DESTIG Magazine - (Toronto theme issue)

DESTIG TORONTO - ART | DESIGN | TRAVEL - ISSUE 09 / JANUARY 2021

BEST OF 2020 | TODAY'S GREAT CANADIAN ARTISTS | SPECIAL ART FEATURES | HOT PICKS

DESTIG AWARDS nominate at www.destig.com

DESTIG - TORONTO THEMED ISSUE WE BRING YOU DREAMS OF ART, DESIGN AND TRAVEL

Once the world returns to normal, you deserve to experience a city that offers so much more than you would typically expect from a city break.

In this issue we present all the reasons that make Toronto the perfect destination for some post-pandemic revitalisation of your mind and body.

In keeping with the theme, we bring you a selection of today's great Canadian artists. They are deservingly included in our Best Artists of 2020 interviews.

From world-leading names to emerging talents, we have you covered. Whether you are a collector interested in investment or buying art for your soul, OR you are a creative that appreciates some inspiration... we are confident that you will be informed and excited by the recommendations within these pages. +20 Design Hot Picks are presented in this bumper issue (10 more than usual). + There are over 20 Special Features; spotlighting exceptional gems in art, design and travel. Don't miss our spotlight of Portugal's dazzling Algarve Coast.

Every single one of the four hundred and fifty six pages that comprise this issue have been lovingly crafted and meticulously checked for quality... just like wine from British Columbia (we have a feature on that too).

Our readers have been front of mind throughout our production process.

We bring you dreams, it's up to you to realise them. Enjoy!

THIS ISSUE IS DEDICATED TO TIM WILSON. BEFORE HE PASSED AWAY LAST YEAR, HE WAS NEW ZEALAND'S MOST SUCCESFUL LIVING LANDSCAPE ARTIST. HIS COLLECTORS INCLUDED MUSIC STARS AND ROYALTY. HE WAS ALSO A DESTIG ARTIST OF THE YEAR. OUR EXPERIENCE OF TIM WAS OF A HUMBLE AND NICE PERSON.

Discover how to create your best art and succeed in sharing it with the world.

www.artandsuccess.com

DESTIG

D9 - TORONTO Introduction Contents

10 Welcome to Toronto 38 Christo - A Tribute 44 Air - Yakusha Design 50 DESTIG Hot Picks 74 Janis Straupe

108

154

184

82 Christiane Pape 84 Raymond Warren 94 Deb Achak 104 Johanna McWeeney 108 Howard Harris 118 Tom Ashbourne 128 Gilles de Beauchene 134 S. Brooke Anderson 144 Carla O'Connor 154 Louisa Seaton

10

84

160 Caroline Bacher 170 Thomas Bromley 180 Alexey Shahov 184 Brian J. Thompson 194 Gerald Stein 202 Nadia Maria

94

134

Welcome to DESTIG - Toronto

Team

2021 is a year of hope to see the end of COVID-19. To do our bit, we

Mike Walters - Editor in Chief

have brought together some of the most talented artists (emerging and

Andrew Martin Davis - Producer

established) on the scene today. We are deeply honored to showcase

Richard Maurice / Paul Martins - Journalists

their artworks and insights. We invite our readers to make the most of

John West - Travel & Brand Advertising

this unrivalled opportunity by reading their interviews and purchasing

Alice Carreras - Art & Design Advertising

some irresistibly powerful artworks. Wishing you a happy 2021!

Zayne Walters / Zizou Mikel - Interns Victor Sanchez / Jennifer Boothe - Designers

- Mike Walters, Editor in Chief.

006

David Truro - Design Support

206 Ken Naiff 214 Ingrid McMillan 224 Andrew McDermott 228 Hildegarde Handsaeme

282

396

258

236 Ira Lujan 244 Jeff Wilson 248 Rob Buntin 258 Carol McIntyre 268 Carol Carter 272 Svetlana Simeons 282 Amogh Katyayan 292 Deborah Kennedy

272

236

296 Leslie Lendvoy 306 Sarah Hylton 316 Murray Zimiles 320 Michele Taras 328 Carolyn Kolegger 338 Meredith Mullins 340 Marcia Biasiello

214

418

342 Barbara Berlin 352 Joe Ferry 360 Flavia Lovatelli 362 Don Slocum 364 Nard Lee

352

268

450

374 Motoko 384 Jennifer Pazienza 386 Abraham Dayan 388 Jan Tetustani 396 Peggy Blood 406 British Columbia Wines 410 Jason Behrends 418 Fong Fai

430

228

426 The Algarve, Portugal 430 Janet Echelmann 440 Keisha Manijean 442 Tim Wilson 450 Kathleen Collins

440

292 007

Home Fragrances with the smell of the simplest element of nature - our land. Viktoria Yakusha, over a period of 9 months has developed it for a modern minimalist house and its owners, who cherish traditions and prefer natural materials.

Line of 3 basic home scents – MOCHAR, CVIT and POLYN, released in the form of a diffuser, candle and soap. The packaging is handcrafted of local organic materials and the inspiration for the niche home fragrances comes from the earth - a natural element that gives life to all living things.

WWW.FAINA.DESIGN

WELCOME TO TORONTO TORONTO IS AN ECLECTIC AND COSMOPOLITAN CITY WITH A VIBRANT CULTURE. IF YOU’RE INTO THE ARTS, THEATRE OR SPECIAL EVENTS, THERE'S ALWAYS SOMETHING NEW TO DISCOVER!

Canada’s largest city, and the fourth-largest in North

The population of the City of Toronto is 2.9 million,

America, Toronto is a global business, entertainment and

ranking fourth in North America, behind Mexico City,

tourism hub, famous for its progressiveness and

New York City and Los Angeles, and just slightly

diversity.

ahead of Chicago.

Famous for its diversity, Toronto may be the world’s

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Toronto is the capital city of the province of Ontario,

most global city, with 50 per cent of the population

Canada’s most populous province.

born outside of Canada.

Centrally located between New York City, Chicago

More than 200 languages and dialects are spoken in

and Montreal, Toronto’s within a 90 minute flight for

Toronto.

over half the U.S. and Canadian population.

First settled more than 11,000 years ago, the area

Toronto sits on the northern shore of Lake Ontario

that now makes up Toronto was home to a wide

(the easternmost of the Great Lakes) and has a

array of Aboriginal groups for centuries.

shoreline stretching 43 kilometres featuring sandy

The word “Toronto” comes from the Mohawk phrase

beaches, marinas and working ports.

“tkaronto” meaning “where trees grow in the water”

Two major rivers flow through Toronto into Lake

and refers to a time centuries ago when the shores of

Ontario: The Humber River on the west side of the

Lake Ontario reached much further north.

city and the Don River on the east side.

In 1834 the city was named Toronto.

Toronto is a city rich with a cultural heritage. And nowhere can you see that heritage than on display in the many Toronto art galleries and museums.

Royal Ontario Museum The largest museum in Canada and one of the top cultural museums in North America, the Royal Ontario Museum is one place you positively cannot skip when in Toronto. Reaching through the ages, the Royal Ontario Museum showcases art and nature from around the globe with over 13 million objects.

Gardiner Museum While not top of mind for everyone, the Gardiner Museum deserves your time just as much. A quick two-minute walk from the ROM, the museum specializes in historic and contemporary ceramics tackling both social and artistic points of view.

Art Gallery of Ontario With over 90,000 pieces in its collection, you will always find something of interest during your visit to the Art Gallery of Ontario.

Ryerson Image Centre Dedicated to the art of photography, the Ryerson Image Centre is housed in a repurposed warehouse building on the campus of Ryerson College. Expect to find some of the most creative photographs.

Bata Shoe Museum If you love shoes, you cannot miss the Bata Shoe Museum. It examines the 4,000-year-old tradition of the shoe from around the world.

Aga Khan Museum While you may know the Aga Khan Museum building, the magic is on the inside as it showcases Islamic art, Iranian art and Muslim culture through an intellectual and artistic lens.

012

The Museum of Inuit Art The Museum of Inuit Art on Toronto’s waterfront showcases art from Canada’s northern communities, including a wide range of paintings and sculptures.

Casa Loma Toronto’s mesmerizing Gothic Revival mansion was once

home

to

financier

Sir

Henry

Pellatt.

Overlooking the Toronto skyline, the opulence and majesty of this historic home transport you to another time.

Ontario Science Centre One of the top attractions in Toronto, the Ontario Science Centre is not just for school trips. Ontario's Science Centre gets visitors excited and engaged in science through fascinating and interactive exhibits.

Museum of Contemporary Art (MOCA) The centre of innovative art, (MOCA) has featured the works of over 1,000 Canadian Artists and is one of the best contemporary art galleries in Toronto.

McMichael Canadian Art Collection Nestled in 100 acres of forested land about 30 minutes outside Toronto, the McMichael Canadian Art Collection is dedicated to featuring and collecting the art of Canada.

Gibson House Museum Gibson House was built in 1851 and became a heritage museum in 1971, interpreting 19th-century domestic arts and rural life skills that include culinary and textile arts, gardening and farming. This elegant farmhouse reveals the evolution of North York.

Spadina Museum Spadina offers a glimpse of Toronto during the 1900-1930 period through the lens of one family.

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FEATURE STORY

DISCOVERING INDIGENOUS ART IN TORONTO Canadian Indigenous art is a major part of the nation’s contemporary art scene. Here’s a primer on this dynamic and evolving milieu. By Clayton Windatt.

Created from descendants of the original inhabitants of this land, Indigenous art occupies a vital position within Canadian art. Indigenous people do not form one homogenous cultural group and there are strong regional identities among First Nations, Métis and Inuit communities,

bands

and

tribes.

When

viewing

Indigenous art, understanding the cultural context it was produced within will provide you with a deeper appreciation of the artist and their work. Toronto’s Art Gallery of Ontario (AGO) and the McMichael Canadian Art Collection, just north of the city, showcase many of Canada’s leading modern and contemporary Indigenous artists. Here is an overview of the most influential Indigenous art movements: The Woodland School & Beyond Ojibway painter Norval Morrisseau was one of the first Indigenous artists to achieve mainstream success during the 1960s. Considered the leader of the Woodland School of art, Morrisseau is known for a visual aesthetic of bright colours and what came to be known as “Indian” stylization, with thick lines connecting people, places and creatures together. Morrisseau’s works depict— among other messages—transformation, capturing the power coming from within the land, water and animals.

016

Morrisseau was a residential school survivor who lived

artists. Contemporary visual artist Christian Chapman’s

through the suppression of native culture and language

work Elvis Changing into a ’77 Ford Thunderbird (2014)

during the early half of the 1900s, and his stylized

is a pop-culture-tinged riff on Norval Morrisseau’s Man

paintings are as political as they are symbolic: they

Changing into Thunderbird (1977). Chapman’s works

declare ownership over territory and claim agency for

often explore the intersection between Indigenous and

his culture.

non-Indigenous society. They also tell a story of heritage

Today, the Woodland School and its iconic imagery

and identity, preserving the evolving Anishinabe culture

retain their cultural significance, reimagined by younger

he is a part of.

Many Indigenous artists have engaged their practice as a platform for sociopolitical change, a strategy that artists around the world have employed.

Many Indigenous artists have engaged their practice as a platform for socio-political change, a strategy that artists around the world have employed. Ojibway artist Carl Beam frequently explores themes of identity and the impact of colonization on Indigenous Peoples. His 1985 painting The North American Iceberg (whose title ironically references an Art Gallery of Ontario exhibition of that same year, The European Iceberg) was the first work by an Aboriginal artist purchased by the National Gallery of Canada for its contemporary art collection. In Beam’s striking 1990 The Columbus Suite, a series of 12 monumental etchings that are part of the Art Gallery of 018

Monkman reimagines these works in his own fashion, painting scenes of love and war, appropriating and subverting the conventional.

It’s an approach that’s confrontational—and effective. Monkman is one of Canada’s most renowned contemporary artists, with work featured in Australia’s 2010 Biennale of Sydney festival, Toronto International Film Festival, the Toronto International Film Festival, the Museum of Contemporary Canadian Art (now called Museum of Contemporary Art Toronto Canada) (MOCA) and the National Gallery of Canada. His work is also in the permanent collection of Toronto’s Art Gallery of Ontario.

Subversion & Reconciliation While some artists choose to confront the world with images that challenge head-on, others aim for the same impact through subversion. Inuk artist Annie Pootoogook is known for her ink and coloured pencil drawings. Pootoogook portrayed life in her community, Northern Canada’s Cape Dorset (known as Kinngait in Inuktitut). Her representations explore everyday occurrences, including personal experiences. These include Ontario’s collection, he examines and reclaims colonialist ideas

representations of typical, day-to-day life, such as

of

children

discovery

and

identity,

using

appropriated

photo-

reproductions as well as images of himself at various life stages.

watching

television—or

a

woman

experiencing domestic violence. Pootoogook’s work mixes humour and blunt representations of

In Canada, as elsewhere, conversations about Indigenous rights

the disparities found in Indigenous life, making

remain ongoing. This context is a persistent concern for

these scenes of “normal” life a point of

Indigenous artists, as many issues between Indigenous people

confrontation.

and non-Indigenous society remain unresolved. Yet as Canadians, we share collective history and geography. That is a

Métis painter Jim Logan works in a similar way,

perspective explored prominently in the work of Kent

often discussing the church’s relationship with

Monkman, a Toronto-based, contemporary artist of Cree

Indigenous Peoples. Born in New Westminster,

ancestry whose queer alter-ego Miss Chief Eagle Testickle is

British Columbia, he depicts his experiences as a

depicted in painting, film and video works as a counter narrative

lay minister in the Kwanlin Dün Village, in the

to conventional colonial history.

outskirts of Whitehorse, Yukon. Logan employs humour and tragedy to raise awareness of the

020

Monkman’s paintings, in sweeping 19th-century Romantic style,

conditions within Indigenous communities and in

depict a wide range of historical narratives, deconstructing

Canada’s

existing notions of “Indians” that have been portrayed in

Pootoogook’s

historical textbooks and art over the past few hundred years.

prestigious international group exhibitions, like

former work

residential has

been

schools. included

in

Germany’s Documenta, and in the permanent collection

Here’s where to find more Indigenous art in Toronto:

of the National Gallery of Canada. Dozens of her pieces

Four totem poles carved by members of the Nisga’a

can be viewed at the Art Gallery of Ontario and the

and Haida communities of the Pacific Northwest

McMichael Canadian Art Collection (which staged an

tower at the ROM’s Daphne Cockwell Gallery of

exhibition of her work in 2019). Logan has had a solo

Canada: First Peoples.

exhibition at the McMichael and was a featured artist at

The Inukshuk is a sculptural figure that serves as a

Vancouver’s Expo 86.

multifaceted guide to the Inuit, both practically and

Rebecca Belmore is a multi-disciplinary Anishinabe artist

symbolically. West of the Harbourfront, Toronto

whose politically charged work has brought considerable

Inukshuk Park features a 50-tonne mountain rose

international acclaim. Belmore was Canada’s official

granite version created by Kellypalik Qimirpik of

representative (and the first Indigenous woman to

Nunavut.

represent Canada) at the 2005 Venice Biennale, and won

The oldest professional Indigenous theatre company

the 2016 Gershon Iskowitz Prize at the Art Gallery of

in Canada, Native Earth Performing Arts has a full

Ontario (the AGO also has three of her works in its

slate of theatre, dance and multidisciplinary art

collection). Known for pushing boundaries, Belmore’s

dedicated to creating and developing artistic

performance art functions as both protest form and

expressions of the Indigenous experience in Canada.

coping mechanism. Belmore’s work has raised awareness

The imagineNATIVE Film & Media Arts Festival is

of violence toward Indigenous people (especially

the world’s biggest presenter of Indigenous screen

women) and Indigenous rights. Belmore’s work looks at

content.

how politics relate to the construction of identity and

The Bata Shoe Museum and Gardiner Museum

representation.

collections both house handcrafted works of historical and cultural significance.

022

A New Era

The Native Canadian Centre of Toronto’s gift store

Although all these artists are unified under the

sells pieces designed by Indigenous artists.

identifying term Indigenous, each retains individual

Kleinburg’s McMichael Canadian Art Collection is

identity coming from different places, cultures and

home to one of the country’s foremost collections of

backgrounds. What they share is a connection to the

contemporary Indigenous art. The art collection

struggle that Indigenous Peoples have faced in Canada,

includes photography, mixed media, installations,

as elsewhere. Indigenous art and Indigenous rights will

performance art and assemblage. The McMichael’s

forever be intertwined. That context is the first step in

Inuit collection features contemporary work, and is

appreciating the ground breaking work from creators as

the long-term home to over 100,000 drawings, prints

varied as Morrisseau to Belmore.

and sculptures.

STREET ART IN TORONTO Toronto’s thriving street art scene showcases artwork from artists in Toronto and around the world, and touches not just on trends but social awareness of the times. Here are 15 spots with street art that’s sure to leave you feeling inspired. Written by J.W. Harrington.

Graffiti Alley (160 RUSH LANE) It is hands down home to some of the city’s most iconic street art and easily the most photographed. It’s also always changing, encompassing the artsy Queen West vibe and reflecting political and social activism, like most recently when a group of 40 artists painted the city black in support of Black Lives Matter. Be sure to check out the Black Lives Matter tributes by various Toronto artists like @sumartist’s ‘I Can’t Breathe’ tribute to George Floyd and more. You’ll quickly find that making more than one visit is definitely a must.

Start at the corner of Rush Lane and Portland Street and head east.

Thinking of You Wall (161 SPADINA AVENUE) Toronto-based female artist Christina Mazzulla worked on this piece that is the perfect Instagram spot to show someone that you care (especially during these times!).

Not to mention it’s pretty beautiful to look at as well.

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Toronto Wall (101 SPADINA AVENUE)

Make Good Mural (835 BLOOR STREET WEST)

Anything that depicts Toronto’s name is a sure bet to be

At the corner of Bloor and Shaw Streets is the Make

Instagram-worthy and this slightly trippy variation

Good Mural on the wall of Studio 835. Crafted by

might have you do a double take before you can fully

416Gallery Owner and artist Jimmy Chiale, this mural

read out the name. It also happens to be right next to a

has become a city favourite for the bold lines, bright

hot coffee spot in the city, Strange Love, so grab a latte

colours and vibrancy it brings to the neighbourhood. If

to have on hand for that photo in front of the sign (on

you’re digging the vibe of this mural, be sure to check

the south side of Strange Love Coffee).

out Chiale’s other work at Tequila Bookworm.

The Kawhi Mural (50 PEMBROKE STREET)

Calii Wings (367 KING STREET WEST)

Who could forget the electricity that took over Toronto

These angel wings are not just a Toronto phenomenon.

during the 2019 NBA championship run by the Toronto

Street artist Colette Miller has painted her heavenly

Raptors? The entire city, country and world were

designs on walls in LA, Washington, DC, Kenya, Taiwan,

captivated by Raptors, the underdog team that took the

Australia and more, making her a globally-known artist

championship title. During the playoffs, Raptors and

with her Global Angel Wings Project. The fact that

basketball star Kawhi Leonard murals started popping

Toronto has its own set of legit wings (that are also the

up throughout the city. This one took centre stage,

first ones in Canada) puts it rightfully in the ranks of

dubbing Leonard at the King of the North. A must for

other cool-vibes spots.

Raptors fan wanting to relive the glory.

Deer Park Mural (St. Clair West Subway station)

026

Sunglasses Mural (768 QUEEN STREET WEST)

This massive mural brightens up the busy intersection

Keep walking along Queen Street West and near

and has been dubbed Deer Park by its creator birdO

Tecumseth on the west side facing Bellwoods Avenue,

(aka @jerryrugg). Proving that street art can be in any

you’ll find this mural that will have you dreaming of

part of the city, this graphic mural takes up the sidewall

warm sunny days. Bring along your own shades and

of a multi-story building. The best pic is to kitty-corner

pose it up in front of this pastel-hued wall dotted with

yourself and hopefully capture a St. Clair streetcar

rows of sunnies.

passing by for a full-on Toronto vibe.

