This notice is for Dreams Fine Art clients who purchased artwork by artist Bill Mack.

Among other claims, Dreams Fine Art has a pending claim of fraud and misrepresentation against artist Bill Mack individually as well as his company in South Florida's Federal Court. We will update you on the outcome as the case progresses and concludes. In the meantime please email us at with any questions.

The below is a portion of testimony in a court proceeding by artist Bill Mack related to his art creation process.

  1. Good morning, Mr. Mack.A. Good morning.
  2. Mr. Mack, you testified in Mr. Russomanno's direct that you
    paint the Hollywood sign in a photo realistic art style; is
    that correct?
    A. That's correct.
    Q. Could you explain for the Court and myself exactly what a
    photo realistic art style is?
    A. Yes. It's complicated but I can do it. Photo realistic
    has been around for a long time, probably since the '50s, and I
    paint in a realistic style anyway, but photo realism is based
    on a photograph. And there's two, the pop art out in photo
    realism came out about at the same time.
    Photo realists were -- I think there were kind of,
    that's the entrance of photos into art came out about that time
    and they were kind of -- that was the focus of what they were
    And so, I mean, it's been an art form that's been
    around forever. It's based on a photograph. Interestingly,
    I'm painting iconic images of people I don't know. I mean, I
    can see thousands of photographs of Marilyn Monroe or anybody
    and they're all different.
    The unique thing about what I do relative to photo
    realistic is it's based on a photograph. I don't know what
    Marilyn Monroe looks like. I don't know what James Dean looks
    like, and I'm trying to put that image on there to look as much
    like him as possible.
    So I rely on photographs and I do that research by
    photographs that I may have in my collection or I go on the
    internet and I find a photograph. But in each and every
    instance, almost a hundred percent of the time, I've got to
    manipulate that photograph, and my photo basis is even more
    sophisticated than anything they did back in 1950. I change
    the photograph sometimes a little bit, sometimes drastically.
    So the photograph that I spit out of my computer that is a
    basis of the painting is already a unique piece of art work,
    according to somebody some experts that I've talked about.
    So now that's the basis of the work. And then from
    that point I paint that image on the Hollywood sign.
    Q. So you don't paint it from scratch, correct?
    A. Of course I paint it from scratch.
    Q. No. When you said you manipulated it onto the Hollywood
    sign somehow -
    A. No. I'm sorry. You didn't understand it correctly. I
    didn't manipulate it on the Hollywood sign. I manipulated the
    photograph in the computer. So it's a photograph that I'm
    starting with, but it's a photograph that I create.
    Q. So you're not painting from -- when I say painting from
    scratch, I mean painting on, whether it's a Hollywood sign or
    on a piece of canvas from top to bottom. You're starting with
    a photograph, correct?
    A. I started with a photograph over here and the Hollywood
    sign metal is over here, and I'm putting that image on here.
    Q. How are you putting that image on the Hollywood sign?
    A. Like everybody has in history. They do it -- rarely do it
    freehand, it's photo realism, they did it by quadrants, they
    did it by like an Artograph, a machine that just blows it up
    and puts it on there and you sketch around it. You can do
    And I don't know if that's considered digital or not.
    They can do it digitally. You have someone put an image on the
    metal that's of my photograph that I created, and it's on there
    and it doesn't have any life and it needs to be painted from
    scratch. I've got tons of images.
    Q. Well, I'm not asking how it's done historically, how other
    people do it, I'm asking specifically, how have you -
    A. That is specifically how I do it. Everyone is different.
    I can't say that, but there's different ways of doing it. I
    mean, that's the basis of getting started, then I got to paint
    it. And when I paint it, everything changes. I put heads of
    Marilyn Monroe on the body of Nicole Kidman. I've done
    whatever I want to do. I'm creating art. The art that's -- to
    complete that -- the art that's completed only exists from me.
    It's not accessible any other place. That's why it's art.
    Q. But I'm asking how it's created and from what I understand
    you're saying that you don't paint it from scratch on the
    Hollywood sign with a paint brush. You start with an image,
    A. I paint it on the Hollywood sign with a paint brush.
    Q. Right, but is it blank when you begin painting it? Is
    there nothing on there or is there some image that's been -
    A. Well, I either draw it on or use quadrants to draw it on or
    I blow it up and draw it on or I have some transfer of a rough
    image of it on there and I start painting. I mean, I paint
    for, like, I don't know days.
    Q. Mr. Mack, could you -- there's a book in front of you that
    I placed in front of you in your -- could you open your book,
    please, to -- there's a number of exhibit tabs. There's about
    28 of them. Could you open to Number 4, please.
    A. (Complies).
    MR. RUSSOMANNO: Just for purposes of the record, Your
    Honor, unless this document has been filed in the Court, in
    opposition to the Rule 11 motion, I object to it being even
    addressed, referenced in the record or shown to the witness.
    MR. MANCUSO: Your Honor, this is a certificate of
    authenticity that was sent by Mr. Mack to my clients roughly
    two years ago. He knows exactly what it is.
    MR. RUSSOMANNO: Same objection, and according to Your
    Honor's ruling, I have not seen this and I object to it being
    THE COURT: You've never seen this?
    MR. RUSSOMANNO: No, Your Honor. What I've seen, just
    to make this efficient for the rest of the questions, what I
    have seen is what's been filed in opposition to the Rule 11
    motion on behalf of Mr. Mancuso's clients.
