Hello everyone, I hope you are all well and weathering this pandemic craziness by keeping creative and keeping in touch with the people most important to you.
I’ve suspended classes temporarily, but am exploring ways to deliver instruction to you online. Meanwhile, as things are opening up out there (I am writing this on June 4), if you feel comfortable with safe distance learning in my studio for one or two people, or for small groups, let me know and I can set something up for you! I miss you.
I will keep you posted as things shape up more clearly. Happy painting!
For the first time at the Culture Crawl I’m offering a limited edition print of one of my paintings, Rush Hour. There will be only 10 in the edition, 10 x 10 inches on archival paper with archival inks. A framed sample beautifully put together by Fine Art Framing will be on display in my studio. I will be taking orders for this and a few other limited editions also available at a price point that allows for affordable gift-giving, for a loved one, or for yourself!
Rush Hour, 10 x 10 inch limited edition print on archival paper
Also available: A 50-page book of select paintings from twelve years of my Tourist series.
As well you will find six new paintings, and a drypoint print, Syon House Interior that I recently re-discovered in my print portfolio, along with some framed 7 x 7 inch 3-colour pencil crayon drawings.
For the past 15 years, I’ve painted opulent European 18th and 19th century interiors. Designed as theatrical displays of status and power by wealthy aristocrats and bourgeoisie, these formerly private sites are now museums, providing entertainment and pleasure for touristic consumption, while also opening up a space for philosophical contemplation.
Although I use photography as a structural device through which I enter the painting process, with each piece I always seem to arrive at a point of crisis where I need to break free from the tyranny of the image. Through partly destroying the image I discover fresh solutions to painterly problems I set for myself.
Throughout my childhood and into my mid-twenties, I was a ballet dancer. That intense training of spatial awareness and interpretive questioning is still deeply stamped in my DNA. A painting to me is a kind of choreography; there’s a haptic dance that takes place from my optical experience of an image, through to the way my nervous system signals to my body how to translate and record it. As painter/dancer I tease out meaning through working and reworking, coming up to speed as I gain understanding, and making the last strikes with absolute commitment.
Below are images of a work shown in progress through to completion, of the Porcelain Dining Room in the Chateau de Versailles. It’s a commission I’ve enjoyed making for a private home near Toronto. The wide panoramic format was pieced together from individual photographs I took from a trip in France a number of years ago. I remember going through the chateau twice, the second pass offered a satisfying, golden afternoon light. The composition reminds me of the forced perspective one observes on the virtual tours of museum websites.
Blocking in always begins with big brushes, to locate everything and establish colour family and main values. The next step in the painting is to use smaller brushes and go in for specifics of detail, sharpening edges and creating stronger focal points. I want the viewer to feel immersed in the space, with lots to encourage the eye to keep meandering, discovering new subtleties and maybe even surprises. It’s important to me that a painting unfold for the viewer slowly, to withstand the test of time.
In the final session something happened that wasn’t planned. Here’s the finished piece with its new title, Mantlepiece with Talking Objects (Versailles).
Working with the warm colors of the parquet flooring, gilding, and marble, really helped energize the gray days of winter.
I’m excited to be creating new work from my I am a camera series, for a visual art exhibition at the Vancouver International Dance Festival, alongside dance photography by Chris Randle, and woven willow sculpture by Ken Clarke, March 3-19. The artwork will be displayed in the Roundhouse Exhibition Hall in Yaletown. A number of dance companies participating in the festival have graciously welcomed me into their rehearsal studios to draw them as they prepare for their performances. Seeing them at work is a beautiful thing––the total commitment to their artform is palpable and so inspiring. I hope you will be able to take in the vast array of wonderful performances to choose from during the festival, scheduled at various venues.
There will also be free noon-hour life drawing sessions every weekday beginning Thursday, March 3 through Friday March 18 at the Roundhouse Exhibition Hall. Practice your drawing skills and let your creativity be inspired by dancers and life models posing in either costumes or plain clothes.
These public sessions, presented in partnership with the Roundhouse Community Arts and Recreation Centre, are open to all skill levels, are free, and require no pre-registration. Sketching paper, pencils, and other supplies are available for participants to borrow, courtesy of a generous donation by Opus Art Supplies.
Bau-Xi Gallery is pleased to present WASHED by Water,a group exhibition centered on the theme of water.
“The water understands Civilization well” famously states Ralph Waldo Emerson in his seminal poem, Water about the independence, transcendence, and spiritual union of water and society in the nineteenth century. An essential life giving element that is as precious a commodity as it is a dangerous and volatile source of destruction, water has an ever more complicated relationship with civilization today. If once, society valued the element for hydration, ablution, regeneration and transportation, water has become an inexplicable source of power rife with political, financial and environmental contention. Never has society better understood the importance of water and simultaneously taken it for granted.
WASHED by Water will explore the metaphorical, environmental, material significance of water and bodies of water as they inform visual culture in the twenty-first century. Artists will look at the different formations water takes and offer work that comments on their own unique relationship with the element. Special attention will be paid to depicting the aesthetic quality of the element – how to capture its various color, its fluidity and its ability to reflect light.
Bau–Xi Gallery will be celebrating its 50th Anniversary with special exhibitions running May 7-30, 2015 at both Bau–Xi Toronto and Bau–Xi Vancouver.
Opening Reception: Thursday, May 7, 7- 9pm*
*Due to space limitations, please RSVP here for the Opening Reception. contact: 604-733-7011
I’m excited to be showing new work at this upcoming exhibition, which will include historic Canadian art from the Huang family’s private collection including Jack Shadbolt, Gordon Smith, and Maxwell Bates, along with new work by current gallery artists.
If you have a story or picture you would like to share from your visits to the gallery, please email them. They would love to hear about it. It may be selected to be included on their website and/or in the exhibition.
Victoria painter Todd Lambeth was seriously injured in a cycling accident recently, and found himself housebound with limited movement as he convalesced. Cats at rest are the subject matter of the paintings that came out of that period. The artists says, “These are not paintings of urban hustle; rather they are oases of meditative calm and reflection. The banal subject of the ubiquitous family cat is transformed into images that celebrate the humility and comfort of our private lives.”