Toronto Tribute (169 RUSH LANE) If any mural summed up the city of Toronto, it has to be this one by Uber5000. The huge mural has so many elements in it that just capture the essence of the city— from The Tragically Hip’s Gord Downie in his infamous Jaws t-shirt to landmarks like the CN Tower, those pesky city racoons, and yes, even our once notorious mayor Rob Ford. You can find this mural between Rush Lane and Richmond Street, just east of Portland.

Good Vibes Mural (828 RICHMOND STREET WEST) Good vibes all around with this recent mural by Toronto artist @ben_johnston. Known for his play on fonts and words, Johnston’s murals will always make you do a double take. This one also happens to be steps from one of Toronto’s most famous downtown green spaces, Trinity Bellwoods Park.

The Drake Mural (695 THE QUEENSWAY) Your chances of snagging a selfie with the man himself might be slim so here’s the next best thing that’s a guarantee. Find this Toronto gem on the side of Bamboo This Is Paradise (408 QUEEN STREET WEST)

Tattoo on the Queensway in Etobicoke. It may be a bit

If you think you’re seeing a Queen West street art trend

of trek to get there, but worth it if you’re a fan.

here, you’re right. The art hub of the city makes it the prime spot for some of the coolest murals. Enter the This

Junction Mural (372 PACIFIC AVENUE)

Is Paradise mural on the side of Cameron House, which

The zigs and the zags in this bold, geometric mural add a

has been on the mural must-see list for a few years now

bit of life to the parking lot next to No Frills. Plus, with

and is still going strong. Nab this photo without cars

the Junction quickly becoming a hip hotspot, it only

parked in front of it by arriving super early, before 8:00

makes sense. An added bonus to this is that the posters

a.m. ideally. Get that unobstructed view from across the

on the right-hand side rotate. One week you might have

street to capture the full sign.

a movie poster with Tom Cruise on it, the next week Channing Tatum.

Kensington Market (283 AUGUSTA AVENUE)

028

While walking through Kensington Market, you can’t

The Keele-Dundas Wall

escape the free spirit of this part of the city. From black

Commuters from the west end heading to the

and white graphics to full houses decked out in

downtown core along the Bloor Line have long had

incredible art, to murals you need to stand and look at

moments with the Keele-Dundas wall during a quick

for a while to truly appreciate the intricate details, the

outdoor stretch on the subway. Lined with impressive

street art of Kensington Market emulates its spirit to a T.

murals, the back walls of the businesses along Bloor

There’s also a graffiti car in the midst of it all at the

Street West from Keele Street to Dundas Street West

corner of Oxford Street and Augusta Avenue. Yes, the

are amazing to see through a subway car window.

infamous Kensington Market Garden Car is colourfully

They’re even better if you hop off at Keele station, walk

painted AND has some greenery growing out of it too.

a bit east on Bloor and poke around the back of the

Perfect spot to perch for a quick photo.

buildings for a photo.

MEET SOME TORONTO MAKERS Toronto may be a resolutely modern metropolis, but it’s also home to artisans and designers who work the old-fashioned way. Here are five local makers who prove the secret to quality rests in mantras like one-of-a-kind, small batch and custom.

By Christy Wright and Jennifer Krissilas

Manzer Guitars

worthy Royals, “Being a small, local manufacturer

A former folk singer, Linda Manzer is renowned for her

enables us to have an undiluted design vision. It’s just the

one-of-a-kind guitars, the preferred choice of Carlos

designer and the person they are designing for.”

Santana, Pat Metheny and Bruce Cockburn. Manzer

–Rod Fitzsimmons Frey, founder.

hand-constructs each instrument using the finest materials, including aged rosewood, curly maple and

Brothers Dressler

ebony. “After seeing Joni Mitchell play a dulcimer at the

Furniture makers (and twin brothers) Lars and Jason

Mariposa folk festival on the Toronto Islands in 1968, I

Dressler create sustainably bespoke pieces, including

became interested in making musical instruments. When

wooden chandeliers. Crafted with discarded extras from

I first strummed a dulcimer I’d assembled myself, I was

local

shocked at the sublime joy I felt—it was like I’d given life

simultaneously rustic and upscale. Maker’s remark:

to something inanimate.” –Linda Manzer

“Crafting by hand allows us to explore the creative

mills

and

salvaged

city

trees,

they

are

potential of the wood, to take the time to bring out its Abel Muñoz The darling of Vogue Italia, Muñoz’s shoe collections are designed here and handmade in Italy. His style footprint?

Impeccable workmanship and attention to detail. “What I love about designing shoes is the combination of both the creative and the technical. Turning a concept into a wearable, finished product is amazing.” –Abel Muñoz Rekindle Rekindle uses high-quality local materials— wood, like walnut and maple—to produce heirlooms in the making.

“We’re passionate about wood—each is so different and comes with its own set of challenges and opportunities.

We love that it supports the local economy and is harvested sustainably.” – Devin Schaffner, co-founder GUILD Eyewear At GUILD, handcrafted comes with serious sartorial cred. Frames are designed by local artists, and are milled, tumbled, polished and assembled by hand. Result: Fierce looks like the femme fatale Bardots or the Iris Apfel– 030

beauty and usefulness.” – Lars Dressler, co-founder

EXPLORING PUBLIC ART IN

TORONTO

031

LUMINOUS VEIL Artist: Dereck Revington Address: Prince Edward Viaduct The Luminous Veil, which is part of the safety barrier on top of the bridge, was installed on the Prince Edward Viaduct in 2003 following a national design competition. Dereck Revington's design had two intentions: to help prevent suicides and to establish the viaduct as a public work of art for the city through a unique lighting concept. The lighting installation uses an LED control system to process real-time data from a weather sensor located on top of the Luminous Veil.

This sensor triggers changes to the light, rhythm and tone of the light display in response to wind direction and velocity as well as ambient temperature.

MINDSHADOWS Artist: Catherine Widgery Address: 25 Broadway Avenue, The Republic Condos Words are the building blocks for thought. They give shape to our ideas. These cubes embody the energy and power of words within a structure of reason and order. Yet thought is without physical substance so these words dissolve in the shifting light, personifying the effervescence of our intellectual journey. The sculpture is 70% open space: a metaphor for an open, permeable mind. The inscribed words were selected intuitively by North Toronto Collegiate Institute students

to

be

evocative

without

any

single

interpretation.

THREE POINTS WHERE TWO LINES MEET Artists: Christian Giroux / Daniel Young Address: Bathurst and Vaughan Taking its form from the traffic island on which it sits, this artwork produces a new urban room by combining a multicoloured truss structure, the triangular plot it encloses, and an encircling sidewalk that acts as a podium and plinth. Located between the converging energies of uptown and downtown, the structure densifies an intersection already clotted with utilities, and challenges established forms of urbanism and spatial representation in Toronto.

032

AL PURDY Artist: Edwin Dam de Nogales / Veronica Dam de Nogales Address: Queens Park Circle North One of Canada’s most beloved poets was honoured with a statue in his likeness and a historic unveiling ceremony at Toronto's Queen’s Park. This is only the second full-length statue of a Canadian poet in Toronto.

Then Mayor, David Miller spoke to the crowd about the man who was often described as Canada’s national poet: "Al Purdy is one of Canada's greatest poets. This statue, donated to the people of Toronto by the friends of the Poet Laureate and placed in a prominent location in Queen's Park, is a fitting tribute to a person who enriched the lives of so many Canadians."

FACES OF REGENT PARK Artist: Dan Bergeron Address: Dundas Street East and Sumach Street This permanent public artwork was commissioned by the City of Toronto. The twelve photo-based, mixed-media portraits depict residents from the newly revitalized neighbourhood. The six double-sided laminated glass panels are each nine feet high by six feet wide and twoand-a-half inches thick and weigh 2000 pounds.

Aesthetically the work combines the familiarity of the human face with the distressed surfaces of aged architecture and infrastructure found in the urban environment.

LIGHT CONTAINERS Artists: Linda Covit Address: 525 Wilson Avenue, Gramercy Park Condos This multi-component artwork animates the streetscape along Wilson Avenue and defines the primary entrance to the main public courtyard of the building while visually reinforcing the corner of the property. Integrated into the landscape design, through a simple illumination system and perforations in the sculptural forms, floral images appear, disappear and reappear.

Thousands of perforations compose an image of spy apple blossoms, referencing fruit that once grew in nearby orchards.

033

MARINER Artist: Jed Lind Address: 2025 Sheppard Avenue East, Heron's Hill Standing at 16 ft. tall, mariner creates a mesmeric landmark in the development and enriches the Yorkland Road streetscape. Bold and beautiful, it consists of a series of angled geometric planes built up in an open-sided structure, some flat, some perforated, forming patterns that look almost like fragile lace at the top. It reads like a geodesic abstraction and dematerializing oceanic form as it breaks away into the sky. Painted in gleaming white that shimmers in the daytime and is lit up dramatically at night, this work of art provides the public with an exciting new experience.

PEELED PAVEMENT Artist: Jill Annholt Address: Mill Street and Bayview Avenue Peeled Pavement, created by Vancouver-based artist Jill Anholt in collaboration with The Planning Partnership, consists of four bronze and cast-glass elements. Located in the West Don Lands beside the Distillery District, the work punctuates the side walk, revealing an underside of industrial artifacts lit from below. Linking this rich and complex industrial history to the renewal of life and growth envisioned for the community of the future, Peeled Pavement captures the energies of the working city.

STRAIGHT FLUSH Artists: James Turrell Address: 22 Adelaide Street East, The lobby of the Bay Adelaide Centre features a light installation by world-renowned American artist James Turrell. The work, nearly five years in the making, consists of five glass elements recesses into a specially constructed wall in the south lobby. Arrays of LED lights have been programmed to run for 116 minutes. The installation creates a magnificent experience through the artist's exploration of light, optical phenomenon and spatial perception. This is his first permanent public commission in Canada.

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LIGHT SHOWERS Artist: Jill Anholt Address: Sherbourne Street and Queens Quay East The three components of Light Showers are large-scale functional sculptures, which celebrate the collection and purification of a new community’s rainwater and transform infrastructure into art. The series of works help to create a gateway between Toronto and its waterfront whilst playing a crucial role in filtering and oxygenating stormwater from the entire district. Jill Anholt is a visual artist based in Vancouver, B.C. who has been creating site specific works since 1998.

Anholt’s practice ranges from integrated works in parks, pedestrian walkways and transit stations to small scale installations in buildings.

RISING Artist: Zhang Huan Address: 180 University Avenue, Shangri-La Toronto Rising was conceived as a philosophical reflection of the world around us. The polished stainless-steel sculpture is comprised of countless doves, the international symbol of world peace, and a twisted tree branch that resembles the body of a dragon.

The sculpture draws an analogy to the fragile conditions facing our planet. The artist seeks to convey the message that humans can exist in harmony with nature, and that, if this delicate balance is struck, our cities will become better places to live.

SENTINELLES Artists: Jean-Pierre Morin Address: 500 Doris Avenue, Grand Triomphe 2 This multi-component artwork maximizes public accessibility and visibility of the artwork through consideration

of

site

conditions,

built

form

opportunities and context.

The artwork presents a strong presence on Yonge Street while the through-block breezeway provides opportunities for a series of artwork elements that have been integrated with landscape finishes. The artwork complements the architecture, landscape architecture and urban design of the project.

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SHOAL Artist: Troika Address: 125 Queens Quay East, Corus Quay Troika's public artwork Shoal combines sculpture with architecture and technology. Spanning across a 50 meter long corridor, 467 fish-like objects wrapped in iridescent colours and suspended from the ceiling rotate rhythmically around their own axis to display the movements and interdependency typical to schools of fish. The ceiling architecture is set in motion and appears liquefied changing the spatial experience of the corridor while opening up the surrounding architecture towards Lake Ontario.

DREAM HOUSE (URBAN FIREFLY) Artist: Vong Phaophanit / Claire Oboussier Address: 12 York Street, ICE Condominiums The Urban Firefly artwork takes the form of a diminutive,

powerful

three-dimensional

‘house

image’ perched atop a mighty yet elegant sculptural ‘stilt’. During daylight hours Urban Firefly is a strong and

elegant

sculptural

object

with

multiple

resonances: reminiscent of a tree house, an eyrie or a cabin. The reference to the archetypal house" object is direct and strong but there is also a sense of nest like fragility and precariousness in the way Urban Firefly sits, delicately held aloft by the outstretched ‘fingers’ of the robust stilt."

APPROACHING RED Artists: Maha Mustafa Address: CityPlace Approaching Red by Iraqi Canadian artist Maha Mustafa is her testament to a personal journey that took her from a war ravaged country to the safety and peace of her new home, Canada. Located at the north-end of the public Mews between the Parade 1 and Parade 2 buildings. The artist describes the work as "Two solid flat colored forms [that] swirl together into a sculpture, making a connection between the two buildings and improving the aesthetic experience of the building. The sculpture creates an effect of depth and a sense of perpetual movement."

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SUNDIAL Artist: Josephine Meckseper Address: 10 York Street, Ten York Condos This

multi

component,

architecturally

integrated

artwork recognizes the unique opportunity to activate the streetscape through the creation of an urban vitrine which presents a city sized display case directly adjacent to the street. "The immersive artwork transforms the glass box lobby into a living vitrine - an ecosystem of complex and meaningful social, object, and atmospheric relationships. Elements of the artwork evoke planetary constellations and surface structures, abstracted and realized in industrial materials referencing consumer, household objects." - Josephine Meckseper

INUKSHUK SCULPTURE Artist: Kellypalik Qimirpik Address: Lake Shore Boulevard West / Ontario Place The Inukshuk was chosen by City Council as the City of Toronto's legacy project to commemorate World Youth Day 2002 and the visit of Pope John Paul II to Toronto.

An Inuit stone structure primarily found in the arctic landscape, the Inukshuk acts as a powerful symbol of safe harbour, guiding travellers on land and sea.

The Toronto Inukshuk is located at Battery Park and is one of the largest of its kind in North America. The structure, made of approximately 50 tonnes of mountain rose granite, stands 30 feet high with an arm span of 15 feet.

BALLAST Artists: Jed Lind Address: 430 King Street West, The Charlie "Much like the Toronto waterfront the old and gritty loading docks, silos and rip rap have been replaced with bike paths, boardwalks and condominiums. The ship, a relic of an earlier time, has yielded to buildings like the one it stands before and is left to the viewer whether Ballast is rising from or sinking into the ground below.

My hopes are that the architecture of Ballast will also create a social space, where residents of this area can contemplate these issues and children can play and discover." - Statement by the artist.

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CHRISTO TRIBUTE TO A HUMBLE GIANT World renowned artist Christo Vladimirov Javacheff,

and architecture. Some of their work included Wrapped

known as Christo, passed away of natural causes last year.

Coast, Little Bay in Sydney, Australia (1968–69), Valley

He was 84 years old.

Curtain in Colorado (1970–72), Running Fence in California (1972–76), Surrounded Islands in Miami (1980–

Christo was born on June 13, 1935 in Gabrovo, Bulgaria.

83), The Pont Neuf Wrapped in Paris (1975–85), The

He left Bulgaria in 1957, first to Prague, Czechoslovakia,

Umbrellas in Japan and California (1984–91), Wrapped

and then escaped to Vienna, Austria, then moved to

Reichstag in Berlin (1972–95), The Gates in New York's

Geneva, Switzerland. In 1958, Christo went to Paris, where

Central Park (1979–2005), The Floating Piers at Italy's

he met Jeanne-Claude Denat de Guillebon, not only his

Lake Iseo (2014–16), and The London Mastaba on London's

wife but life partner in the creation of monumental

Serpentine Lake (2016–18).

environmental works of art. Jeanne-Claude passed away on November 18, 2009. Christo lived in New York City for 56

Christo's temporary work of art in Paris, France, titled

years.

L'Arc de Triomphe, Wrapped (Project for Paris, Place de l'Étoile), is scheduled for September 18–October 3, 2021.

From early wrapped objects to monumental outdoor projects,

Christo

and

Jeanne-Claude's

artwork

transcended the traditional bounds of painting, sculpture

038

Additionally, a major exhibition at the Centre Georges Pompidou about Christo and Jeanne-Claude's work as well

'BEAUTY, SCIENCE AND ART WILL ALWAYS TRIUMPH.' - CHRISTO (1958) as their iconic project The Pont Neuf Wrapped, Paris,

1975-1985 – will open as soon as the

Centre Pompidou is able to welcome visitors.

Statement from Christo's office: "Christo lived his life to the fullest, not only dreaming up what seemed impossible but realizing it. Christo and Jeanne-Claude's artwork brought people together in shared experiences across the globe, and their work lives on in our hearts and memories."

Works In Progress To Look Forward To

The Mastaba Project for the United Arab Emirates Since 1977 The Mastaba, a project for Abu Dhabi, was conceived in 1977. It will be the largest sculpture in the world, made from 410,000 multi-colored barrels to form a mosaic of bright sparkling colors, echoing Islamic architecture. The colors and the positioning of the 55-gallon steel barrels were selected by Christo and Jeanne-Claude in 1979, the year in which the artists visited the Emirate for the first time. The Mastaba will be Christo and Jeanne-Claude’s only permanent large-scale work.

L'Arc de Triomphe, Wrapped Project for Paris Since 1962 L'Arc de Triomphe, Wrapped, a project for Paris, was conceived in 1962 and will be on view for 16 days from Saturday, September 18 to Sunday, October 3, 2021. The Arc de Triomphe will be wrapped in 25,000 square meters of recyclable polypropylene fabric in silvery blue, and 7,000 meters of red rope. "Thirty-five years after Jeanne-Claude and I wrapped the Pont-Neuf, I am eager to work in Paris again to realize our project for the Arc de Triomphe," said Christo.

Enjoy our selection of major previous works by Christo and Jeanne-Claude: 039

WRAPPED COAST 1 MILLION SQUARE FT. LITTLE BAY, SYDNEY AUSTRALIA 1968-69 PHOTO: SHUNK-KENDER

SURROUNDED ISLANDS BISCAYNE BAY GREATER MIAMI 1980-83 PHOTO: WOLFGANG VOLZ

WRAPPED REICHSTAG BERLIN, GERMANY 1971-95 PHOTO: WOLFGANG VOLZ

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THE UMBRELLAS JAPAN-USA 1984-91 PHOTO: WOLFGANG VOLZ

THE FLOATING PIERS LAKE ISEO, ITALY 2014-16 PHOTO: WOLFGANG VOLZ

VALLEY CURTAIN RIFLE, COLORADO 1970-72 PHOTO: WOLFGANG VOLZ

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WRAPPED ROMAN WALL ROME, ITALY 1973-74 PHOTO: SHUNK-KENDER

THE GATES CENTRAL PARK NEW YORK CITY 1979-2005 PHOTO: WOLFGANG VOLZ

OCEAN FRONT NEWPORT RHODE ISLAND 1974 PHOTO: GIANFRANCO GORGONI

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RUNNING FENCE SONOMA/ MARIN CTS. CALIFORNIA 1972-76 PHOTO: JEANNECLAUDE

THE LONDON MASTABA SERPENTINE LAKE HYDE PARK 2016-18 PHOTO: WOLFGANG VOLZ

PONT NEUF WRAPPED PARIS 1975-85 PHOTO: WOLFGANG VOLZ

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AIR - A RESIDENTIAL PROJECT

BY YAKUSHA DESIGN 044

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THE IDEA BEHIND THIS PROJECT — TO CREATE A FEELING OF INSTABILITY AND SHOW THE FUTILITY OF SUCH ARCHITECTURE. 048

2020 | Area: 48 sq. m. | Location: Portugal The idea behind this project — to create a feeling of instability and to show the futility of such architecture. From the equilibrium point of view, the volume is mounted on a vertical wall, which at the same time, not only stands on a rock but also stands in front of it. Bearing the central element takes up little internal space, at the same time includes most engineering communications, and maximizes the view outside the window.

