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      Inspiration, Invention & Innovation

Colorado based designer and artist Patrick V. Minervini has been honing his skills as a master
craftsman in multiple mediums his entire life.

In his childhood in New Jersey, Pat was always making things, building models, drawing cars,
sketching. Around age 11, an older cousin who was pinstriping professionally invited Pat over
for the day and he was immediately inspired to try his own hand at the notoriously difficult art
form. Needing a box in which to store his paints and brushes, he found enough scrap wood his
father had in the basement and quickly built a box, which he then pinstriped. This is that box
and first attempt at pinstriping: (note original Ed Roth decals inside of the lid.)















In high school, there was limited art instruction offered, so Pat ended up in mechanical drawing
class – drafting, which he did until graduation in 1971. In the summer of 1972, while on vacation
on Cape Cod, he saw a man doing traditional scrimshaw on a whale tooth. Inspired, he bought
a whale tooth and an X-Acto knife and gave it a try. 


College studies began in Electronics technology which after a brief period, he quickly realized
this was not for him. Wondering what he should do, contemplating getting a Physical Education
degree, he happened to wander into the college’s Art Department and became captivated by a
student working at a potter’s wheel. This was the Eureka! moment and he promptly changed his
major to art.


The ceramics instructor at the college, Ilse Johnson, and local master potter and author Elsbeth
Woody, whose work is part of the permanent collection of the Smithsonian Institution,
recognized the drive and passion evident in the new student. For the next four years, Pat
immersed himself into pottery and ceramics under this exceptional tutelage. He also took
coursework for a teaching certificate and was graduated in 1975 with a BA in Art Instruction.
Like any fresh graduate, he started applying for art teacher positions and in an ironic twist was
hired back at the same high school from which he graduated to start an art department. His
immediate goal was to provide a diverse program wherein the students would get to do
everything he hadn’t. He built a massive program doing everything from drawing, ceramics,
jewelry to painting, and for the next seven years, helped hundreds of students discover their
creative personalities.


During this time, he was still doing his own pottery and in 1982 he decided to make it a
profession. He moved to Warwick, NY, built a studio and kilns and went to work. For the
next several years it was a potter’s life, one of the highlights of which was a pair of one-
person gallery shows in Manhattan.













In addition to his artistic talents, Pat had also been an avid and competitive road cyclist. In 1990,
a racing friend who worked as a product rep in the bicycle industry called and asked if he’d be
interested in meeting the Italian owner of one of his product lines. They came by and talked
bikes and looked at Pat’s art. Two weeks later, the company owner called and asked Pat if he’d
like to work as a designer in the bicycle industry. Pat packed up the pottery studio, moved to
North Carolina and for the next five years designed bicycle frames, cycling apparel, cycling
shoes, and more while leading his own design team. Many of his frame designs utilizing new
materials were considered radical at the time but are now considered revolutionary advances
conceived well before their time.


But what does a man with an overflow of creativity do with his off hours and no pottery
equipment? North Carolina is renowned for its furniture and woodworking heritage. Intrigued by
trying his hand at wood, he looked around and soon met a friend, whose specific woodworking
hobby was building 18th Century Queen Anne furniture. And thusly another medium was
discovered, another creative destiny was fulfilled. Where most novice woodworkers start with
simpler forms, Pat dove headlong into one of the more demanding woodworking disciplines with
remarkable success. These two pieces are from this period:














During his time in North Carolina, Pat was introduced to another person who would recognize his  design sensibilities and see the benefits in applying him to industry. He was soon on his way back to New Jersey where for the next five years he led a design team creating packaging and graphics for consumer goods. During this time, the world was transitioning from standardized art production methods to computer-based 3D rendering, and Pat was one of the first designers to successfully apply the new methods to industry. His team produced packaging and branding familiar to most of America with clients such as Lysol, French’s, Airwick and Electro-Sol.


After a time, the corporate world for Pat became more meetings and budgets than actual design
and execution and the mountains began to call. In 2004, Pat packed it all up and moved to
Colorado, where his brother had been living for many years. With his reputation and track
record of proven success, he was very in-demand as a freelance, which he has been doing as
PM Designs ever since. In 2008, he developed an idea for a standup desk workstation. While
these are commonplace today, they weren’t then and Pat was granted U.S. Patent Number
US 8,671,851 B1 for his design. He then launched StandinGoodHealth Manufacturing to produce his
innovative design.


In 2017, Pat was visiting with the same cousin who had originally inspired him to pursue pinstriping. He brought out that old box pictured above. His cousin urged him to pick up the
brushes again and in 2017 Pat founded Pasquale’s Pinstriping. He has been working closely

with pinstriping legends such as Alan Johnson, learning new techniques and bringing
fresh ideas and innovative treatments to the craft. To aid in the applications of these new
methods, Pat has recently begun crafting a line of handmade tools for the artists in pinstriping
and precious metals leafing.















In early 2019, Pat traveled to England to spend four very rigorous days learning glass gilding methods with David Smith.












Pat’s attributes his success in these wildly disparate mediums to his singular ability to imagine,
design and build simultaneously. As he’s thinking up a treatment or design, he’s building it in his
head and can then execute from that imagined picture with his hands at once, often without
sketching it up. To watch him at work is to watch a true Renaissance man in the most Italian
sense of the term.

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