A young, fresh and energetic ensemble, WindSync is thrilling audiences with their unique approach to classical music.

WindSync Members:
Garrett Hudson, Flute
Erin Tsai, Oboe
Jack Marquardt, Clarinet
Tracy Jacobson, Bassoon
Anni Hochhalter, Horn

The ceramic exhibitions hosted by Brookfield Office Properties are just a few of the hundreds of ceramic based exhibitions that will be hosted at venues throughout the Houston area in conjunction with the National Council on Education for the Ceramic Arts annual conference, which will be held at the George R. Brown Convention Center from March 20-23, 2013. Each exhibition is curated or organized with its own unique theme in mind. Works span the spectrum of ceramic forming, finishing, and firing techniques and were created by a range of individuals from many backgrounds including university level students, clay enthusiasts, and professional artists from around the country.

NCECA promotes and improves the ceramic arts through education, community-building, research and creative inspiration. NCECA offers programs, events and publications to support its membership of artists, educators, students, individual and corporate art patrons, gallery owners, museum curators and providers of ceramic arts-related products and services. As a dynamic, member-driven organization, NCECA is flexible in its program development, international in its perspective and responsive to the changing needs of its constituency.

Artist Peter Reginato, created the welded steel sculpture "High Plains Drifter" in 1974. Reginato's created this piece for Two Allen Center after winning a national competition for sculptors under the age of 40.

Artist Brower Hatcher, created the stainless steel, bronze, glass, copper, wood, bone, iron, and aluminum sculpture "Edge of Sky" in 1994.

The visual effect of this structure is that of transparent prismatic haze punctuated by dots of light reflected by the brass fittings and glass shapes.

Artist, Jaroslav Belik created PP-213, a painted metal and mechanical sculpture in 1992.

Belik sees himself as a kinetic sculptor whose goal is to create a moving machine in which the motion itself plays the most important role and the work's function as an object is minimized.