The interior layout is free so that nothing interferes with the view. Functional zones flow one into another but do not contradict. Stylistically, there is a combination of modern geometric styles: straight lines, rounded forms of sofas, round lamps, ethnic: straw, roughly processed logs, decor, a bit of Asian: low dining chairs, a mat. The bathroom privacy is preserved — we used a special glass with transparency adjustment. www.yakusha.design

THE INTERIOR LAYOUT IS FREE SO THAT NOTHING INTERFERES WITH THE VIEW. FUNCTIONAL ZONES FLOW ONE INTO ANOTHER BUT DO NOT CONTRADICT. 049

DESIGN

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HOT PICKS

NVMBER IX

CONTEMPORUM - "THE ACADEMIC" "The Academic" is the philosophical name of this designed mobile or stabile (standing mobile). Designed by Volta Mobiles in Paris and produced by Volta in Barcelona. The mobile is made entirely of recycled metal and is painted by hand.

With Contemporum. we want to set a conscious counterpoint to the dominant disposable articles of our time.

Our idea is based on the desire to offer our customers a special selection of carefully handpicked and unique products. Our products are characterized by timeless design combined with the highest quality standards of materials and processing. The quality ultimately shows in the value stability of many of our products.

www.contemporum.com 051

QUATTROCENTOGON - GISELLA Gisella is the woman par excellence, a symbol of timeless femininity.

A woman who loves herself and feeds on it. Far from the canons imposed by society, which feed diseases related to eating disorders among the masses. Gisella is very curvy, and she is happy with this; a conceptualized image of fertility, understood as procreative capacity, and physical vigor, translated into a piece of furniture that becomes a real "aesthetic emblem" of 50 cm in height: a terracotta vase that tells the poetry of manual skills and craftsmanship, whose "legs", without feet, are born from the earth and the flowers are its fruit.

Gisella holds in itself 'Mediterranean' (sinuous forms) and bond to the earth; in a project at the center of which are Mother Nature and the new conception of woman.

www.400gon.it 052

VIADURINI - TERMOARREDO Termoarredo A Forma Di Cactus: Colored steel radiator that recalls the shape of a cactus. Made only with Italian materials. The peculiarity of this radiator is that all the welds are done by hand.

VIADURINI: A great choice for furniture and furnishing accessories to give a personal style to your environments, from the living room to the kitchen, from the bathroom to the bedroom and to the garden and the outdoors without forgetting the entire line dedicated to the office.

We select for you the best Italian and European furniture brands according to strict evaluation criteria, design objects and furniture that will embellish your personal and professional spaces, making them original and unique, that will be durable and long-lasting.

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TRABA - SKIN COLLECTION The harmonious and enveloping shells in powder-coated metal tubing that define the Skin armchair - designed by Giacomo Cattani - evolve and transform to compose a real collection. A chair, a stool, two small tables, low and high, and an increasing number of available colors give life to a collection of furniture for relaxation and conversation areas; Skin's geometric and welcoming textures satisfy the requirements of hybrid projects via its suitability for both the indoors and outdoors.

The play of colors - a plus that defines TrabÀ production - can be emphasized by the multiple options in terms of nuances and fabrics for the upholstery of the shell: a wide choice of indoor and outdoor leather and faux leather that ranges from plain to daring contrasts.

"Skin" is perfect for giving personality and creating pleasant seats.

www.traba.it 054

VASCO - BEAMS COLLECTION Vasco Beams Mono Electric Radiator. This new aluminium designer radiator combines all the benefits of electric heating with purity of design. Each beam can be individually activated and in a range of different colours.

BEAMS COLLECTION - FUNCTIONALITY AT ITS BEST Architectural space is the model for this innovative, multiple awardwinning, radiator concept—the Vasco Beams. Beam-shaped volumes together form a robust whole, in beautiful balance with the geometric architecture in the living space. The structural accessories offer the possibility to lay the desired accents yourself. Two water channels per element ensure high output and, as a bonus, optimal energy efficiency.

Vasco Beams is a winner of the renowned Red Dot Design Award.

www.vasco.eu 055

WHAT THE MOOD - LIGHTING It's all colour and curves. From the new Tutti Frutti range, these vibrantly coloured wall lights are the perfect way to brighten up any room. Each is a contemporary wall light with a sleek brass back plate and accessories, it's a statement piece to finish off any interior.

With a career in Interior Architecture, and an obsession with design, colour and sustainability, What The Mood began. An idea to create beautifully bold pieces of the highest quality. Our lights are minimal and contemporary, and inspired by architecture, with colour, shape and form being at the forefront of each design. Sustainability is key, with each piece handcrafted using an eco-friendly resin. We use a material called Jesmonite to make our colourful shades. Jesmonite is a building material, often used as an alternative to fibreglass.

www.whatthemood.com 056

JERPOINT - IRISH HANDMADE GLASS Since 1979 the Master Craftsmen at Jerpoint Glass Studio have designed and created Irish handmade glass for your home. Drawing on 2000 years of glass blowing tradition, the skilled Glass makers individually create each piece in the Jerpoint collection. Jerpoint Glass with its distinctive style combines the beautiful and the functional to bring you the best in contemporary Irish Glass.

Jerpoint Glass was established by Keith & Kathleen Leadbetter in 1979. Keith initially worked in pottery and in laboratory glassblowing in the UK. In the late sixties, he trained as a glassblower in the prestigious Orrefors Glass School in Sweden. Kathleen is a self-taught artist who is passionate about aesthetics and design. She has created the unique coloured glass palette synonymous with Jerpoint Glass.

www.jerpointglass.com 057

NEDGIS - LIGHTING SELECTION Design lovers, product and talent scouts, we are passionate about beautiful objects and interior decoration. We believe like Anne Bony that "the object is the privileged revealer of man". It is not a simple accessory of civilization, it is its foundation. Objects indeed provide information on civilization, through the mastery of materials, manufacturing methodology and marketing strategy.

Launched in 2015 by two decoration enthusiasts and web enthusiasts, Nedgis offers designer lighting signed by designers. Behind each light, a well-known or emerging designer (CĂŠline Wright, Elise Fouin, Arik LĂŠvy, Charlotte Perriand, Margje Teeuwen, Charles Le Corbusier.)

Nedgis is a journey rich in inspirations to (re) discover the world of design through lighting.

www.nedgis.com 058

TOM RAFFIELD - WOOD LIGHTING Iconic wooden lighting, furniture and accessories - sustainably handcrafted in Cornwall, England. Here at Tom Raffield we blend traditional techniques with modern technologies to break new ground – from our steam bending origins right up to our pioneering range of products today. With the smallest ecological footprint possible, we forge a path to excellence, crafting the heirlooms of the future whilst protecting the natural world that inspires us.

A responsible and sustainable approach is at the heart of everything we do. As a design-led brand, crafting functional pieces with long lasting quality, sustainability has always been our goal. But great design is about more than just the products we make. Sustainability is the bedrock of our business.

www.tomraffield.com 059

BRABBU DESIGN - NAMIB ARMCHAIR The Namib Desert was the inspiration for the NAMIB armchair: its distinguishing attributes explore the struggle between the Atlantic waters and the desert sands. The Namib desert is one of the oldest and largest deserts in the world and NAMIB Bonnet Chair pays tribute to it. This powerful accent chair is upholstered in satin cotton and has high gloss black lacquered legs, embodying an invigorating strength. It is the perfect twist on a classic piece that will transform any space.

BRABBU is a design brand that reflects an intense way of living, bringing fierceness, strength and power into an urban lifestyle. Every day our tribe of designers and craftsmen search for the most highquality materials and innovative techniques to realise the comfort, functionality and personality your spaces deserve.

www.brabbu.com 060

FAINA DESIGN - DOMNA ARMCHAIR DOMNA, is a playful armchair that is meant to become the cosiest design piece in your home.

As inspiration for this object, Victoria Yakusha looked to the shape of ancient ceramic sculptures of a goddess, found by archaeologists in the territory of modern Ukraine from a period of the Trypillia culture.

These female body shaped figures served as talismans and patronesses of family and farming.

The Armchair DOMNA by FAINA replicates the mild feminine forms and achieves an extraordinarily warm and cloud-like light softness.

The name “Domna� in Ukrainian also means a stove or a rare female name for priestess.

www.faina.design 061

VACARDA DESIGN - PLASTER MURALS Luxuriously tactile, Vacarda's plaster-on-canvas murals are carefully hand-crafted, hand-painted and embroidered to create a naturally harmonious and artful space for mindful living, whether it is home, boutique hotel or a restaurant with a personality. Hand-made with authentic Italian plaster embracing traditional craftsmanship, each piece of Vacarda's dĂŠcor and art is crafted to stand out and to soothe.

Tanya Vacarda is a decorative plaster artist and maker of Belarusian origin, living in Northern Ireland. Working around the intersection of craft and art, she uses a trowel like a paintbrush to create original plaster-on-canvas

murals,

wall

coverings

and

artworks

that

simultaneously enhance the tradition and defy it by giving the material a new form.

www.vacardadesign.com 062

THE MINIATURE TREASURY - FOR KIDS "When a mother is created, she looks for ways to keep these memories fresh. The smells, the touch of soft skin, the little noises as they sleep. 'This is my whole world, right here, right now. This MUST be remembered.'

With a background in interior design, I know that furniture and its benefits are crucial to people and the functionality of their homes.

They need to be durable, to fit in well with other furnishings, easy to maintain, and of course, to look fabulous. I chose to use rattan as not only is it all these aforementioned things, but I could incorporate flowing lines, unique patterns and funky designs that cannot be achieved at this price point with other materials."

- Kate (Founder)

www.theminiaturetreasury.com.au 063

HOUSE RACCOON - INTERIOR NATURE "In October 2017, we started House Raccoon: a new design label that focuses on both interior design & nature. We try to bring nature into our brand as much as possible. Through our designs, through our way of working, but also through our way of selling.

For every product sold, we plant one tree! In addition, ALL our products are made and packed by the most amazing social workplace out there: Mivas in Lier, Belgium. This way, our products are made locally which is obviously good for the climate but above all, people!

We are a 100% handcrafted, sustainable design label that loves to bring a smile on the face of our wonderful customers. We hope you love our brand as much as we love creating it."

www.houseraccoon.com 064

PLANIUM - CALAMINE LAMINATION Calamine is a surface lamination that is generated during the hot working of steel. Planium uses it as a finish to create unique and original floors and walls. Sensitive to atmospheric humidity and light, Calamine can turn into dark, blue or coppery colors becoming a unicum in the environment in which it is laid to create. You can choose to use it natural or clean it and protect it with a specific product that accentuates the initial shades and makes the lamination stable over time. All Planium metal finishes are recyclable and environmentally friendly.

Metal. This is the element of various qualities that Planium chooses to create exclusive and emotional architectural spaces, unique and customized flooring and coverings.

www.planium.it 065

TRAUMTEPPICH - DELICE SILVER This thick, fluffy rug is a soft, cozy oasis with a lot of comfort. It brings warmth and cosiness into your home... relaxation guaranteed!

As one of the first online suppliers of carpets, we have made it our task to be able to offer contemporary, high-quality carpets at the best price. For us, these natural resources are not an accessory to a facility, they should turn your home into an oasis of comfort. Trust our expertise and the more than 60,000 customers who have been with us since 1999.

Successful manufacturers such as Fabula, Brink & Campmann, Angelo, Toulemonde Bochart, MonTapis or Pure Nature enchant the senses with their ever-changing range of carpet designs.

www.traumteppich.com 066

COVET HOUSE - ART CUSHIONS Elegant shapes in velvet, hand embroidery, natural silk and dazzling jacquards with decorations. A piece of art with timeless SOUL. COVET HOUSE has consolidated its position as the most powerful tool to inspire and to boost creativity over the last few years. We take pride in our portfolio of clients with whom we work in close partnership to assist in creating the most outstanding interior design projects. We offer 12 brands, more than 2000 products in a dozen categories, over 1300 inspirations, and a wide range of styles, materials and finishes to suit any type of project. With Covet House, you get one Accounter to assist you throughout the full process of prospecting, selecting, ordering and delivering our designs to your private or public projects.

www.covethouse.eu 067

NAVA DESIGN - TIMELESS BAGS Nava Design was founded in Milan in 1970 with the collaboration of important designers like Max Huber, Massimo Vignelli, Bob Noorda, Giulio Confalonieri, Enzo Mari, Heinz Waibl, Pino Tovaglia, Kuno Prey and Ettore Sottsass. The success of this collaboration has allowed Nava to create a strong link between “design” and its products that find the right balance between functionality and aesthetic sensitivity, at the core of Nava’s philosophy.

Refined materials, quality and innovation characterize all lines, conveying a design that goes beyond mere fashion. Through the years some products have become real icons in the world of design and are still available in museums and design foundations in the world as La Triennale of Milan or the Museum of Modern Art of New York.

www.navadesign.com 068

MIMUNDO24 - BREGENZ BLANKETS Wonderful blankets made of mixed cotton fabrics in fresh summer colors and designs, and a pleasant, smooth structure. Our Bregenz Plaids collection is inspired by the colors of the summer lake. White stripe design together with blue and green tones, as well as the play of colors of the sunlight with a variety of red and orange tones. Choose your design and let yourself be enchanted by these chic and eyecatching blankets.

High quality, neatly processed: This collection of blankets will seduce you with its fresh colors, unique design, softness and lightness. Our blankets have been elaborately manufactured and have a very pleasant and smooth surface. The plaids can be used all year round and are the perfect companion for picnics, when traveling, for your favorite spot or sofa.

www.mimundo24.de 069

TAKATOMO - HALO TABLE The Halo side table is a real eye-catcher for your home, which can be used as a side table with storage space and even as a stool. Practical, versatile and just beautiful! Under the wooden shelf of the table there is a storage space with enough space for pillows, magazines and the like. This elegant and hand-woven side table consists of 70 percent recycled plastic and is available in 5 different colors.

TakaTomo.de is a 5-star online store offering a wide range of high quality toys, painting and craft accessories, kids' backpacks, party accessories for kids' birthdays, children's room furnishings and home accessories. A colorful world is waiting for you, which will make your eyes shine. And if you are looking for a gift then our gift finder will definitely help you find something suitable for every occasion!

www.takatomo.de 070

ZANZIBAR

...probably the best beaches in the world www.tanzaniatourism.go.tz

TIM WILSON GALLERY QUEENSTOWN, NZ Tim Wilson was New Zealand's most successful landscape Artist.

Tim Wilson Gallery is regarded as one of the best landscape art galleries in the country.

WWW.TIMWILSONGALLERY.COM

JANIS STRAUPE 074

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JANIS STRAUPE "I have been working with wood for more than

"I have participated in over 50 art exhibitions

35 years – making sculptural objects, design

since 1983 (12 of them were solo exhibitions).

pieces, decorative objects and also fully

I am a long-time member of the Latvian Artists

functional pieces of custom-made furniture.

Union (since 1990) and of the Designer’s Union of Latvia (since 2009). My works are in

I used to own a small furniture-making

permanent exhibitions in the Latvian National

workshop that employed 8 people. For the

Library and the Museum of Decorative Art

past few few years we have been just a few

and Design of Latvia.

colleagues and friends – working together, and devoted to the artistic creation of unique

I was awarded the “Design Award of the Year”

design pieces made of wood.

for my sculptural furniture piece “Chair in Chair” (Latvian Designers Association, 2008),

I like to play with optical illusions and gravity.

and the European design magazine “Deko”

Some people say my custom furniture pieces

Award of the Year (2007) for “The Beetle”

are like sculptures. This is reminiscent of the

cabinet in the unique design category."

early years of my work when I was active in the creation of sculptural objects from wood."

www.straupe.com / @janis_straupe_furniture

081

After finishing her studies at the Ecole des Arts

CHRISTIANE PAPÉ

Appliqués in Geneva, Christiane Papé started her travels throughout Europe, ultimately ending up in New York.

Constantly inspired by what she sees, Christiane carries visual memories with her until they come together and explode onto the canvas. Her vibrant nature flows through all her work and captivates the viewer with her proven mastery of the application of color and technique. Christiane has worked in a variety of media such as acrylic, pastel, collage, and oil. After 37 years of living in Manhattan, she has moved back to her native Switzerland, currently residing in the picturesque lakeside city of Lugano.

Christiane Papé has seduced a wide public in Europe and the United States. Her paintings have been included in major public and private collections in Rome, Geneva, Paris, London, and New York, as well as several museums.

Website: www.chpape.com

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"HOW MARVELOUS THAT THEY BROUGHT FORTH SUCH MAGNIFICIENCE FROM THEIR BRUSHES AND CHISELS." - ANONYMOUS

RAYMOND WARREN

"With their simple and rounded shapes, my characters, either through the humor that emerges from them, or through movement that animates them, convey our emotions and send us back the image of utopian societies in search of the same answers as us."

0202 FO TSEB GITSED

Raymond Warren was born in Montreal, Quebec, in

This time, I had in mind to make a big gathering of

1947. His figurines harken back to the primitive

characters with their feet on the ground. To ensure their

beauty of pre-Columbian pottery. They are sculpted

stability, I had to widen the base. The idea came to me to

with finesse, with natural gestures, discreetly

add an object to it. Why not a suitcase? The suitcase, a

bringing us back to our sweetest memories. Warren

beautiful symbolic element, a simple shape with variable

lives in Maniwaki, Quebec.

proportions, a shape that would lead me to dress my characters, thus modifying their shape and, consequently,

Your current work 'Here and There' brings us into

their coloring. I have multiplied the variations on this

the world of travellers, and invites us to explore the

theme. The project has grown. Since then, current events

heaviness and lightness that comes with departing

have come to influence its development.

and arriving. How was the idea ignited and tell us the journey of 'Here and There' to this point?

'Here and There' is cathartic yet visceral, comforting yet

Many of the characters I have created over the years

confronting. How do you achieve that?

have been airborne: stilt walkers, tightrope walkers,

This was not the only challenge of this installation. I also

trapeze artists, or acrobats. Whether on a swing, at

had to harmonize characters of different formats and

the end of a pole or a rope, they escaped the ground.

colors. I also had to adapt to different possible exhibition 085

"Raymond has pursued the path with heart, developing a signature style that harkens back to the primitive beauty of pre-Columbian pottery. Each of his playful figures bears an opening into the hollow space within, that space where the soul of the artist breathes. In the glowing rounded bodies, in the gestural freedom of tiny hands and flying limbs you can hear the call of the clay as it speaks to him, and to us, of another time – a time when eternal images cradled the soul of the world in our daily lives." - Catherine Joyce, The Low Down.

"These clay beings, sculpted with finesse, with natural gestures, discreetly bring us back to our sweetest memories. Their clean shapes, revealing the essential, first give us a smile and then they make real feelings spring up in us, as if these men, women and children were telling us the story of our lives."

Louise Parisien, B. Hist. Art Montcalm Gallery

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"To enter Warren's universe is to quickly experience both the heaviness of the earth and its desire for elevation. On the one hand, stoneware clay is a heavy material: Warren's creations reveal the weight of their existence. On the other hand, the necessities of firing force the artist to lighten his pieces by hollowing them."

AndrĂŠ Lamarre

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venues. That's why I made groupings of characters, at once united and separate, much like on different islands in an archipelago. I chose, on the other hand, to keep away from other characters, those with tragic fate, those who flee the unbearable. We will therefore see HERE, in the foreground, travelers who rub shoulders in a place reminiscent of a vast lobby. They are arranged on platforms more or less spaced from each other like drifting ice patches. Then THERE are various groups of displaced people in the background, some walking in line, others parked, seated, waiting.

This exhibition project is not a priori a manifesto, it is rather a look at the current world. It is up to each visitor to read it personally. For my part, I find that here and there, people, beyond the fate that favors or overwhelms them, are deeply similar and that in similar circumstances and when time stands still, a shared humanity emanates from them. HERE and THERE, to leave is already to let go a little, to leave things behind. And while waiting for the departure, concerned just as much with what we are leaving as what awaits us, extracted from our habits, cut off from our environment, between two worlds and outside of them, as never otherwise, comes a time when our mind wanders. Our ideals are only built on such journeys within ourselves. It is there that, compelled to be patient, an opportunity presents itself to us to imagine them.

Similar to recent projects, the shapes of these characters are simple and rounded, but unlike in previous works these figures are dressed, why?

Strangely enough, although in most of my previous installations the characters did not have clothes, they did not express nudity, did not appear naked. Without clothes and accessories, they were just humans. This time, however, it was only logical that, as they are carrying luggage, they would be dressed.

'Here and There' connects to a recognition of the familiar space of a hall (perhaps a train station or airport terminal) but there are no clocks, no screens, no signages, no recognizable furniture... Why not?

I believe that an abundance of detail takes away from what is essential: the human being.

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"HERE and THERE, to leave is already to let go a little, to leave things behind. And while waiting for the departure, concerned just as much with what we are leaving as what awaits us, extracted from our habits, cut off from our environment, between two worlds and outside of them, as never otherwise, comes a time when our mind wanders."

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"In addition, while being hollow, the sculpture must be pierced so that air can escape. I like to think that the two small holes in the eyes of my characters allow the soul of anyone looking at them to penetrate inside them and settle there for a short time."

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This traveler, this anonymous character

When will this be exhibited?

moving forward, he hopes, but he doubts.

The exhibition has been rescheduled to

Most of the time, he manages to keep it to

next summer at the Trinity Gallery in

himself and knows how to reassure those

Ottawa.

he loves. I learned that the words human, humility, and humor have a common root,

Each figure is hollow, tell us about this.

the Greek word humus, which refers to

All ceramic pieces must be hollow. When

the earth, more precisely the soil.

it comes to a bowl, a cup, you don't pay attention to it, the vacuum corresponding

Tell

us

about

your

setting

and

to the object's function. When it comes to

arrangement, what do you aim for when

making a character, this need for the

creating a space for your characters to

shape to be hollow first appears as a

be displayed?

constraint. I quickly realized that it is, on

I like that the installation represents the

the contrary, an advantage, that it

character’s universe. None of them,

facilitates the shaping. In addition, while

during the short period of the exhibition,

being hollow, the sculpture must be

is a work of art. It is the whole that is the

pierced so that air can escape. I like to

work of art. I like that the characters are

think that the two small holes in the eyes

"at home", that the visitor entering this

of my characters allow the soul of anyone

place feels at once foreign and familiar,

looking at them to penetrate inside them

like Gulliver in Liliput.

and settle there for a short time.

like to make smile. You can work the clay directly with your hands, without tools, without great effort, without making noise. You can work with clay spontaneously, quickly. However, clay only comes to life through firing.

Sometimes the momentum is built up from the start, from the initial sketch that reveals the character’s emotion. But even when everything is finished, when the character comes out of the kiln and nothing can be changed, there is still time to create a new assembly, to associate other materials with the ceramic, etc. This is how the installation entitled LA CANDEUR DU CHARPENTIER took shape. I developed this exhibit to meet a last minute request. All the characters had already been made. I added wooden structures, easels, ladders to give these characters a second life.

You do not use any coloring oxides so the figures have a burnt appearance but the process bestows some coloring effects. There is also the paradox of the controlled modelling and the random finishing results.

Please share with us some insight into this.

Clay is called upon to become, under the action of fire, both fragile and resistant. I chose wood firing. Living in The characters harken back to images of utopian

the countryside made it possible for me. Firing with

societies and awaken something of the child within all

wood is unique. It allows me to forego the use of glaze

of us. What are we searching for that these characters

and to rely, for the variety of textures and colors, on the

can satisfy?

presence, in varying and more or less predictable

Who doesn't need a little more patience, confidence, gentleness, calmness, indulgence and courage? A little more tenderness? A little more stamina? A little more humor? Without being able to easily and simultaneously find all these qualities around us, works of art offer them to us in the form of images, words, music. Diverse and innumerable, they are all possible stops along our journey. Works of art can affect us in many ways: they can serve as well as challenge the established order; they can beautify, they can explain. If my characters are good companions, that's already a lot.

What do the figurines satisfy within you and at what stage during the process do you get that feeling?

It is said that on the Sixth day God created Man out of a little clay. I like to think that he left all the unused clay there for fun. Clay is a wonderful material that obeys the slightest pressure of the fingers. It’s a heavy material, which I like to lighten; a plain material that I 091

092

"Firing with wood is to hope that the image created will be enriched by the expression of fire."

concentration, of smoke, flames

wood that will feed this kiln and

and ashes in the kiln. To call upon

also to transform some of this

fire, to ally with it, is to accept

wood into planks with which to

that

it

build sheds where all this wood

clay

will dry. All my seasons are

elsewhere, giving it colors and

modulated in this way: a time

textures in exchange for its lost

for shaping clay, a time for

plasticity. Firing with wood is to

firing, a time for exhibiting, a

hope that the image created will

time for harvesting wood, a time

be enriched by the expression of

for

fire. Day by day, I make clay

maintaining the kiln...

it

imposes,

determines, that

it

that

takes

building,

a

time

for

pictures, with the hope that the fire will put them on my Sunday.

What would you say to future generations of sculptors?

www.raymondwarren.com

You work everyday in a kiln that

I would say: “One day, perhaps,

you built yourself 37 years ago.

clay will be shaped by 3D

Tell us about your work process

printers. I feel sorry for these

and your close alliance with fire.

machines for they will never

Building a wood-fired kiln is a bit

experience

like taking an oath. This is how I

pleasure of grabbing a handful

made a commitment, in a way, to

of clay”. And, finally, I would

to go into the forest to harvest

say:” Bon voyage!”

the

true

digital

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DEB ACHAK

"This is the yin-yang in photography. The camera is a highly technical device, and we must understand how it functions in order to use it effectively. Creativity, on the other hand, wants to roam and wander, without constraints. I am always trying to push the capacity of my camera to create feminine, painterly photographs. I love the tension there."

0202 FO TSEB GITSED

Deb Achak is an American photographer working in

children were born. I picked up a camera a few years later

both conceptual and street photography. Her

and fell down an incredible creative rabbit hole. In some

conceptual photography gives form to memory,

ways, it feels like the medium picked me. I thought I was

energy, and the exploration of spirituality. Her street

buying camera gear to capture my children, but it seems

photography, captured in beaches throughout the

the universe had other ideas. In hindsight, I think art was

world, documents the human experience of water. In

always my path, but it took time away from it for me to

both genres, Achak stretches the capacity of the

realize it’s what I wanted to do full time. I didn’t have the

camera to create painterly, sensual photographs rich

role model of a working artist when I was growing up. It

in meaning and story.

never occurred to me that I could choose such an extraordinary thing as a career.

Share with us a bit about your background and why you became an artist.

You are a self-trained photographer and filmmaker;

I studied literature and art as an undergraduate, but

share with us your journey to an acclaimed artist.

my first career was as a social worker. I worked in

I feel so grateful for how things unfolded for me. In the

various hospitals with high risk women and children

early years of my photography, I focused exclusively on

for over a decade, but left the career when my own

personal work (my children, self-portraiture, filmmaking).

095

I refused to label what my work was,

I knew it was a rare and beautiful thing to

instead I followed my curiosity and

stumble upon a career as fulfilling as

intuition. As much as possible, I shut out

photography, so I grabbed hold with both

outside references so I could listen to my

hands and went for it.

own instincts and find my voice.

How would you describe your style of

"I prefer to capture work that lights me up without too much conscious thought.

Afterwards, I examine the pictures to see what they are telling me. Most artists bristle at the idea of being put into a box of any sort, and I suppose I am no different."

096

I reminded myself that 50 years ago

photography?

artists weren’t bombarded with social

I suppose it’s easiest to say that my work

media and the like. They had what was

lives in the fine art category. I often think

what was inside of them and in front of

in terms of art on walls and (one day

them. It’s impossible to shut out all

hopefully) in books. I create work in

influences these days, but as much as

several different genres. One approach to

possible I kept my eyes focused on my

shooting isn’t enough for me. I love to

own internal pull. If something excited or

experiment and try new things.

fascinated me, I went towards it. This way of working became my foundation and it

Your work is in two areas - Conceptual

served me very well once I emerged in a

and Street Photography. How did you

more public way.

identify these pathways?

I prefer to capture work that lights me up

It’s tricky to call myself self-trained

without too much conscious thought.

because

of

Afterwards, I examine the pictures to see

mentorship and education from some of

what they are telling me. Most artists

the finest photographers and printers

bristle at the idea of being put into a box

working today. There is also something to

of any sort, and I suppose I am no

be said for finding your calling later in life.

different. But, it’s useful to ground the

I

have

availed

myself

"Creating work in several genres is exciting to me. I feel like different hemispheres of my brain are activated when I toggle between the two."

work in a category from time to time. Conceptual

universe within my work, but I love it just the same. My

photography is so broad that it gives me infinite freedom.

brand of street photography is captured from the water.

It can hold space for symbolic pictures, landscapes,

In a way it represents its own little subset within the

portraiture, experimental techniques, storytelling, self-

wider world of street photography which we typically

portraiture and on and on. I don’t feel confined under

think of as being shot on city streets. Creating work in

that umbrella.

several genres is exciting to me. I feel like different hemispheres of my brain are activated when I toggle

My street photography tends to sit in it’s own little

between the two.

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098

"What we need to know is inside of us. It’s all there, just trust it."

You have spoken about the power you feel when in deep flow with your art. What does creating with a still mind unlock in you?

It unlocks everything for me. My human brain can only come up with a limited set of ideas to photograph, but when I release preconceived expectations and rigid ideas, I create things that surprise me. This is the yin-yang in photography. The camera is a highly technical device, and we must understand how it functions in order to use it effectively. Creativity, on the other hand, wants to roam and wander, without constraints. I am always trying to push the capacity of my camera to create feminine, painterly photographs. I love the tension there.

Your newest series is 'My Eyes Need Beauty'. Tell us about this.

My Eyes Need Beauty was created from a dark place.

2020 has been rough for all of us, but things took an especially difficult turn for me in September when the entire west coast was blanketed in toxic smoke from the wildfires raging in California, Oregon, and Washington.

099

For ten days, the air was too hazardous to go outside. I worried for my children and for our planet more than ever before. Being cloistered inside, cut off from nature, broke something in me. It’s the lowest I have been during all the challenges and unrest of 2020. I responded in the healthiest way I could, I made bold, painterly photographs of flowers floating in water. I couldn’t breathe safely, but I could give my eyes something on which to feast.

'Side By Each Facing the Sun' is an exploration of the root chakra. What do you want to evoke in viewers?

I would love to encourage a conversation or curiosity about our energetic anatomy. It’s such a big and heady topic, so I broke it down to my own personal relationship with the root chakra, the first of seven chakras within each of us. What is a chakra? What does it mean? When I first learned about them, I was fascinated. I would like to encourage others to consider their own.

'She Told Us To Trust Our Intuition' was inspired by your late mother, kindly tell us about this.

I am so lucky to have had a loving, inspiring, supportive mother. She died of cancer twelve years ago at the age of 64, just twenty five days before my second son was born. It was such a complex time for me emotionally -grief and joy intertwined. Mothering and mother-loss within the same breath. It took me years to process it all. Her parting words to me and my siblings were, trust your gut instincts. I think those four simple words, strung together, are the most profound gift that a mother could leave her children with. What we need to know is inside of us. It’s all there, just trust it. The words have become a mantra for me. The series is a love letter to my mother, and also a way of co-creating with her. My relationship with my mother continues

"Capturing regular people suspended in water - seeing each individual's inherent beauty regardless of their age or size really touched me. I see the poetry we all possess. It made me fall in love with humanity."

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after her death, and I explore that in She Told Us To Trust Our Intuition.

'The Aquatic Street' and 'Ebb and Flow' are ongoing documentations of the human experience of water.

What did you learnt about our connection to water?

I stumbled upon both bodies of work, which seems to be my way. Just like with my early camera work, I

101

thought I was purchasing equipment to photograph my

gave myself the assignment to capture everyday people

sons, but they tired of me following them around in the

enjoying a day at the beach from the vantage point of

water. On one particular day, my youngest son let me

the water. As the work went on, two things became

know in no uncertain terms that he wanted to play with

clear. The first was that the work was about joy -- I am in

his friends in the waves without constant interruptions

my joy when I am creating it, and the subjects are too.

from me. I took the hint and swam away from him out towards open water. I kept shooting and later fell in love

People don’t go to the beach to have a bad time. They go

with the photographs. That work became my first series,

to swim and play with friends and family, to commune

Ebb and Flow. I still shoot work for that series wherever

with nature, to drink up the sun. It’s a remarkable feeling

I go, and perhaps I always will. I love investigating subtle

to be in that positive energy when I work. In addition,

differences in water color, texture, light, etc. Lately, I

everyday people are extraordinarily beautiful in the

have taken to shooting in the water after sunset with

water. Capturing regular people suspended in water --

longer and longer shutter speeds. I love the challenge of

seeing each individual's inherent beauty regardless of

bringing something new and fresh to the work.

their age or size --- really touched me. I see the poetry we all possess. It made me fall in love with humanity. The

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The Aquatic Street is also something I stumbled into. It

Aquatic Street is, technically speaking, very difficult to

all began with one image, The Queue, that I shot while

shoot. Swimming to get in place to get a good shot,

my oldest son was climbing the rocks at Black Rock

sometimes treading water for hours at certain locations,

Beach on Maui. He was tentative about climbing, and I

dealing with water spots on the camera housing, staying

lingered nearby to make sure he was safe. It was a lucky

safe in huge surf and occasional riptides -- it can be quite

shot, and I loved it right away but didn’t have a place for

challenging at times. All street photography is hard, but

it in any other body of work. It was a stand-alone image

swimming with a camera is a bit like Ginger Rogers and

for about a year or more until I decided that

Fred Astaire on the dance floor --- she did everything he

photographing strangers in the water was downright

did but backward and in heels. Shooting in the water

intoxicating. I traveled to Italy the following year and

feels a bit like that, but I love it.

How has your art practise evolved during your career?

2019 and 2020 was huge for me. Historically, the

I try to focus on process and daily progress. Missteps

medium was largely dominated by men, but Gulnara

occur when I hold on to rigid outcomes and

Samiolova has sparked a movement with her dedication

expectations. Staying present in the now works best for

to elevating women’s work in street photography. I also

me. It keeps the work fresher and more honest. There is

love having my work represented in galleries. The

an interesting dance between being disciplined enough

opportunity for exhibitions and putting work in homes

to land the plane, yet open and loose enough to find

and public spaces is the great honor of my career.

magic and inspiration. With each passing year, I get more adept at the steps. Recently, I returned to an

Share with us how 2020 impacted your art.

important practice that I had abandoned for a while -- I

COVID limited my ability to travel and shoot street

started bringing my camera with me everywhere again.

photography, but it gave me the push to create closer to

I don’t know why I stopped doing this, but for the last

home. I had already been doing this in my conceptual

few years, the habit fell away and I began to think of my

work. I simply leaned in a bit harder. The mood in the

camera as something I used only when I was in work-

United States has been dark for four years, making art

mode. I missed out on so much.

all the more important. Creating beauty during times of

So, I am back to having it with me at all times. I am back

stress or tension is therapeutic on many levels. I tried, in

to framing shots constantly and I love it. Driving to the

my personal and professional life, to stay fully engaged

grocery store or running errands -- I’m ready. You never

and activated, but hopeful too. In my heart, I am an

know when you will be gifted something extraordinary.

optimist and someone who wants peace and harmony. I hope the consciousness will shift back to more

How has all the recognition of your art affected you?

responsible leadership and unity. We need it.

Having my street photography recognized in the Women Street Photographers annual exhibition 2018,

Website: www.debachak.com / IG: @debachak

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JOHANNA MCWEENEY 104

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Johanna McWeeney is a self-taught artist working in oils and living in Devon, UK. She paints intuitively, focusing on symbolism, childish/ childlike expression and uses self-portraiture to express and process common human emotions. Painting becomes an almost spiritual path, or at least a retrospective map of the journey.

Johanna explores ideas of potential, creative expression and colour.

Painting becomes a cathartic and complimentary opposite to the exacting demands of perfectionism. In some ways, while the work may sometimes come from an emotion that is not particularly happy, it is designed to transmute that into something beautiful.

The underlying motivation behind the work is to create a more beautiful world.

Website: www.johannamcweeney.com Instagram: www.instagram.com/johannamcweeney Facebook: www.facebook.com/johannamcweeneypainter

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HOWARD HARRIS

"In any given moment, what we see reflects both our inner state and a synthesis of outer qualities—light, color, movement, space.

My exploration in dimensional photographic art represents an attempt to recreate the perceptual experience, with its dynamic nature and hidden complexities. Hopefully, each of my images can allow for as many interpretations as there are people viewing it."

0202 FO TSEB GITSED

Howard Harris is a fine art photographer who is

10 years old. I only have two vivid memories of that class.

known for his dimensional, multi-layered images.

One was that the class was held in an “artist” style loft

The Denver Colorado native earned a Bachelor of

(very cool) and the other was the teacher laughing at me

Fine Arts from the Kansas City Art Institute in

when I drew a fox with a tail that looked like it exploded

Missouri and Master of Industrial Design from Pratt

out of the fox’s rear end. For some reason that failure just

in New York. His images appear in many books and

inspired me to refine my aspirations and pursue following

publications. He shows in galleries in the US, UK and

my intuition and imagination.

throughout Europe.

You capture a moment in time and work to expand on Why did you become an artist?

that moment. Share some insight into your process.

I don’t think I became an artist, I was born to be an

I use a digital single frame camera to capture the base

artist. I can’t think of a time when art was not part of

image I use to save the moment. Since my camera can only

my life. From as early as I can remember art of some

capture the image at shutter speeds, I try to internalize

type- painting, sculpture, photography, theater, etc.

the full dimensionality of the moment.

has always been around me. It is only a foggy memory,

The image becomes my note of reference for the memory

but I took my first formal drawing class when I was 8-

that caused me to shoot the image. Then I use various 109

"The discipline of accepting critique as a complement pushes me to pursue greater levels of refinement, helps me to understand how others perceive my art, and drives me to explore new territories."

110

technologies to isolate and evaluate the

imagination. Studying industrial design

color, line, and form. I then exaggerate or

has given me the ability to create and

morph the image into a symphony of

develop concepts and specifications that

color, shapes, and forms that hopefully

optimize function, value, and appearance

express a sense of time, space, point of

of products and systems. It has given me

view and my emotions.

the

methodologies

to

combine

art,

business, and engineering to create a You described your work as "combining

pleasing

technology and aesthetics". Why are

combination that continually energizes

aesthetics a key factor in your art?

my thoughts and actions. The discipline of

The word "aesthetics" derives from the

accepting critique as a complement

Greek "aisthetikos", meaning "of sense

pushes me to pursue greater levels of

perception.�

In

one

refinement, helps me to understand how

successfully

combines

tangible

others perceive my art, and drives me to

(technology)

short,

with

when the

the

intangible

product.

And

it

is

this

explore new territories.

(aesthetics) it becomes transcendent.

To experience its fullest impact, your Your professional career background

work is best viewed in person. What

was in industrial design. How has this

factors influence this?

background contributed to your art ?

We live in a three-dimensional world and

The study of industrial design gave me the

use our eyes to process an image through

range of tools to go beyond my own

the advantage of stereoscopic vision to

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transmit the image to our brain. What most of us do not realize is that stereoscopic vision relies on the physical properties of parallax to decode what we are seeing. When you add lighting, emotions, and environment - it is only then when one has the full experience of the image. I apologize for the somewhat technical explanation, but it is necessary to know why viewing my two-dimensional images online gives one a completely different experience than viewing art in person. When viewing online, color is determined by variables such as monitor quality and the individual computer’s color settings. That is why the foundation of my “dimensional” art must be an aesthetically pleasing image that could stand on its own merits both online and in person. Adding dimension to my images hopefully triggers a deeper visual/emotional response when viewed in person.

In 2017 you received a USA Patent for a Layered Artwork. Please tell us about this.

When I first presented my work to the public, I received many comments such as: “I’ve never seen anything like this before!” and “How did you do it?” These types of comments helped me acknowledge that my work may be notably unique. Then, during an art festival, I showed alongside a photographer who was also an attorney and kept telling me that I should patent my photographic constructions. Many of his attorney friends also told me I should patent my work. That got me thinking as a marketer that a patent might give me a sales edge.

Although I had gone through the patent process years earlier with another of my inventions, I had no real expectations that art could be patented. I talked to many patent attorneys that advised me against wasting my time and money until I found one that understood the uniqueness of my process. After three years, thousands of dollars, and hundreds of hours: the US Patent Office found my work unique enough to be granted a patent!

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In a relatively short art career, you have received some major recognitions. Tell us about some of them and how have they impacted you.

I knew my work was unique because of the many comments I received from viewers and galleries. But honestly, I was surprised that my work has been recognized in the way it has been – receiving the accolades of critics and honored with so many awards. Appearing on the covers of books and magazines and receiving many American and European awards is very gratifying.

However, I can’t single out any one award as being more important than any other. All of these honors and awards have had an impact on my art, and they have given me confidence in myself and work. However, each accolade, award, or recognition really comes as a surprise because my primary goal is not to please others. My real goal it is to please myself.

"I was surprised that my work has been recognized in the way it has."

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"The work reflects my inner “state du jour."

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You stated that "visual reality is an ever-shifting, highly

How has your practice changed over time?

individualized experience - based on inner and outer

My artwork has progressed through several stages

states". How do you accommodate for a range of inner

throughout my adventure as an artist. The first stages of

states in viewers when creating your work?

my work were mostly technology-based, using the

I really do not accommodate anyone else’s inner states

camera, with what one would consider a “good eye.”

because it is hard enough to accommodate my own. The

(Meaning I did what I did somewhat unconsciously.) The

work reflects my inner “state du jour.”

“art” or image just happened because I understood

However, with that said, I do understand that everyone’s

technology and was lucky with subject, composition, etc.

else’s visual reality and inner state is an ever-shifting

The second stage of my work began in the early 70’s at

experience too. In any given moment, what we see

the Kansas City Art Institute. It was there I began to

reflects both our inner state and a synthesis of outer

understand that mastering technology was just part of

qualities—light, color, movement, space. My exploration

the “art” equation. Going through their foundational

in dimensional photographic art represents an attempt to

program helped me realize that intuition and a good eye

recreate the perceptual experience, with its dynamic

were great, but without the discipline of deliberateness

nature and hidden complexities. Hopefully, each of my

all my art would continue to be either lucky or random. It

images can allow for as many interpretations as there are

was there that I became a deliberate artist, able to

people viewing it.

control my actions and images. The third stage also

happened at the Kansas City Art Institute, where I used

were not enough. One also needs the understanding of

my artistic talents to pursue design. The quest to create

self, vision, emotion and surprise to create either good

for others (as a designer) overpowered my desire to

design or good art. There need not be a difference

create art for myself (as a fine artist). My technological

between design and art. Yes, they can exist separately

skills improved not only with the mechanics of creating

but when they come together it is “nirvana”.

images, but the mechanics of my thought also

The fifth stage really lasted from the early 70’s through

improved. It was at the Art Institute where I began to

2011. I became part of a 5-person company that I grew

understand, through my mentor George Burris, how

to over 160 people based on the concept of merging

connected all the arts were with everything in nature,

technology with design with the end goal to make it art.

science, mathematics, and the rest of the world. It is

Honestly, 95% of what we created I would classify as

with this seed of understanding that I began my quest

design. But he 5% that could be considered “art” helped

to try to really understand and define the connections.

the entire company keep going with the knowledge that

The fourth stage of my art happened when I went to

art was possible in a very commercial setting.

Pratt Institute to study under Rowena Reed Kostellow.

In the sixth stage of my quest to create fine art, I have

By this time, I was clearly on the design track, not the

come to realize that up until now I have really worked

fine art track, and wanted to learn Industrial Design

as a designer- not an artist. During this stage I

from one of the founders of that profession. It was

experimented with different types of images, different

Rowena

technologies and different artistic thought. One might

that

helped

me

discover

that

the

understanding of technology of machine and thought

say I was struggling to suppress my marketing design

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instincts and accentuate my own thoughts. Self critique is so much harder than critique by others, however to transition from designer to fine art I realized I must develop and practice a strong sense of self critique. The seventh stage of my development takes the learning from the sixth stage and adding color to my thought. My images reflect my vision. I use design as a basis for the image composition and augment the vision with color, line, and volume. Light and color have become more important elements in defining my images.

Which artists are you most influenced by?

The short answer to this question is: “pretty much all artists who work in multiple versions of the arts and use multi-disciplinary techniques to push the edges of perception.” The longer answer to this question is: “I am inspired by so many in the arts world.” Here are a few that I admire and am inspired by: Rowena Reed Kostellow, Julian Stanczak, Moholy-Nagy, Bridget Riley, Josef Albers, Frank Stella, Ellsworth Kelly, Victor Vasarely, Yacov Agam, Wassily Kandinsky, Jackson Pollock, Franz Kline, Clyfford Still, Pablo Picasso, Paul Cézanne, Marcel Duchamp, Henry Moore, Alberto Giacometti and Constantin Brancusi. I thought I would stop here with the arts world. From the photographic world (understanding many do and have done more than photography) I admire Ansel Adams, Richard Avedon, Annie Leibovitz, Diane Arbus, Edward Weston, Salvador Dali and Andy Warhol. From the architectural/design world (yes, most did more than just architecture) Frank Lloyd Wright, Frank Gehry, Le Corbusier, Ludwig Mies van der Rohe, Eero Saarinen, I.M. Pei, Walter Gropius, Marcel Breuer, and Ray Eames. I could go on and on naming sculptors, philosophers, and physicists but, I think you get the wide variety of people that have influenced my vision, aesthetics, and technology.

How does Eastern philosophy influence your art?

This question demands a clarification as to what I feel Eastern philosophy means vs. Western philosophy. I feel that Eastern philosophy takes more of a spiritual approach to life while Western philosophy is more mechanistic in its approach. Rather than calling either one a “philosophy” - I prefer calling it Eastern or Western thought. My work synthesizes Eastern and Western concepts into a tapestry of thought that helps me begin to understand the world. And coming from a clearly Western point of view, Eastern thought has

"My work synthesizes Eastern and Western concepts into a tapestry of thought that helps me begin to understand the world."

given me permission to go beyond the definable. For example, Western thought affirms that 1+1 always equals 2. Eastern thought allows for this simple equation to equal something different depending on exactly what each “1” represents. String theory, chaos theory, quantum physics, and fluid dynamics help me try to Westernize my Eastern thought. However, those studies only give me shadows of what Eastern thought may be doing inside me…

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"I chose to live with challenges because I know no other way."

You have spoken abut the role that your professor

You have excelled in two worlds (industrial design and

Rowena Reed Kostellow played in your career. Please

photographic arts). What drives you to keep exploring?

share more insight into this.

Life without a challenge is just existing. I chose to live with

Rowena’s teaching approach drew on modern scientific

challenges because I know no other way. Just existing is as

methods that supported self-expression as well as design

boring as creating that which is safe and known. My quest

for industry. I can’t explain this better than Gail Hannah

to create a color that I have never seen or a shape that

did in her book about Rowena, “it is impossible to

never existed - and to make it beautiful-keeps me going

reproduce the experience of being and working in her

and alive. Knowing that my first mark on a canvas is equal

classroom. And the essence of Rowena Reed’s teaching

to a Picasso or Miro keeps me going. It is what I do after

was the experience itself. In fact, she called the exercises

that mark is challenging. My quest to find the hidden

in her courses “experiences” because they led students to

complexities of nature and understand the dynamics of

insight through intense, in-the-moment concentration,

human perception gives me an infinite palette of

discovery, and revelation. They were powerful, personal

abstractions to explore. Arshile Gorky said, “Abstraction

epiphanies that finally defy description”. She also taught

allows man to see with his mind what he cannot see

me that beauty was a mystery to be solved. Her principals

physically with his eyes... Abstract art enables the artist to

and methods are forever imprinted on my work, including

perceive beyond the tangible, to extract the infinite out of

my independent work with her. We had an agreement that

the finite. It is the emancipation of the mind. It is an

I would teach her computers and she would teach me

exploration into unknown areas.” I will continue my quest

design. The quest to attain beauty was her design goal, and

into the unknown with the hope that whatever I strive to

mine was translating beauty through computing. Having a

create will be aesthetically pleasing, and forever changing.

greater understanding of computer technology in the 1970’s led to her believe as do I, (to this day!) that the

You have described travelling as a particular source of

computer can define and create everything correctly and

inspiration. Which destinations have been most inspiring

the product can still be ugly. Our studies led her to include

and where do you want to visit post-COVID?

in her teachings a caution against using the computer to

I have been lucky enough to be able to travel to so many

do things that she believed only the human eye and hand

destinations throughout Africa, Europe, the Middle East,

could do. Even though Rowena didn’t think of her

Australia, and the US. Each different location was equally

thoughts as being Eastern in nature, my desire to further

inspiring in different ways.

understand these emotional perceptual concepts led me to study Eastern philosophies.

Website: www.hharrisphoto.com 117

TOM ASHBOURNE

"My sculptures have a softness, a warmth, an invitation. They are a representation of my natural curiosity and my personality, which is warm, welcoming, and inclusive. I naturally see all sides of situations, something that I present in my sculptures. Like me, my sculptures don’t have many sharp edges, they have curves positive and negative space, and lots of conversation between the different sides of the stone."

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As an art lover and collector, my interests are

You were a successful corporate executive, how did you

eclectic. After a successful career as a corporate

become specifically interested in sculpture?

executive, I joined the artistic community as a

I’ve always loved art of all forms, but over time sculpture

sculptor, my favourite art form. I found my passion

has become my favourite, and that shows in my large

and myself in the world of fine art.

collection. Sculpture, unlike other art forms, has multiple sides, angles, views, and needs to work with light in many

How did you get into sculpting in the first place?

different ways. It’s a very sophisticated art form and

I’ve been collecting and appreciating art for most of

artistic expression.

my life. My entrance into becoming a professional artist sculptor started with taking several sculpting

Do you think in 3 dimensions then? How do you keep in

courses at the Art Gallery of Ontario (AGO), a few

mind the whole piece at the same time?

years after taking interior design classes at Sheridan

I naturally think in 3D so have a gift that few have. My gift

College. My experiences as a collector and the classes

is seeing things in the raw stone and bringing them out.

put me on the periphery of being an artist, and helped

I work on each side with equal intensity and continually

me develop my artistic eye, sense of balance, and

assess the sculpture as it evolves. I want every side to

appreciation of texture, shapes, and colour.

draw people’s interest time and again. To me the most 119

"I believe there is a sculpture in every piece of stone, even when it’s difficult to find. Natural features give me a starting point for how to approach the stone to transform it into the sculpture it is supposed to be."

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successful piece of art is one that you can

Your sculptures exist as an extension of

look at and own for years and continue to

your artistic experience. Please explain.

see something new and different in it over

As artists we are fundamentally one with

and over.

the art we create. Everything we do is a sum of all our experiences, how we see

One of the things I’ve heard you say from

the world around us, and what we feel is

time to time is that your idea is not

aesthetically and visually interesting. My

necessarily the viewer’s idea. How do

sculptures really are an expression of my

you feel about that?

life and artistic experiences and an

Interpreting and viewing a sculpture is a

extension of my views about what is a

personal emotional experience, unique to

successful artistic statement.

each of us. I actively encourage viewers to decide what they see in each sculpture

What’s your role as a sculptor in relation

and express what their views. Each

to the material?

interpretation of the image is equally

I believe there is a sculpture in every

valid in terms of appreciating the

piece of stone, even when it’s difficult to

sculpture and connecting with it. My

find. Natural features give me a starting

sculptures and my perception of them

point for how to approach the stone to

evolves over time as I never quite know

transform it into the sculpture it is

what the finished sculpture will look like.

supposed to be. It’s as if the stone is

Encouraging viewers to express their

talking to me, saying, “I’ve got this feature

ideas and perspectives is part of its

you can build on” and that conversation

evolution.

goes on until the sculpture is finished.

What can we see that’s uniquely you in your finished sculptures?

My sculptures have a softness, a warmth, an invitation. They are a representation of my natural curiosity and my personality, which is warm, welcoming, and inclusive. I naturally see all sides of situations, something that I present in my sculptures. Some unusual elements I introduce are embedded billiard balls or iridescent glass.

Like me, my sculptures don’t have many sharp edges, they have curves positive and negative space, and lots of conversation between the different sides of the stone.

Sometimes you work with a colour in a stone.

Because stones aren’t a solid colour. Is that one of the features that appeals to you or is it the shape?

Sculpture is all about shape, form and colour, universal artistic elements. I can create the sculpture’s shape and form but can’t influence its colour. Instead I enhance the image by using shape and form to emphasize the range and richness of the stone’s natural colours. Even then I can’t see the stone’s true colour until I’m close to finishing the sculpture.

How did you develop your technical expertise to the elite level that you operate at now?

I think it’s partly practice, and partly a gift. The technical part of stone sculpting resides in being curious and learning every day as you’re working.

The truth is that the technical skills and tools for sculpting have changed little in 400-500 years.

Practically, sculptors slowly remove parts of the stone to see what’s there. Knowing what to emphasize and when to stop are as essential as technique for exceptional sculptures.

Can you talk a little about the transition from a corporate life in an office to a life in the studio?

It’s a very welcome transition and change. I use many of the skills that made me a successful executive - analytic skills, lateral thinking, listening, and being open to different possibilities about how things can possibly work. The biggest 121

transition is that as a corporate executive you are

encouraged my own creativity, and helped me become a

constantly interacting with other people and rarely have

confident sculptor. I’ve learned a lot about colour,

any time to yourself. But in terms of getting out and

balance, and how to present different images and

being disciplined, managing the different concepts and

shapes. To be a successful collector you must have

inputs, the change isn’t as extreme as you would think.

confidence in what you like and do your own analysis to

At this point, the recognition, and successes I've

evaluate what makes a piece of art successful.

received motivate me every day, leaving my corporate

Otherwise you can end up with a collection of mediocre

life further and further behind.

art. I have many fantastic things because I can see the components and understand why and how they are

You described sculpture and sculpting as a solitary but

successful, or not. By looking at individual pieces of art

rewarding art form. Tell us more about that.

and talking with different artists about what makes

There are far fewer sculptors than there are painters.

something good or not as good, what is and isn't strong

And you’re dealing with large, heavy objects that are

has shaped my whole concept of art, which shines

difficult to move and machines and materials that tie you

through in my sculptures. In my own work, an important

to your studio. And it takes time for the sculpture to

measure is whether I would buy it. If the answer is yes, I

evolve. However, as a sculpture takes form and comes to

know that I have a good sculpture.

life it brings me joy and excitement that is hugely rewarding.

You described your interest as a collector as an exploration of colours, shapes, and textures. What do

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Can you talk a little bit about what you’ve learned as a

you mean by that?

collector that you’ve brought into your creative

For a piece to be successful, continuously fresh, and

approach to sculpting?

present new idea, I need to communicate a consistent

It is integral to my success. As a life-long collector I’ve

message and multiple points of interest. As a sculptor

developed a vast knowledge of art and art history,

this involves creating intriguing shapes and rich texture,

"In my own work, an important measure is whether I would buy it."

and presenting soft and hard edges, light, energy, and

Denizen, you see a great big smile. That’s coming from

appealing colours. These are the elements that make a

me. It's a strong piece, really engaging. Without my

sculpture wonderful. These have been fundamental to art

communication with the stone, Denizen wouldn't exist as

and artists for thousands of years and are the basis for my

it is, and Denizen is what the stone wanted to be. Denizen

personal collection.

represents my approach to sculpting, one that is incredibly successful. I like to bring out the true essence

Do you have any favourite pieces?

of the stone in my sculptures by interacting with it. I

What truly makes a sculpture a special piece for me is

never start a sculpture with preconceived ideas of what it

when the sculpture only exists as it does because of my

will be. Denizen turned out to be something fabulous,

intimate interactions with the stone. Obviously, I love my

something that I enjoy looking at. It makes me feel good

sculptures that are aesthetically pleasing or beautiful, my

that I’ve been able to listen to the stone and reveal what

favourites keep changing as artistic talents are constantly

the stone is meant to be. Denizen reminds me that no

evolving.

matter what piece of stone I have and what I see in it, if I’m patient with the stone I can reveal something that is

One of my current favourites is Denizen, an Oatmeal

wonderful and joyous.

Alabaster sculpture, reminiscent of an ancient deep-

I'm also particularly fond of Celestial, a translucent

ocean fish. I had the stone for years and it was a little

sculpture in Cloud Alabaster. It’s ethereal, it floats in the

beaten up from transit to my studio. I worked on it many

air. It’s strong, beautiful, and simple. Again, I revealed the

times but couldn’t find its true image. Then one day I

stone’s true essence in this award-winning piece. It would

started working on it again and Denizen emerged out of

have been easy to overwork the stone, creating

the stone, just as it would have emerged out of the ocean.

something that doesn’t have the impact and beauty that

Hand sanding revealed symmetrical inclusions in the

Celestial does. It is a marvelous thing. Simple, elegant,

stone, right where its eyes should be. When you look at

and sophisticated. With backlighting, it lights up from 123

"As always, I listened to the stone, working with it, encouraging the stone to reveal itself to me."

within. It’s beauty never ceases to impress me because Celestial changes every time the light changes. As always, I listened to the stone, working with it, encouraging the stone to reveal itself to me. Celestial came to life like a stream of consciousness. When I get into that zone, it feels easy to create beautiful things.

You don’t have to overwork or overthink it to create beautiful things. That’s what an artist's talent is all about. It's not how much work, it’s about how you express your creativity.

Helen is another fantastic, beautiful piece. One of my first few sculptures ever and it has really stood test of time. Creating Helen felt remarkable then and feels remarkable now, as I look back. Although I had limited experience, Helen has lovely features and curves, an eye that adds balance and an interesting focal point that brings it alive as a positive negative space. Like Helen of Troy, my Helen is a strong warrior and feminine woman, with a subtle raw edge. She is full of joy and calls out her beauty. Helen makes me feel quite elated every time I look at her. She is the precursor for my current work.

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Tell us about your location and surroundings, where you work and whether it influences your work.

My purpose-built studio is just outside of Wellington, a small tourist destination in Prince Edward County, Ontario. We have two acres with a studio, workshop, and small gallery along the shores of Lake Ontario.

We’re far enough away from neighbours that I don’t bother them with noise and dust, and I have room for a substantial inventory of different types and sizes of stone. The County is an art and wine tourist mecca two hour’s drive east of Toronto. It’s a positive environment, lots of trees, and birds, encouraging me to continually develop my art. The weather, environment and water change all the time. It’s also a wonderful place to present my work within a vibrant community of about 500 artists.

"I'm massively honoured to be an elected member of the Sculptors Society of Canada."

This year you were elected to Sculptor’s Society of Canada, a prestigious group of 80 sculptors. What did you say to yourself when you got this recognition?

Yeehaw! I'm massively honoured to be an elected member of the Sculptors Society of Canada (SSC), a prestigious group of Canada’s top sculptors. This honour is well beyond any expectations I had when I started sculpting. Membership gives me access to other successful sculptors to learn new techniques and understand what makes my sculptures exceptional.

SSC is a close knit society where I can develop camaraderie with people who understand what I do and the challenges I face. A second huge honour came my way in 2020. I am thrilled to become an elected member of the Society of Canadian Artists (SCA). With only 250 elected members, I was chosen from a national pool of Canadian artists creating art in every medium. I truly value these being a member of these elite societies of professional Canadian artists and understand the importance that membership communicates to patrons when they come to my Studio and Gallery, or see my work in exhibitions and shows.

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figured out how to present my work and have a strong social media presence. I think 2021 will build on 2020.

I’ve got amazing pieces of stone to work on and expect my sculptures will continue to get larger. I’m also going to focus on creating outdoor pieces or ones that would work well in an outdoor environment. I’ll continue my emphasis on stone sculptures, developing my skills, and experimenting with stone as I continue to develop my technical abilities and techniques. I’m confident that I’ll continue to create wonderful, interesting, evocative, and esthetically appealing sculptures, always fresh and new.

Has the recognition changed your attitude towards yourself?

It has. Its increased my confidence and expectations for my sculptures. I’ve learned more about how other professional artists and patrons view my work, and about myself as professional artist..

Any last words?

Throughout history art has been one of the few things You also do metal sculptures, so can you talk about the

that has lived and developed. It is integral to people’s

differences or similarities working with two very

lives, adding richness and texture. My work is positive, it

different types of materials.

makes people feel happy. It’s complex and beautiful, has

I primarily work with stone and it’s the thing I love most.

intriguing shapes, texture, movement, and colour. I think

Creating metal and assemblage sculptures encourages

it will stand the test of time. My sculptures are an

my creativity and mental agility as it is fundamentally a

extension of all we see around us, and I think they have

different process. Intellectually you must do different

the potential to bring lasting enjoyment.

things to keep yourself sharp and to challenge yourself.

Metal and assemblage are additive art forms – you keep adding material until the sculpture is finished. Stone sculpting is a reductive art form – where you slowly remove pieces of stone until the sculpture is finished.

"Metal and assemblage are additive art forms – you keep adding material until the sculpture is finished.

With assemblage sculpture you’re creating something from what you have. It comes from your imagination and the materials you have on hand.

Stone sculpting is a reductive art form – where you slowly remove pieces of stone until the sculpture is finished.

What can we expect from you this year?

2020 was a breakthrough year in terms of earning prestigious accreditations –Sculptors Society of Canada (SSC) and Society of Canadian Artists (SCA), the quality of my work and the shows I’ve been juried into. Despite

With assemblage sculpture you’re creating something from what you have. It comes from your imagination and the materials you have on hand."

COVID, everything is coming together. I have a healthy inventory of sculptures, I’ve developed my profile and reputation, the gallery has a steady stream of people

www.tomashbourne.com

interested in sculpture and seeing my work. We have 127

GILLES DE BEAUCHENE 128

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GILLES DE BEAUCHÊNE IS AN ESTABLISHED FINE ART PHOTOGRAPHER BASED IN PARIS, FRANCE. USING A MIX OF ANALOG AND DIGITAL PHOTOGRAPHY, HIS IMAGES, AESTHETICALLY FLAWLESS AND SURREAL IN APPEARANCE, ARE BOTH OBSESSIVE AND ELEGANT.

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GILLES DE BEAUCHENE Born in 1964 Gilles de Beauchêne has been an

He takes very few photographs a year because from

advertising photographer for more than 30 years. In

idea to completion it can take several months to find

order to escape the shackles of the 'brief' imposed by

the ideal team. He always begins by drawing his

his clients, he started to build in 2006 an artistic work

project, and then assembling all the elements that will

made of creations out of his imagination, not series but

constitute his final image. Several days of shooting are

single image which from year to year reveal the

often necessary. In his studio, it's a team of 4-5 people

themes that preoccupies or obsessed him. Advertising

working together; a model, clothes and hair stylists,

as propaganda tools, modernity versus tradition,

makeup artist, model maker, 3D design.

abandonment and confinement, woman’s complexity.

Gilles made the transition from film photography to His last corpus ‘How the West was lost’ reflects his

digital, he knows perfectly how to use studio lights and

perception of the conquest of the American West,

digital tools. He is only satisfied when he has found the

filled by his memories of westerns watched on TV

perfect light, the right colours, consistent shadows, and

when he was a child.

how to fit each part with the others, like in a puzzle.

WWW.GILLESDEBEAUCHENE.COM 133

S.BROOKE ANDERSON

"I have always felt that what is seen in the physical world, veils a mystical, unseen world that has more depth than we can perceive. I seek to integrate these two realms through my work. The unseen realm is a world of unity, where light and shadow merge and imagination reigns."

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S.Brooke Anderson is a Vancouver painter whose

depth than we can perceive. I seek to integrate these two

oeuvre ranges from landscape to portraiture. Her

realms through my work. The unseen realm is a world of

work is versatile, reflecting nuanced sensitivity,

unity, where light and shadow merge and imagination

texture and line, interweaving alchemical synergies

reigns. It is infused with spirit and holds the essence of the

with unseen worlds. Her work invokes awe and

world we walk through. Art is a portal to bring this

wonder in a world tired of disenchantment. Brooke's

essence forward for the viewer, to glimpse.

work hangs in the Official Residence of the Governor General of Canada, in Ottawa, Ontario.

Your landscapes have been described as simply mindblowing and out of this world. Tell us more about how

Painting is a part of your spiritual life, you have

you create these impactful works.

described it as: "Art is a doorway to the mystery...

To express the essence of a landscape, I turn away from

and as such, my landscapes and portraiture seek to

the noise and distractions of this world and enter into the

embrace both the seen and the unseen." Please shine

realm that infuses the land with spirit. I see through the

some light on this.

eyes of my heart and connect to something larger than

I have always felt that what is seen in the physical

myself, which offers me a wider view. My best work

world, veils a mystical, unseen world that has more

comes when I surrender and allow my imagination to flow 135

"Art becomes a form of prayer for me leading me to a place of renewal.

When I paint quickly, the brush strokes charge the painting with energy and a sense of movement."

136

freely. An intuitive process leads me into

light coalesce. I have always been drawn

an altered state, where all that exists is

to portraiture, as a way to explore our

simply the moment. It is through this

connection to one another as human

surrender that I can experience a kind of

beings

communion with the sacred. Art becomes

differences. We all embody an exquisite,

a form of prayer for me leading me to a

divine spark that resides deep within. It

place of renewal. When I paint quickly,

radiates the light and beauty of who we

the brush strokes charge the painting

really are. Every created thing carries the

with energy and a sense of movement.

signature of its creator.

I paint in oils now, almost exclusively.

Through portraiture, I seek to connect

Colour is a powerful and emotionally

with this deeper essence and bring it

evocative force—and I love pulling the

forward, in all its subtle awareness.

in

the

world,

despite

our

light out of darkness; it symbolizes the world of duality through which we walk.

You exhibited at the Nagasaki Peace Museum and the Japanese Overseas

Your portraits show a similar subtlety

Migration Museum in Yokohama. Share

that we find your landscapes. How do

with us a bit about these experiences

you approach working on portraits?

and how they came about.

Portraiture is a more contained and

For many years, I worked for an airline

methodical approach. Once the subject’s

and when Japan became a new route, I

features are mapped in, the foundation of

studied

the portrait is established. A sense of

resonated with me and with intensive

likeness and form emerge as dark and

study, I qualified as a language speaker.

Japanese.

The

language

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This opened up the opportunity for me to visit Japan

quotes accompanied these photos describing their

three times a month and control my schedule, as my

hopes and dreams for a new life. The big skies and open

daughters were very young at the time. I found a

spaces of Canada’s landscape fueled their imagination.

master shodo painter living in Kyoto and became his

These Portraits and my landscapes merged to create

student. I travelled regularly by train, to learn from him.

‘Kusawake’ (pioneer). The Canadian Consulate in

Time spent, was rich in experience and I still feel his

Tokyo arranged for this exhibition to be shown in

influence surface in my work today. During this time, a

Yokohama and Kyoto. I received an invitation to exhibit

historian friend, began sharing passport photos from

in Nagasaki the following year. Although I no longer

the archives, of Japanese citizens who had immigrated

worked for Air Canada, they generously sponsored all

to Canada in the late 1800’s.

transportation to and from Japan. Some of these paintings now reside in the Yokohama Migration

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I found beauty in the vulnerability and courage they

Museum in Japan and the Japanese Nikkei Museum in

expressed, and was inspired to paint them. Personal

Vancouver, as part of their permanent collections.

"I paint in oils now, almost exclusively. Colour is a powerful and emotionally evocative force— and I love pulling the light out of darkness; it symbolizes the world of duality through which we walk."

"We all embody an exquisite, divine spark that resides deep within. It radiates the light and beauty of who we really are. Every created thing carries the signature of its creator. Through portraiture, I seek to connect with this deeper essence and bring it forward, in all its subtle awareness."

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"Through art, inmates explored the power of their thoughts, how imagination creates reality, and how art can transform conflict and more."

You ran a volunteer art program in the prison system.

spend a year with them, turned into a decade. This

Tell us about this experience and what creativity meant

program expanded into the men’s prison, where I found

to the prisoners.

men equally, if not more, in need of entering the still,

This program evolved in collaboration with American

sacred space that creativity offers. As I walked beside

artist Jerome Gastaldi who created a workbook (Keep an

those living in the darkest shadows of our society, I

Eye on Your Soul), encouraging artists to find inspiration

experienced their true essence—who they were under

and passion through their work. We are all artists, wired

the surface. My heart expanded in ways I did not expect.

to create, so I used this book and designed an approach

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specific to the prison population. The atmosphere of the

How did this experience affect your art?

prison was grim—the interior was stark and all walls were

During our time together, inmates shared personal

bare. Deprivation of colour and beauty seemed a part of

stories, and most heart-breaking, were stories that

incarceration—this was confirmed during my first

involved the separation of a Mother and child. Loss of

workshop. Images for collage I brought in and displayed

connection brought deep sorrow. With incarceration,

for the women, were hungrily gathered to themselves, as

birthdays, milestones and entire childhoods are missed.

if starving for food at a banquet table. It was revealing.

I recalled how difficult it had been for me as a working

Through art, inmates explored the power of their

mother, to leave my children and fly half way around the

thoughts, how imagination creates reality, and how art

world. By comparison, the experience of these mothers

can transform conflict and more.

was brutal and humbling, bringing new meaning to my

Time spent in free flow creativity was opportunity for

understanding of the anguish of separation. Their

them to leave the drama and chaos of confinement and

heartache was palpable. In order for me to process their

enter the stillness within; a place of freedom and healing.

pain, I would enter my studio to paint and over time,

The more they returned to this inner space, the more

portraits of the women and their struggles evolved. With

nourishing it became. Art helped them to remember who

the respect for privacy and need for anonymity, the faces

they really are, despite transgressions or mistakes made.

I painted were not specific to one individual, but an

There was beauty in their vulnerability and courage—I

embodiment

didn’t expect to love them so much. My intention to

overlapped.

of

many,

whose

poignant

stories

"My Mother was an artist and I was surrounded by art at an early age. We often painted together and the combination of her gentle nature with her bohemian free spirit inspired me. We are all wired to create and this is most clear in childhood."

Tell us about your work on the book 'Spiritual Voices'?

Spiritual Voices is an interfaith book and was initiated by New Seeds: The Thomas Merton Centre in Toronto. The project highlights twelve Canadians who share a glimpse of their walk in the world, through personal reflections on life, stories of faith or scholarly essays. I was invited to join the project to render portraits of each contributor. Spiritual Voices included contributions from scholars, rabbis, an imam, a writer, a singer and mystic, a priest, a nun, and more. I traveled to France, Texas, New York and Toronto to take photographs for reference. My role in the project expanded

as

time

went

on,

to

include

greater

responsibilities and sharing my journey into prison. The highlight of this project was the connection and friendships formed with those I met.

Why did you want to be an artist, what drew you to art in the first place?

My Mother was an artist and I was surrounded by art at an early age. We often painted together and the combination of her gentle nature with her bohemian free spirit inspired me. We are all wired to create and this is most clear in childhood. A child can pick up a crayon and draw a horse with inspired, wild, abandon, until someone comes along and says ‘that doesn’t look like a horse’. Everything changes in that moment for the child, who then believes he or she cannot draw. I never experienced this discouragement, so always believed I could. What we believe matters and shapes our lives. I was an introvert and I turned to the creative process for the sheer pleasure of art making, but also in times of my deepest emotional needs. I soon learned 141

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"We all have unique gifts to share and recognizing these gifts, allows us to gain understanding of our purpose. The first clue is what do we really enjoy? In my journey as an artist, I sought what inspired me... but mostly I simply painted and pursued what I loved."

that creativity opened a path to greater awareness. Art was my call into the mystery and the world of the unknown, that eventually led me to seek even deeper.

You are highly skilled across different mediums. Share some insight into how you developed your skill.

There is a theory that asserts the key to achieving true expertise in any skill, is simply a matter of practicing for 10,000 hours. I think having a passion for any pursuit must be part of the equation, otherwise it may feel like an onerous burden. We all have unique gifts to share and recognizing these gifts, allows us to gain understanding of our purpose. The first clue is what do we really enjoy? In my journey as an artist, I sought what inspired me—I took workshops in Sweden, Florence and Southern Italy, painted beside

masters

who

generously

mentored

me,

experimented with various techniques, but mostly I simply painted and pursued what I loved. It takes time and perseverance to reach 10,000 hours, but 10,000 hours is only 416 days— just over a year! So if you have a dream that really calls to you, 10,000 hours, once passed, seems but a moment.

Tell us about life in Vancouver, what does the city and Canada mean to you and your work?

Vancouver is an inspiring place to paint. I am currently working on a project in collaboration with singer and mystic Ann Mortifee, (one of Canada’s best voices). I am hoping to travel to Israel next year to further my study of the Essenes.

I will take my paints with me and paint the Holy land.

Website: www.sbrookeanderson.com Gallery: www.idavictoriagallery.com

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CARLA O'CONNOR

"The ability to integrate representational figures into abstract pictorial spaces is an approach I have worked hard to develop. On one level or another every artist deals with the abstract qualities of images and the illusion of a three-dimensional reality on a two-dimensional surface. For me, I almost always need to relate what I’m doing to the female form."

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Carla O’Connor received her BFA in painting from

Wisconsin at Milwaukee. At nine years old, while

Kent State University, Kent, Ohio. She has done

accompanying my mother, also an artist, to France and

additional formal study at the University of the

Italy, I painted Plein Aire in oils in Paris and in watercolor

Americas, Mexico City; University of Dayton, Ohio;

at St. Mark’s Square in Venice. At 13 years, summers were

and the University of Wisconsin, Milwaukee.

spent in classes at the Instituto de San Miguel de Allende,

O’Connor is a signature member of the American

Mexico.

Watercolor Society, National Watercolor Society and Northwest Watercolor Society (Gold Member)

The emphasis of all my formal training was drawing and

and is an AWS Dolphin Fellow.

design of the human figure realistically and accurately.

That became the foundation for a lifetime of work and the

How did you become an artist?

basis for my personal vision. Professionally, I have

I was raised in Chicago, Illinois and earned a Bachelor

achieved

of Fine Arts degree in painting at Kent State

Watercolor

University in Kent, Ohio. I had additional formal study

American Women Artists and the Northwest Watercolor

at The University of the Americas in Mexico City, the

Society. In 1997 I was awarded the Silver Medal from

University of Dayton, Ohio and the University of

AWS and became an AWS Dolphin Fellow. In addition, I

signature Society,

membership National

in

the

Watercolor

American Society,

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have been fortunate to have won awards for abstract and figurative paintings in such exhibitions as Watercolor USA at the Springfield Art Museum in Missouri, the Booth Museum in Georgia, Best of Show in the International Society of Experimental Artists as well as The Grand Award from the American Women Artists. My work is also included in the permanent collection of the Museum of Fine Art in Nanjing China. I spent 30 years travelling the U.S., Canada and Europe teaching watermedia workshops.

Although teaching was new for me in the beginning it forced me to examine my own truths, process, motivation and beliefs. I learned far more than any of my students and it was a true privilege.

Why is it important to create paintings that are captivating and have deeper meaning?

There have been numerous years in the past that have been turbulent with many challenges, changes and obligations that often have felt overwhelming. The impact on my art - on the “why” and “what” of my painting - have been considerable. There is a feeling of “the shoe is still in mid-air.” There is a constant need to create works that communicate and connect with other people at a higher level of understanding. Whether this is sort of solitary therapy or a necessary process in art, I am not sure, but this selfscrutinizing has helped me understand myself better. It has had the extraordinary impact on my art by bringing a clearer vision of what it is I want to say.

The practice of cathartic, deeply expressive painting can’t go on forever. It is far too emotionally draining. But the process, the actual doing, inevitably brings about growth and substance. It is not about awards or sales or technique. It is about learning to express emotion clearly. Over time you can move past the turmoil and let the shoe rest on the floor and be silent.

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"I use authentic, realistic motifs from textiles and other decorative objects to embellish the abstracted shapes in the painting and the model’s costumes."

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What is 2020 Vision?

recording life’s consequences is the

“2020 Vision” is my direct response to the

primary reason for art’s existence.

pandemic and Covid19. A young woman

"Artists have the ability to record visually through our work the events affecting our personal lives as well as those in the world around us. Some might argue that recording life’s consequences is the primary reason for art’s existence."

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of today’s world, appearing strong, hip,

What inspires some of your themes?

confident as reflected in her appearance –

Prior to a workshop in Japan, I began to

cutoff jeans, t-shirt and obvious tattoos –

study Chinese, Korean, and Japanese

is on the floor of her closet in distress. A

woodblock prints. I was amazed and

closer look reveals a closet full of silks,

delighted to discover so many parallels in

satins and shear garments in contrast to

my work - their gold leaf to my gold gesso;

the outer image she projects. My intent

flat shapes; outlining; extensive patterns

was to show both strength and frailty in

and texture; shallow space; and stylized

such troubled times. Everyone needs

faces and hands. I feel that my life’s work

their own safe and secure quiet place, be

has been a journey leading me to this

it a church, a sunny spot in the woods, or

connection and one I have only just

even your own closet as a sanctuary. This

started to explore. I like to use authentic,

was a very different kind of painting for

realistic motifs from textiles and other

me to present due to the specific message

decorative objects to embellish the

and I found it daunting and difficult. But

abstracted shapes in the painting and the

artists have the ability to record visually

model’s costumes. However, some are

through our work the events affecting our

invented strictly to re-enforce the design

personal lives as well as those in the world

and composition. Another inspiration

around us. Some might argue that

came when my family moved to the

Pacific Northwest from the middle of the US, and I was moved to capture the rocky shores of Puget Sound. It led to many paintings that all fell under the umbrella title of “Rock Rhythms“. I set aside the figurative work to concentrate solely on these abstract landscapes. When this series came to an end, I returned to my constant love of the human form and began to marry the concepts together - 2-D abstracts with the 3-D figure form. This challenge will keep me busy and ever searching till the end, I’m sure.

