with to utilize this incredible once-in-a-lifetime opportunity. Although not being the requirement by any means. This classic ethereal garden, a place that is known for – seen painted in pastel brush marks on canvas? A mecca for tourists visiting France with the privileges of walking through this lush green landscape of bridges and flowers once occupied by one of the grandest art masters of all time?


Unlike the rest of the world, when the crowds left as the area closed to allow visitors for the day, Mark had the key and could return and leave as he pleased. And then his idea emerged, he would show the world what Monet was actually never able to see! Under the water. The underneath of the lily-pads, grasses and the life that was taking place beneath them. He submerged his camera while on record mode, beneath a homemade float attached to a fishing line to capture the footage.

His filming took place during the day and was at first experimental and daring. Later he explained his project and was approved to continue his filming by less elusive techniques, otherwise entering the water had been forbidden. So now for the pièce de résitance, “Giverny: Journal of an Unseen Garden”, a five channel, high definition underwater video capturing images beneath Monet’s iconic waterscape is an amazing room filling art installation brought to us by Mark Fox.

More about Mark Fox: Originally from Cincinnati, Fred Conway Art Scholar at Washington University, Bachelor of Fine Arts in Illustration in 1985, Stanford University, Master of Fine Arts in Painting 1988, Founder of Saw Theater, multi-media performances in New York; extensive list of national venues, public exhibitions in high-end galleries and museums; and international residencies.

In closing, I felt the message conveyed that as an artist he follows “internal suggestions” throughout his creativity, which leads to open doors, and it is best to remain open-minded and determined.

Written & Photographed by: Jennifer Carrera Turner

“The Divine Command” Artist Clarence J. Tibado

Clarence Tibado
“The Divine Command” oil painting by Clarence Tibado

By Jennifer Carrera Turner

This article is in remembrance of my great uncle Clarence J. Tibado. He was one of seven children born in Yankton, South Dakota in 1920. His family moved to Florida a few years later and settled in Lake Wales (where my mother was born).

My grandmother, Mary (Tibado) Underhill was one of his sisters. My grandmother is also one of the people in my life who really showed me how important Jesus is. Her family grew up worshipping in the Catholic Church.

That was definitely something that impacted my great uncle’s paintings and his strength that carried him through WWII.

It was many years ago and only a few times that I had met my great uncle, Clarence Tibado. My mother and her 10 brothers and sisters called him “Uncle Buddy” and that’s really the name I called him too. When I was very young I was told that his paintings hung in the Smithsonian Museum in Washington, D.C. and that he lived for a time in a 27 room Spanish-Moroccan castle in Lake Wales, FL. My grandmother absolutely adored her brother. She was so proud of him and I had no idea how incredible his life story was until I was much older.

I know now that besides what a hugely talented artist he was but also a Navy Veteran with 13 bronze stars. He served on the U.S.S. Pensacola CA24 in the Pacific. He was wounded during the battle of Iwo Jima and honorably discharged in 1945 as a Radarman 3rd Class.

In 1954, he fell in love and married a widow named, Josephine Yarnell, a woman locally known in Lake Wales, FL as a “Princess” in that she resided in a Florida Mediterranean-Style castle named for her “La Casa de Josefina”. She was a woman of high society and also someone who cared for the needy, sacrificing a lot to make sure that people who were impoverished may have a means to survive. The marriage to Clarence Tibado was one centered upon a shared love of the arts. Josephine and her late husband (Irwin A. Yarnell) had the mansion built in the 1920’s for Josephine by a Spanish yogi named Mr. DeSoto. The fireplace in the home was salvaged from a Spanish castle, it was furnished with European antique furniture, all of the doors opened to a breezeway in the courtyard with a fountain in the center, every known species of palm tree flourished and amidst that grew surrounding botanical gardens. My great uncle Clarence and Josephine transformed this beautiful majestic estate into an art museum.

In 1957, Clarence Tibado donated many of his war time paintings to the Smithsonian Museum. He created those paintings while he was serving aboard the U.S.S. Pensacola.

In 1967, Josephine passed away from natural causes. “La Casa de Josephina” was placed on the U.S. National Register of Historic Places in 1975.

In the years after Josephine passed away, Clarence Tibado continued his fine arts painting and had many gallery receptions. He passed away on December 16, 2014, age 94 in Winter Haven, FL.

The photo above is a lithograph given to my mother by her uncle Clarence Tibado. It is titled “The Divine Command”. The detail incredible. The images and what they portray, mesmerizing.

A Photo Changed my Life: Mission San Xavier

IMG_3412.JPGBy Jennifer Carrera Turner

It was 8 years after graduating from School of the Arts and 3 years after graduating from college that as my profession as a Funeral Director which is my profession (besides my art and photography) now of 17 years that I came across this beautiful framed photograph of a Spanish church at a thrift store.  So I believe it must have discovered it in 2001.  I placed it in my living room directly above the TV because I loved it so much that every chance I had I wanted to be able to see it.

I thought that because of the coloring and age of the photograph that I decided that it must have been created during the 1970’s. Unfortunately there is no signature or indication on this photograph as to where this church is located or whom had photographed it. My only lead was on the back it was professionally framed in New York and the framing company with an incomplete address was indicated. Therefore I wrote a letter to that framing company, I admit it was silly but at the time the internet was still in it’s infancy otherwise I would have searched that way. It was expected that I would not receive a response.  And besides I honestly could not evaluate whether it was Spanish American, Mexican or Spanish. I must say that I prayed to God so often that it’s location would be revealed to me as I was so enamoured by this Spanish style architectural church.

Three years had passed, and as a funeral director I was making the funeral arrangements of an estranged family who had lost their father in a tragic car accident. The most important member of this family who basically were the children versus the ex wife were involved in a great family disagreement. The daughter and her mother (the ex wife) made the cremation arrangements with me and we had a special bond as I do with many of my families and I truly care for my families. After we had settled all of the decisions and I did my absolute best to make things easier for them, they returned to their very distant homes away from Florida.

This is where my story takes its incredible turn about a month later. I received this post card from the ex-wife and it turned out that she is a photographer and artist and I had shared with her my love of all of these things. She had invited me to stay in Tucson, AZ with her and her husband, When I saw the photo on that post card it was a “nighttime shot” – but it was the exact CHURCH IN THE PHOTOGRAPH that I have had above my television all this time and that I had prayed for almost 3 years to learn where is what located. God had answered me in a way that I know I am on his path.

This church which had turned out to be the Mission San Xavier del Bac located in Tucson, AZ. I have visited there now several times and it will remain my most cherished and beloved location on this earth. There is a side mortuary chapel to the left of the main church, twice I have left one of my photos with a request asking God to tell me why he has brought me there. It was the first Spanish Mission I had ever visited and the beginning of my obsession that would lead me to make pilgrimages to all of the other Spanish missions.

 In the photo above is the original framed photo that I purchased and the front original and back copy of the post card I had received.