    Why? Because they have done no written discovery,
    they have done no deposition discovery. So that's all I've
    seen is what's in the record.
    MR. MANCUSO: Your Honor, the portion of this
    certificate that I'm going to question Mr. Mack about is
    specifically quoted in paragraph 21 of our counterclaims.
    THE COURT: Why don't you go to the counterclaim? Why
    do you need the certificate if the language is in the
    MR. MANCUSO: Well, I wanted -- Mr. Mack signed the
    certificate, Your Honor. I would like him to verify his
    signature, but I could certainly go to the counterclaim itself
    which Mr. Russomanno has seen.
    THE COURT: Okay.
    Q. Now, Mr. Mack, it's been introduced as your Exhibit 1, I
    believe, but you can turn back to Tab Number 1 in there.
    A. (Complies).
    Q. Okay. You see on the upper right-hand corner, there's it
    says page 1 of 15, page 2 of 15?
    A. Yeah.
    Q. Could you go to page 9, please?
    A. (Complies).
    Q. Now, at the very bottom paragraph, it's paragraph 21.
    Could you -- in paragraph 21, which is part of the record, it's
    quoted the language of a certificate of authenticity that you
    allegedly sent to my clients, the counter-plaintiffs, in late
    December or early January of 2017. Take a look at how it's
    Is that accurate? Is that a true and correct
    recitation of the certificate that you sent to them?
    A. I believe so, yes.
    Q. Could you read -- and does it describe how, in fact, you
    painted the Hollywood sign metal?
    A. In general terms, I mean, I'm not being specific to each
    particular one. Most times, I don't even put that much
    information relative to how they do it.
    Q. Could you read the description part?
    A. Sure. "The metal panels are restored by the artist to
    carefully preserve the 55 years of paint, rust and other
    defects which show the age and character of the metal he uses
    as his canvas. Bill Mack," obviously referring to me, "renders
    his images in the photo realism genre based on photographic
    reference. He re-proportions, adjusts, adds color, contrast
    and other otherwise modifies the image as he deems necessary in
    his paintings. The images are enlarged and drawn," and that's
    referring to the -- so you understand, that's referring to the
    photograph that I created.
    Q. Can you explain that, the images are enlarged or drawn and
    you referred to a photograph. Can you explain exactly how the
    photograph is -- is the photograph enlarged? I mean, take us
    through it.
    A. I appreciate that opportunity. Thanks. I go to the sky,
    if it's of Liz Taylor and I look for image that appeals to what
    I have in mind as closely as I can to what either the client
    wants or my client wants, and then I've always got to modify
    it, it's got to fit a certain size, if I'm going to add the
    word "Hollywood" on there.
    If, as an example, I want to put a some jewelry on Liz
    Taylor or not. I mean, I try and get my image, the
    photographic basis for what I'm going to do in my painting. I
    do that in the beginning in the computer. So the photograph
    that I work from is the photograph. It says he re-proportions,
    adjusts, adds color, contrasts color, otherwise modifies the
    image, meaning the image of the photograph that I'm starting
    with. But I also do that when I paint.
    It doesn't matter what my basis that I created in the
    photograph, when we put it on the canvas it has no life in it.
    And I've put a green dress on it and I decided it needs to be a
    black dress, I do that as I paint.
    So then I continue on.
    Q. Yes. That's exactly what I was going to ask you to do.
    Can you continue with the rest of that sentence?
    A. Sure. The images are enlarged typically. My image can be
    eight-and-a-half by 11 or eight by ten, the photograph, and
    drawn or transferred digitally for proportion on metal from the
    original Hollywood sign and hand-painted by me, as by the
    Q. Let's stop there. Transferred digitally for positioning on
    metal from the original Hollywood sign and then hand-painted.
    Describe that process.
    So it's not hand-painted originally on the Hollywood
    sign. You transfer an image digitally, correct?
    A. Well, you understand you're dealing with an eight by ten
    photograph, and now I've got to put it on 30 by 36 inches.
    Q. Right. I'm just asking how it's actually -
    A. I'm going to try to explain that. I need to enlarge it,
    and to enlarge it correctly, you used to do it with quadrants
    and several different ways. There's new technology. Artograph
    is a typical way. I just put my photograph and you put it with
    the thumb drive now or set the Autograph on and it blows it up
    and I sketch from that.
    We have got an example of that, I can show you if
    you'd like, and you sketch on the background and then I
    continue painting.
    It's expeditious to have it done digitally, which
    means you can print an image on there that's going to be a
    rough image and some basis for me to start my painting. It
    makes no different to me. It may save a day. It may not even
    help me. It may work backwards.
    Q. So, in other words, you don't paint from scratch with your
    hand, you transfer it digitally and then paint over it?
    A. Well, no, either way you said the same thing. I paint it
    100 percent. There's not a piece of that surface, that art
    work, that hasn't been painted.
    Q. When I say paint it from scratch, I assume that you know
    what that means, correct?
    A. Well, yes, of course I do. But the photo itself is a piece
    of art so, it's my scratch. Yes.

The below is a portion of a letter provided to us by a law firm representing artist Bill Mack related to his art creation process.

There is nothing new, nothing wrong, nefarious, or out of the ordinary about an artist creating and using an underlying image in the process of producing original artworks.  Mr. Mack does exactly that, he collects his source/reference material, creates his original imagery on his computer, then transfers the underlying image to his canvas, metal or other medium, and hand-paints each piece individually thereafter.