What do you like about watercolor as a medium?

I began my painting career using oils primarily on canvas in a classical fashion. From there I found acrylics on canvas and eventually on paper. I met a wonderful Welsh artist, David P. Hares, painting with watercolors – and was smitten with his work so the next change was easy. Using strictly transparent watercolor for 30 years fell short of my intended result until I discovered Gouache. The addition of opaques next to the transparent w/c was exactly what I was seeking and it continues to challenge me.

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"Prior to a workshop in Japan, I began to study Chinese, Korean, and Japanese woodblock prints. I was amazed and delighted to discover so many parallels in my work - their gold leaf to my gold gesso; flat shapes; outlining; extensive patterns and texture; shallow space; and stylized faces and hands. I feel that my life’s work has been a journey leading me to this connection and one I have only just started to explore."

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I now consider it to by my mature medium and liken it to

Your work has a contemporary edge. Is this a quality

coming full circle. Being completely knowledgeable of

you specifically aim to achieve?

the medium allows freedom to express intuitively.

I will never forget a visit to MOMA in New York City one year to find two paintings hanging both done on canvas

How did you develop unique style?

in oil – one solid black, one solid white. I found myself

The ability to integrate representational figures into

being furious! Is that what it takes to hang in MOMA? It

abstract pictorial spaces is an approach I have worked

was many years later when I realized the artists intent

hard to develop. On one level or another every artist

to invoke emotion (which he got in spades from me). For

deals with the abstract qualities of images and the

me, it all comes down to what you have to say visually.

illusion of a three-dimensional reality on a two-

At every point in an artist’s career there are different

dimensional surface. For me, I almost always need to

objectives – recognition, pay the rent, become famous,

relate what I’m doing to the female form. Art history

achieve one goal, contribute to the world, move one

reaches out to us when we most need it in our personal

person emotionally or spiritually, shock the viewer, or

journey in art. Upon seeing an exhibition by Nicolai

change one life for the better. World events, man made

Fechin in Seattle my vision became much clearer. He

or otherwise, fads, and financial circumstances play a

was a master of integrating the three-dimensional figure

roll. Ashuman beings we are extremely complex with

on a two-dimensional surface. The other major

equally complex and numerous individual emotional

influences who have impacted my style are Milton Avery

responses. Big Job! There is one other aspect to art and

for color, Edouard Vuillard for pattern, Mary Cassatt for

the artist’s responsibility – visual history. I do feel we

sensitivity from a feminist point of view, and Agnolo

need to record our times and the global conditions. How

Bronzino for magnificent portraits. Once Vincent Van

else will anyone in the future know the devastating year

Gogh came for tea and whispered in my ear.

of 2020?

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I was beginning to hear my own voice more clearly. The more I tried to teach others to find their own voice the more I came to understand what I felt was important in my own art making. The teaching years were most prolific and my work advanced rapidly. I taught up to 17 classes a year, was booked 3 years in advanced, and all during this time entering International and national exhibitions. All that exposure was very good for sales but became extremely tiring and now our present Covid19 world situation has brought it to a halt. I never thought I would be reinventing myself yet again!

How do you want your work to impact viewers?

Art is a complex stimulus—scholars and artists have wrestled over this question forever. I would like the viewer of my work to experience a number of things - my personal emotional and intellectual response to a thing, object, location or event; their personal response to

How has your art practice evolved during your career?

Fresh out of college I painted primarily in Oils on canvas. I experimented with pastel portraiture, other mediums and dabbled with teaching but primarily focused on polishing my technical skills. Married to a career US Air Force Officer, we traveled a great deal — moving 13 times in 22 years around the world and I filled dozens of sketchbooks to record the experience.

Also, during this time, I began to enter national exhibitions and learned a great deal about acceptance and rejection. I didn’t know at the time that those lessons would be a life-long circumstance to be dealt with. The second 25 plus years found me traveling again only instead of taking my husband to the airport, now he took me as I was headed to various workshop locations. Exposure in numerous exhibitions, winning an award now and then, published articles, jurying shows all helped to build my reputation and I began to receive invitations to teach workshops. Now I was able to refine my own technical expertise and personal objectives.

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"I present the world and its effects on me visually through my eyes only and I hope the viewer will join me and share my personal vision."

those very things presented; the manner in which it was executed or created; the human expression - not just the concept, idea or message. The viewers perception of an image can be altered by how and where it appears separate from the original source and imagination builds when viewer speculates about the image with no regard to what is actually shown.

Hopefully I create an image that ignites imagination and emotion be it peace, joy, anger, excitement, resentment, contemplation or empathy to name a few.

Although some of my work has a specific story or message many others do not and it is not important to me if those are received “correctly”. Once an art work leaves the artist, it has a life that, to a degree, becomes what the viewer sees in it and the artist needs to ‘let go’ and allow it to become its destiny. I present the world and its effects on me visually through my eyes only and I sincerely hope the viewer will be moved to join me and, perhaps, share my personal vision. www.carlaoconnor.com | www.brumfieldgallery.com

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LOUISA SETON 154

155

156

157

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Louisa’s work explores the graceful line between

fine

art,

portrait,

and

documentary photography. Best known for her portraits of women in Africa she powerfully culture

enhances

with

indigenous

humanitarian

visual

storytelling. Her elegant classic style reflects a sense of noble intimacy in her subjects that leaves one with a deep sense of nostalgia for times gone by.

Louisa grew up in Nairobi, Kenya. She studied Fine Art at Rhodes University, South Africa. Currently residing in Australia. She has successfully forged an international photographic career as a lifestyle documentary and a Fine Art photographer.

Louisa’s powerful indigenous portraits reflect an intimacy in her subjects that leaves one with a deep sense of nostalgia of the romantic Africa she knew from childhood.

A majority of Louisa’s work retains a monochrome Fine Art studio style, reflecting her classical Fine Art training.

This is evident in the clean textures and use of light that accentuates her subjects features and tribal adornment, translating

in

to

powerful

visual

storytelling. Louisa’s classic style is widely themed throughout her portrait, wildlife photography and also in her architectural equestrian studies.

Website: www.louisaseton.com Find Louisa on Instagram: @louisasetonphotography @sacredfemininephotography

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CAROLINE BACHER

"I’m always inspired to find beauty in everyday life — unusual plants, architecture, movies, other art, people on the street that I see, even stains and spills are all constantly generating ideas and feeding my process...

My art is very much a product of my everyday life — the books I’ve read, things I’ve encountered, and the emotions I’m processing."

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With influences including Hieronymus Bosch, Carl

remains sparsely populated in the winter months

Jung, traditional fairy-tales and mythology, Caroline

especially. While I certainly enjoyed the outdoors, and

Bacher's mixed-medium work presents recurring

close friendships, I suppose my introverted personality

dichotomies,

relationships

naturally dictated that I spent a lot of time observing,

between the individual and facets of the self through a

which fostered both a love of drawing, sculpting and

personal lens of metaphor and symbol.

story telling.

Please share with us your background.

My paternal grandmother was very artistic, and she

I’ve become a bit of a nomad since, but I spent my

very much appreciated and nurtured that within me. I

formative years as an only child, on the outskirts of

spent many of my childhood summers alone with her in

Algonquin Park, in the little village of Dorset, smack dab

Germany. Although she was in her 70s at the time, she

between the Haliburton Highlands and Muskoka. The

was very active, and I really got to experience city life

region is known for its many pristine lakes, boreal

with her, exploring galleries, historical sites and urban

forests and abundant wildlife. It’s changed quite a bit

culture, which was a very exciting contrast to the

since National Geographic hailed it as the number one

solitude of my home town. After completing my studies

Best Summer Travel Destination in 2011, but it still

in the early 2000s at the Ontario College of Art and

confrontations

and

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"There are times when I know exactly what I’m going to create and other times where I allow the piece to create itself as I go along — this is probably the most rewarding way of creating for me as chance is a very powerful cocreator."

162

Design in Toronto, I had considered

where I allow the piece to create itself as I

continuing my studies and career in

go along — this is probably the most

Berlin, but I instead decided to come back

rewarding way of creating for me as

to Toronto, where I began to work as an

chance is a very powerful co-creator.

artist,

GIA

I’m definitely a huge advocate of sleep! I

Graduate Gemologist. Both my art and

find that I get a lot of creative solutions

jewellery has been exhibited across North

either in dreams or in the meditative

America, and I’m proud to say has found

period just before drifting off. If I’m

homes across the world.

struggling or indecisive about how to go

jeweller

and

eventually,

about a project, I almost always wake up Share with us some insight into your

with a solution if I relax and take a good

process.

rest.

I’ve definitely gone for long periods without

creating

anything,

but

I’m

How would you describe the unique

typically very creative on a daily basis—

DNA of your art?

it’s my natural state of being, and I’m

My art is very much a product of my

always inspired to find beauty in everyday

everyday life—the books I’ve read, things

life—unusual plants, architecture, movies,

I’ve encountered, and the emotions I’m

other art, people on the street that I see,

processing. I find there is always lightness

even stains and spills are all constantly

to the darkness and darkness to the light,

generating ideas and feeding my process.

and that duality is paramount for me. I

There are times when I know exactly what

believe that we are spiritual beings, and

I’m going to create and other times

that the 80 or so years we are generally

prescribed in this life is only part of the picture. It’s easy

feel about the work of other artists that I’ve brought

to forget that we are all so much more than our jobs, our

into my life. Personally, I try to avoid reading the write-

roles, our bodies, ages, trials and successes, yet on the

up the artist puts forth with a work if I’m really drawn to

other hand, we are but a series of elements producing

it and considering purchasing it, at least until I’ve made

chemical reactions! There is endless joy and sadness on

my decision. There have been a few instances where the

this planet and in this life — it’s all intricate and

stance of the artist has been a disappointment, and

complicated, yet simultaneously so perfect and simple.

doesn’t just let the work speak for itself. So I try to

My art isn’t unique, but it is uniquely mine, and it’s a

speak from my own experience, not that of the work,

wonderful feeling when it resonates with someone else

and allow it to breathe and stand on its own.

enough to add their own story to it.

What do people say when they discover your work?

How do you want your art to impact the viewer?

Conversely, it’s often very interesting to hear what

At root, the artist creates so as to exist within their own

other people see and feel from my work. It ranges from

creation. Both art making and art appreciation are very

the ridiculous to the profound and everywhere in

personal, and I really believe a piece of art is only as

between, and I try to respect it all. Sometimes it’s

good as the viewer. I think of my pieces as children — I

incredibly insightful and far more intelligent than I am,

put my best intentions in, but ultimately they go on to

ha ha. I’m often pleasantly surprised at how diverse my

live their own lives and gather their own stories. It’s up

audience is as well — people of all ages and backgrounds

to the audience to find beauty or meaning within them,

have purchased my work — everyone from scientists to

or not. For the people who’ve collected my art and

yoga instructors to death metal drummers to lawyers to

brought it into their homes and lives, I’d hope that my

writers, and occultists!

work is an on-going conversation and relationship. I hope that their evolving experience finds new elements

Share with us some of the themes you have explored.

within the work to reflect on, comfort, inspire, and

When I was a teen, I was fascinated with all things

enjoy, just as they would with a good friend. This is how I

medieval, including the medieval science of alchemy — 163

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"At root, the artist creates so as to exist within their own creation. Both art making and art appreciation are very personal, and I really believe a piece of art is only as good as the viewer. I think of my pieces as children — I put my best intentions in, but ultimately they go on to live their own lives and gather their own stories."

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the belief that one substance could miraculously transform into another. While modern science has disproved this notion, I do believe that alchemy exists as a metaphorical concept— our thoughts, experiences, actions and emotions are all catalysts for creation and interpretation. So, metaphorical alchemy is something I explore in my art. My work is absurd, so my depictions

"I do believe that alchemy exists as a metaphorical concept— our thoughts, experiences, actions and emotions are all catalysts for creation and interpretation."

of time, destruction, rebirth and the lifecycle often

have a surreal, symbolic and mythological element to

Symbolically baldness represents a sort of purity and

them—I love to create anthropomorphic characters for

spirituality—who we are when no one else is looking,

this reason. We do, after all, play a variety of roles in

when vanity and the excess of existence has been

our own stories and those of others. I’ve often been

stripped away.

asked why most of my human figures are bald as I’ve

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gravitated towards this since I was very young. From a

What are you currently working on?

stylistic stance, I suppose I always felt that the look was

I’m really excited to share a little about what I have in

cleaner, less frilly, and allowed for the face and body to

store for 2021! I’m sure there will be new paintings, but

more readily expressive.

I’m currently designing, and sourcing gems for, some

"I love colour, beautiful geometric patterns and fabrics, so I’m also working on converting elements of my work into wearable art."

beautiful

one

of

a

kind

jewellery pieces in gold. The line of earrings I have in mind will

be

versatile,

interchangeable

with

components,

to be worn in a variety of ways.

I

love

colour,

beautiful

geometric patterns and fabrics, so

I’m

also

working

on

converting elements of my work into wearable art — I’m especially looking forward to some of the silk scarves I’m currently designing. I hope there will be some surprises in store for me as well, some inspiration that is yet unknown to me — collaborations and commissioned work is always amazing for me in that regard.

I’m planning to be at The Toronto Outdoor Art Fair in July 2021 so do stop by if you’ll be in Toronto at that time! www.torontooutdoor.art

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What directions are you interested in exploring?

I really want to do some clay work. I find that process to be incredibly tactile and soothing. I keep trying to find the facilities in Toronto to do this, but these classes and spaces are very popular and fill up quickly, sometimes within minutes. The ideas I have for clay keep coming, so it’s definitely something I have to be proactive with when Covid restrictions lift. I’m always learning from a jeweller’s and gemological stance as well—it’s a very diverse industry that’s always evolving.

I learned technical drawing in school, which has helped me plan pieces more effectively, but it definitely has limitations. I’m horrible with computers, but I’m willing to totally frustrate myself and learn CAD at some point in the near future too.

What attracts you to your preferred mediums?

My paintings are typically a mix of acrylic, coloured pencil and graphite. And when I first encountered wood panel in 2005, it was life-changing, ha ha.

Unlike canvas, wood panel is very smooth and sturdy, so it really allows me to attain a certain level of detail and precision. I find my trio of materials to work really nicely together in many versatile ways — I can layer, blend and play with opacity very easily. Acrylic paints don’t have the range of really vibrant colours as oils do, but I appreciate that acrylic dries very quickly, which is usually a good thing in my process. I’ve used coloured pencils and pencil since childhood, and these materials hold a special sentiment for me and make me feel very connected to my journey and evolution as both a person and an artist. In a sense, I feel like a survivor—most children are natural artists and it’s a beautiful way for them to explore and make sense of the world. But I find most people give up drawing at around the age of 11, and a certain self-consciousness develops, as

"I think people are similar to gemstones in many ways.

When I look at a beautiful gem, I think about my own resilience."

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well as a shift from fantasy, to an adherence to the “real world”. I feel that I’ve beaten the odds in my 40s by not losing this gift and appreciation, and that at least a part of me has retained the purity of childhood. Gold and silver are very special materials to me, both from metaphysical and physical perspectives, and I love working with them both. There is a certain power to manipulating metal, and these materials truly stand the test of time from a practical standpoint. I’m always incredibly humbled when working with gemstones—some of them are billions of years old, and some formed before life existed. I like to think that they have had a rich “life” of quiet contemplation before they were unearthed and shaped by human hand. I think people are similar to gemstones in many ways. When I look at a beautiful gem, I think about my own resilience. A beautiful Chinese proverb comes to mind, “The gem cannot be polished without friction, nor man perfected without trials.”

Tell us about how Toronto influences your art.

I came back to Toronto in late 2017, after 10 years of being away. It felt like I had come full-circle at the time, but I do feel that I will probably move again in the future. For a young city, Toronto is wonderfully diverse, and there is always something going on. But, for all of its pluses, Toronto hasn’t been kind to artists and other creatives over the past decade, and in a sense, that’s because Toronto is such a desirable place to live.

A robust housing market and sky high rents have eaten away at affordable studio spaces, and even living spaces that are large enough to accommodate an artistic practice are out of reach for many. I came of age here, and Toronto really was a fantastic place for that to happen—it will always feel like home to me.

How has the COVID-19 affected your creative expression?

Covid has undoubtedly affected myself and many others in some difficult and uncomfortable ways, but it’s been pretty great for making art! I’ve been really able to channel everything into some beautiful pieces, as well as find a lot of uninterrupted time to really focus. I’ve also really enjoyed cooking and I tried many new recipes during the lockdown!

Website: www.cbacher.artspan.com Instagram: @carolinebacherstudio Facebook: Caroline Bacher-Artist / @carolinebacherstudio TikTok: @carolinebacherstudio

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THOMAS BROMLEY

"I paint what is hard to see or can't be seen. I don't paint the tissue, but that which connects the tissue. (What's in between) Thought forms that are autonomous, independent, not subject to control from outside. A trace, track or a print, or a visible sign left by something vanished or lost, "Techno Tribal"."

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Thomas J. Bromley has his studio and residence in

Father came from a family of preachers as did my mother

Chaves County, New Mexico, a few miles northwest

of 16 years old; fundamental Christians in the extreme,

of Roswell in an area known as Peaceful Valley. He

world was coming to an end, constant bible study,

has been painting with oils from the age of 12. Born

meetings, and large revivals and conventions, thousands

in Detroit, Michigan, summer of 1951, raised in Las

of people. However, these conventions and revivals would

Vegas, Nevada and moved to New Mexico 40 years

be held all over America. My mother and father didn't

ago to set up a studio and paint pictures.

have much trouble traveling across country with very little money and an old Nash car.

THOMAS J. BROMLEY IN HIS OWN WORDS I was born in Detroit, Michigan, 6 Mile and Woodard,

They taught my brother and myself to camp along the

near Palmer Park in the summer of '51. My father

road, to bathe and clean up in the lakes, rivers and ponds

was Canadian born in London, Ontario in 1933. He

along the way, slept in the car, or under a tarp and eat at

worked construction and for the railroad. He did

the camp fire. We never stayed in a motel or ate at a cafe,

what he could to keep us at the high end of poverty.

no money for that. I remember a couple of times we made

We lived in a basement the first couple of years of

trips from Detroit to Southern California, Arizona or

life, cold and damp in Downtown Detroit.

Nevada to attend these large religious gatherings. (This 171

"Symbols are a language of the mine field, the imagenation. They are timeless _and don't always need words to satisfy them, Lingua lgnota, or unknown tongue; Maybe, you can't see a flower, but its fragrance is in the air so you know it is present."

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was in the 1950's) The southwest had

most

weather that was more agreeable for

information or record an event on the

camping out under the stars.

planet.

The folks also liked to hike and explore

The original meaning behind most of the

the southwest deserts and mountains and

petroglyphs are still tucked in behind

this is how I got to see my first

many of the symbols after hundreds or

petroglyphs. The First Nation people who

thousands of years. Symbols are a

lived in the desert country had learned

language of the mine field, the image-

how to make a life for themselves and

nation. They are timeless _and don't

family, build towns and cities, farms,

always need words to satisfy them, Lingua

flocks, and still had time to be creative in

lgnota, or unknown tongue; Maybe, you

many ways. The one that knocked me out

can't see a flower, but its fragrance is in

was the petroglyphs, in what seemed to

the air so you know it is present. Symbols

be in the middle of nowhere. Where

can mean many things to different folks.

enduring

material

to

store

suitable rock surfaces were available, the artisans of these people would carve,

Symbols can be very simple but very deep,

hammer, peck out or scratch some

like a key that unlocks a very old story of

incredible images. I was very young, but I

something familiar but not quite defined.

remember looking at all those images

Objects

with absolute wonder. I now know that

memory, it's called psychometry. So, at a

you can find this primitive art form all

very early age I started to gain an

over the planet. It has proved to be the

understanding of the value of symbols

can

retain

information

or

and their ability to transcend time. A year or so later, I

I took them home and painted my first oil painting, of all

was eight years old and our family moved to southern

things a sailboat - kind of, and was hooked for life. By

Nevada, to Las Vegas. My father liked the warmer

this time in my life my father had steady employment

climate and better employment opportunities. There we

with the phone company as a splicer, but there was no

were, fundamental Christians in Sin City 1959. Vegas

money for children.

was a small town back then, hot, full of opportunities and huge vast deserts. I don't really remember a time in my

By the time I was 12 years old I was hiring out for the

life when I did not draw pictures. My mother's younger

summers for construction, landscaping, house painting,

sister was very talented at drawing and some painting,

whatever it took to make a buck so I could have my own

and I picked up a lot of tips and tricks watching her; as

money. Back then, a hard days work for a kid in the

well as watching her with pencils, markers, crayons.

Nevada sun paid $5.00 for 8 hours or about 60 cents an hour. That was a lot of money for a kid; but then my

I learned quickly and enjoyed the process. Church, bible

mother taught me the way the world does math, she

study, and religious conventions filled our lives. I

said, if I was going to work, then I was going to pay my

remember at the end of the chapters or articles in

way in the family by giving her half of my pay.

religious magazines, books and even the Bible itself, there would be a blank space with no writing. I would

Half of my pay in her world was $3.00 and I got $2.00 for

draw pictures in these spaces thinking how good it was

myself. I still managed to buy my own oil paints, a brush

that I was afforded some relief from too much studying.

or two, some canvas boards and I made my own easel

In the 50's and 60's, Las Vegas was a solid adult town,

out of some construction trash on one of the jobs. I was

not really a lot for a 12 year old child soaked in religion

13 years old, painting pictures and being a kid when a

to do. So, like a lot of kids, I was going through other

neighbor offered to give me $5.00 for one of these

people's trash on trash day and came across some used

paintings. Ca-Ching! A day's wages for a painting?

oil paints, brushes, and canvas board in bad shape.

WOW! This was a good arrangement.

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I started painting pictures for money. At first 5 to 6 dollars through 10 dollars and 20. By the time I was 15 years old I was in the local newspapers listed as an artist selling' paintings for $100.00 sometimes more.

Remember, this was 1966, $100.00 was the equivalent of a week's work for a grown man. What started out as a good thing for my parents, especially for my mother,

"By the late 60's my paintings hung in many cafes downtown, doctor's offices, lawyers, in the school offices and local galleries in Vegas and Boulder City."

started to go sideways with my father.

He didn't understand why people were paying me so

the school offices and local galleries in Vegas and

much for my paintings, sometimes more than he made

Boulder City. I was also selling at local street shows and

at the phone company. In his way of thinking I believe

a fair or two. The paintings I did back then were varied.

he saw what I was doing, was vanity or something, not

Most of the time I painted pictures that I was confident

actual proper work. He was a preacher and he was

would sell, like landscapes, still- life, interiors, cute

pressing me hard to be the same. He believed the world

curious paintings. Folks would give me photographs to

would end soon and the work of the Lord is what I

paint from as well. I never settled on a style really. I

should be engaged in. By the late 60's my paintings

enjoyed the process of making pictures and watching

hung in cafes downtown, doctor's offices, lawyers, in

people react to them. There was and still is so much to 175

"What an effort and a torment it is to depict something you can't understand, ... an event or visitation, a spiritual experience."

draw from, so many subjects to paint. Symbolism has

the petroglyphs with a sleeping bag and a camp fire,

always interested me. Artists that painted Surrealism,

and WOW! What an experience that could be. The

Cubist Painters, Impressionist, painters that took

figures and symbols would come alive and dance in the

advantage of symbols in their work always interested

firelight. Much was learned on those nights.

me, but I really never developed a keen interest in anybody else's work. I don't have a favorite artist that I

I was inspired by the simplicity of Rock Art. Keep in

look to.

mind this was way before these places were made into state parks where you have to pay money to see them

I was a terrible student in school, but I was good at

and you are not allowed to spend the night. Inspired is a

artwork, so I taught myself to paint pictures, that's

good word for what I felt about these ancient artisans.

what I was good at and the schools passed me through

Remember these First Nations People's did not have a

the grades based on my artwork. By the 1970's I was

written language and the language they spoke did not

19-20 years old, married, and had started a family. I

always have words to describe the many experiences

was painting miniature paintings in oil glazes using

they lived through. So with much effort and trouble

copal resins, down to 1 Yz" square.

these artists would carve into stone the blessings, religion, hunts, battles, deaths, and births and

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My eyes and hands were young and steady. I sold

dreamtime along with the obvious visitations of beings

almost everything I painted. I was mostly in galleries at

from the sky and spirit world. What an effort and a

the time. Landscapes, Still Life, and Flowers were fun,

torment it is to depict something you can't understand,

but I also painted Dreamtime, Symbols, Surrealism,

... an event or visitation, a spiritual experience. These

never forgetting the petroglyphs I saw as a child and all

ancient people did not have a reference mentally, they

of the places in the Mojave Desert around me that

could draw from, to clearly define these experiences. It

were full of ancient artwork in stone. There were times

could take weeks if not years to carve this information

I would camp out under the stars next to the walls of

into stone.

"I see myself as a primitive, self-taught, native, capricious artist.

I live in a very technological world."

They were primitive people trying to define a technological event. This is the source I draw from when I use the words, "Techno Tribal". To a large degree this is how I view myself and the work I've been doing the past 30 or more years in New Mexico. ' My paintings are in oils, mostly on canvas, relatively smaller paintings up to 6 square feet, most approximately 2 and 3 square feet.

I see myself as a primitive, self-taught, native, capricious artist. I live in a very technological world. New Mexico has excellent light, it is somehow very full of life and color. New Mexico has a long history of artists from the ancient to the present. The climate and land is good.

Southeast New Mexico, where I live, has a very mild climate, not much rain, but lots of clear days with full light. No floods, earthquakes, tornadoes or tsunamis.

We have 4 seasons, it's hot in the summer, cold in the short winters and sometimes we get more wind than we like. That's about it. The light in New Mexico is full of wonder. New Mexico also has a long history of technological events, knowledge, science, rockets and 177

visitations. It has a multicultural blending of the ancient with farms and ranches, and space travel.

The paintings I'm doing now are of course in oils.

I've been keeping a simple palette choosing to stick with primary colors and blend all the colors I need.

I paint with a lot of transparent glazes, one over the other to achieve a color or effect.

My paintings are not named. The reason behind this is simple, I do not want to influence the viewer's imagination. A name to me is like a fence, it defines an area and restricts the mindsight of the viewer. If I name a painting "Bobs Apple Cart", because there's red in the painting, but nothing else can be related to the name, the viewer could pull up a brain bubble or even pull a muscle, who knows what. So I've been giving them a number based on the date they were finished. It suits the paintings I've been doing as of late. Also, these paintings aren't necessarily about what is painted or the subject, but more about how it's painted.

(Not what, but how). These paintings are not about a thing - they are things in themselves. I find myself organic, of the earth, but woke to self, organic consciousness, aware of my own thoughts, producing works of a vestigial nature dealing with pareidolia, allegory, egregores, psychometry.

These paintings are truly, "more at else". The brain is a thing, an organ. The mind is a collective place.

The brain is not a storage unit, but it can access the mind field. This is what the computer people are calling, "the cloud". Everything in, on, or above us on this planet is imprinted with memory. Symbols are the key, the Lingua lgnota. Knowledge is the enemy of faith. I paint by faith in the symbols, not by the knowledge of a set procedure. In today's world we need more wonder, more magic.

"These paintings are not about a thing - they are things in themselves."

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There are literally millions of artists, artisans and craftsmen presenting visual input to the world inspiring higher levels of thinking building our societies, accessing our hopes and dreams. Thoughts and images are like pollen in the ethereal when they fall on fertile ground they take root and grow.

I try to keep my work simple and not put too much specific information into the image allowing the viewer to use their own experiences and imagination.

My paintings start out in what I call notes, small sketches of a thought, a sound, a memory, or something not clearly defined. This sketch is given some attention sometimes added to or reduced to a base level when I feel the image is ready t apply it to the canvas. Then I add color as the image requires. Colors in themselves add another dimension of the symbolic process, they also have a language. Thoughts are things, ideas possess people. The subconscious offers a deep level of support to thought. Dreams are not in us like the internet, but are in or on all things printed or recorded on all that surrounds us. The brain is a thing, a mind is a

It is used as a way to add depth, clues, and mystery, not

place. I have of course experimented with different

a secret but more at private. I don't always have

mediums, paints of all kinds, colored pencils, crayons,

something to look at as a model to paint from. Most of

chalk, pastels, wax, ink, over the past, almost 60 years; I

the time I paint what is hard to see or can't be seen. I

have always come back to oil paints. I like them for their

don't paint the tissue, but that which connects the

permanence, their strength, they are forgiving, they

tissue. (What's in between) Thought forms that are

take time, they have depth. In my life I see them as a gift

autonomous, independent, not subject to control from

given to me at a very early age, I've got a long history

outside. A trace, track or a print, or a visible sign left by

with them and they suit me. In some of my paintings

something vanished or lost, "Techno Tribal�.

you may find numbers. They are a part of a simple transfer code very simple and old.

Website: www.thomasbromley.artspan.com 179

ALEXEY SHAHOV 180

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Alexey Shahov was born in Kyrgyzstan, and emigrated to the Czech Republic with his family at the age of 12, he currently lives and works in Prague.

He paints and draws in his own unique style. He often starts on Photoshop, drawing portraits of characters and mixing those with abstract shapes and structures.

He almost always depicts strange, disfigured faces and bodies surrounded by abstract shapes, with greys, whites and blacks the dominant colors and splashes of brighter hues popping up every so often. He will share some of these pieces in their original form as digital sketches, but sometimes he projects them to create stencils and recreates them using spray paint on paper.

“I never liked these photorealistic paintings. I always preferred imperfect paintings and images, I was inspired by the impressionists who began to turn away from the traditional style and the academic norms.”

Other works are combinations of spray paint and acrylic colors on canvas. He also uses other media such as collages, photography or video.

His work is influenced by ancient artwork, prehistoric caves paintings, folk craft, old cartoons and last but not least, contemporary popular culture.

Connect: www.instagram.com/shahishisname

“I love working digitally because you can start with a shape and just completely transform it, and every time it’s different from the last.

I never use a template. It all comes from my imagination.”

www.shahishisname.tumblr.com

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BRIAN JAMES THOMPSON

"Art is so much a part of my waking (and sometimes even my resting) consciousness. As Christopher Isherwood once said, "I am a camera."

Living the dream. I do not become free when I do artwork; I become whole. It is as if I am out of focus when I am not working on art. When I do, I am totally in focus, like a lens that is sharp and has no blurriness around the edges."

0202 FO TSEB GITSED

Brian James Thompson is a contemporary painter

noises, and generally do as they please unless threatened.

and digital artist based in Houston, Texas, USA. He

They are also quite beautiful. Even the darkest plumage

draws his inspiration from nature, the human form

has a luster and sheen about it. I was very curious about

and abstractions of color, form and pattern. His work

everything. In order to get me to focus, my grandmother

explores the inner spaces between dreams and

and mother discovered that a pencil and some paper were

wakefulness, the illusory and real, and the continuum

the solution. Then I learned to read and that was the other

between them.

"window" for my constant search for new and unexplainable things.

As a kid you were fascinated with drawing birds because "they did whatever they wanted", more

My parents and grandparents were very encouraging, and

recently you described art as "flying wherever you

as I became older it was apparent that I had a very acute

want to". Does art liberate you and if so, how?

ability to focus on the artwork – so much so that I would

It could be that birds are attractive to children

not hear someone calling my name or notice the time

because they move a lot. Often children have to

going by. I realized later that I could just start drawing and

remain seated and be quiet to be part of a group. That

I would put the rest aside temporarily. Now art is so much

was not me – the quiet part. Birds come and go, make

a part of my waking (and sometimes even my resting) 185

"Emerging artist Brian James Thompson is the invited artist at Galeria Regina, with his exhibition entitled A Persistent Rumor. Though self-taught, his works offer clean, pristine and elegant fields of color, juxtaposed with geometric shapes and thought-provoking titles as The German Case and Dance of Matches."

Susie Tommaney, Houston Press

"Thompson’s paintings explore the dialogue between form, color and attenuated movement, with some pieces taking their cue from Dadaesque satire and the dream-like free association of Surrealism. The artist engages viewers through the juxtaposition of elemental forms, strong colors and simple lines. Known components add up to an unknown sum of parts.

Squares, circles, letters of the alphabet, curved and straight lines serve as anchors in compositions absent of logical frames of reference.

Yet the familiar offset the unfamiliar, and seek to work together in unison.

The visceral experiences they create underscore a sense of play and movement. In some works, through the lens of abstract intuition, Thompson also filters strains of Dada satire in combination with Surrealist representationalism. He studies internal spaces and their arrangements.

The ordinary are laid open to the full range of the imagination and, in the process, develop a way to free it. Depictive and psychological elements embrace the idiosyncratic and incongruous, and result in the non sequitur.

Dreams and reality intersect along a unified plane of expression."

Galeria Regina Houston, Texas

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consciousness that unless I'm at the grocery store or driving I am working on some art project – traditional or digital. As Christopher Isherwood once said, "I am a camera." Living the dream. I do not become free when I do artwork; I become whole.

It is as if I am out of focus when I am not working on art.

When I do, I am totally in focus, like a lens that is sharp

"I am not constrained by one "mode d’emploi". It is always me, all me, in my own style, but I like to create different expressions of it. And I like to have the freedom to choose."

and has no blurriness around the edges. As we find out

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when we get older, no one is really able to completely

So I “go wherever I want” in the sense that I do not do the

do whatever they want. The reference to birds is a kind

same thing over and over again. I am not constrained by

of analogy to my collection of work. I am doing one

one “mode d’emploi”. It is always me, all me, in my own

thing on Monday and then a few days later, I have an

style, but I like to create different expressions of it. And I

idea that is completely different, perhaps in a different

like to have the freedom to choose. I am not inclined to

medium. I am going from one thing to the next, and I

create variations on a theme in order to achieve a

express myself in a variety of different “languages”.

recognizable style.

"I am not inclined to create variations on a theme in order to achieve a recognizable style."

Please tell us about your background.

After two semesters, I decided I would be better served

I was born in Tulsa, Oklahoma, which is located on the

by working rather than following an advertising track to

Arkansas River in the Northeast corner of the state. It is

a degree, respectability and mortgage payments. That

the home of the Five Civilized Tribes — the Choctaw,

way, I could acquire skills and experience, and also be

Cherokee, Muscogee (Creek), Chickasaw and Seminole

paid rather than incur student loan debt. The winding

peoples — in the foothills of the Ouachita Mountains.

road led to a graphics apprenticeship, freelance art

The Arkansas is a major tributary of the Mississippi and,

assignments in the music industry, and the production of

as a result, the area is very lush and green unlike the

close to 150 concert posters over a period of 10 to 12

state’s Western Panhandle.

years for the iconic Cain’s Ballroom, which had

I was educated in Catholic schools: a Benedictine

undergone a revival.

elementary school run by nuns and an all-male (at the time) college preparatory school under the guidance of

In subsequent years, I moved to coastal Southern

Augustinian priests. My two younger brothers and I

California and eventually to Houston, Texas, where I

were given every opportunity to be successful in our

met my wife and where I currently reside and work.

studies; chores never overlooked. One brother earned a

I obtained a degree in Computer Animation from the Art

degree in the fine arts and the other became an

Institute of Houston and that educational opportunity

accomplished baker and chef in restaurants and hotels.

allowed me to combine the traditional techniques I was

After graduation, I enrolled in the graphic arts program

constantly working on with new digital skills, to build a

at the University of Tulsa.

body of work that was uniquely my own.

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How do you decide what to immerse yourself in, what are your typical motivations and goals when focused on a given specialism?

When I was growing up, I was given all the supplies I needed and a drafting table. My maternal grand uncle was a Franciscan friar and he taught me about meditation and introduced me to illuminated manuscripts. I began to practice script calligraphy and Speedball lettering from the movies and cartoon intros. The posters followed an unconventional graphic design path. The painting was coming along as I met local artists who were in with the musical community. My father had spoken with an art professor at a local university about their fine arts program and was advised that a charismatic instructor might change my approach, and to let me find my own way because I would need my own "voice" in order to be successful.

As a result, I migrated like a bird from one interesting insight to the next. I had no idea how much the digital apps would change my approach. For me, they completely complement the traditional methods. I can work with more confidence and with less waste, temporally and physically. Electronic previz allows for series work groupings and reduces endless paint color swatch matching. The output mediums serve the artwork, and I concentrate on themes that are consistent with my oeuvre. Some pieces are better painted traditionally – others more suited to using mixed media. Digital pieces that have a certain scale or chromatic quality are executed as prints. I do not really think about the work in terms of “motivation” or “goals”. I seem to get these ideas or concepts that fit into a particular mode of communication rather than in historical style classifications. I may see textures and patterns in masonry or a botanical source, but the original visual may morph into something entirely different. I end up with two or more possibilities from the single inspiration. Lately, the tendency has been to geometry or patterns, but I find that representational rendering is more easily

"I do not really think about the work in terms of motivation or goals."

defined as “Pop”, “Cubist”, “Fauve”, “Impressionist”.

I have influencing precedents but I try to avoid appropriating any of their trademark wonderfulnesses.

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"It depends on the medium. I see graphics as a vehicle for my social satire."

How much of your personality comes out in your art

closed after its operating heyday as the Home of Bob

and how do you see your work from your perspective?

Wills in the 1930s, 40s and 50s. It was in a rundown

It depends on the medium. I see graphics as a vehicle for

warehouse district 50-60 feet from a new freeway

my social satire. I grew up with William Gaines’ Mad

overpass. Saved from the wrecking ball by inches. I was

magazine, and all the wonderfully talented panel

offered the job with no guarantees – but after several

illustrators. Later I was fond of Charles Addams, Edward

moderately successful shows I was given free rein to

Gorey, Gahan Wilson and the Zap Comix artists.

create the ad flyers. They became larger in a few months

The music posters were a direct channel for that.

for visual impact. My gallery became hundreds of

Insinuendo [BT terminology] and cheek were never a

telephone poles and shop windows around town.

part of my “fine” art. The two never meet. My painting

Cheeky worked. Word of mouth spread and in the end I

Dispose of Properly is as close to a statement as I have

created nearly 150 posters, numerous promotional

ever come to social commentary. I prefer to let the

shirts and the lot.

viewer parse the meaning.

It was a case of right place, right audience. A moment in

My intent is for a piece to be a harmonious part of the

time. The Art of Rock was kismet. A chance meeting at a

space that it inhabits, and to hopefully raise the spirit of

religious convention between a Cain’s production

those who cohabitate with it. Color and geometry

manager and the legendary Rick Griffin. Rick persuaded

together create a feeling. Realism triggers memory, of

Paul Grushkin and Jon Sievert to review my work and

pleasure, beautiful things or places.

they were very generous with my placement.

In your twenties you created several hand-lettered

How do you know when a work is complete, give us a

posters that were included in Paul Grushkin’s 1987

sense of the feeling of reward, and how long before the

compendium, The Art of Rock: Posters from Presley to

urge to create returns?

Punk. What did that early recognition inform you

Art is more like a swirling layer of global atmosphere. It

about your work and ability to impact?

is constantly moving and mixing in between all the other

The interesting aspect of the posters was that no one

thoughts and notions. At rest, it’s like a zoetrope shadow

knew if it would be successful. It was just a trial balloon

dance. What is it? It’s a …? