Eddie Santana “Edo” White first put acrylic to canvas in 2017.  By December of 2018 he was showing his work on the rooftop of the Penthouse event space in Miami’s Brickell neighborhood with Pigment International during the most important four days on the U.S. art calendar – Art Basel Miami.  Such is the beginning of the career of the self-taught multi-disciplinary artist, fashion, graphic, and industrial designer from the south side of Chicago. 

Edo’s style, which he calls Infinite Inception, is about discovery, truth, and inspiration. His paintings are intricate and rendered not linearly, but in a meandering path full of color and symbolism, all carrying a depth of thought and well-researched meaning. Watching him free hand the seeming puzzle pieces that become one image is mesmerizing.  Don’t expect to capture everything within a single viewing, rather, every viewing reveals something new, something different, and something infinite.  

His art has been featured in corporate exhibitions for Hyatt International, LinkedIn, Twitter, and Google. During 2019 he exhibited at Columbia College Chicago, the Andersonville Galleria and Art in Motion Charter School, DuSable Black History Museum and Education Center, Spectrum: Art Basel Miami, and the Museum Of Contemporary Art. He kicked off 2020 with his first ever solo exhibition “Memories Museum” at the Logan Center for Arts and in 2021 he exhibited his very first series of works titled: “WORLD OF FANTASY”. He also collaborated with the White Sox Organization on multiple projects from Juneteenth works to a mural of short stop phenom, Tim Anderson. He topped off 2021 collaborating with Lululemon Athletica on mural work and exhibiting works at their locations. 

There are artists who paint the world as they see it. And then there are artists who coax the world into revealing itself — who set conditions, introduce variables, and stands back to witness what emerges. Salome Jaffe, based in Florida and working at the volatile intersection of chemistry and figuration, belongs decisively to the second category.

Jaffe's work offers extraordinary visual results using rusted, oxidized metal surfaces with their rich, irreproducible texture — but the conceptual confidence behind the practice is extraordinary as well. This is an artist who trusts the process because she understands it, deeply, as both scientist and author.

Jaffe works with acid, fire, and metal — not as novelties, but as a precision vocabulary. Her process centers on controlled chemical reactions: oxidation shaped by humidity, temperature, and pH levels, yielding surfaces that are simultaneously unpredictable and masterfully guided. No two works are identical. The studio itself must be carefully calibrated to achieve consistent results — a working environment that is part laboratory, part creative sanctuary.

The rusted patinas that define her pieces are not applied. They are grown. The distinction matters enormously, because it means every work carries within it a record of its own creation — of time, atmosphere, and the artist's intervention.

In recent work, Jaffe has introduced oil painting back onto her treated metal surfaces, creating layered compositions that merge gestural figuration with the elemental. The female figure — her recurring subject — is rendered not as representation but as assertion: presence, agency, and historical continuity made visible through paint and rust and fire.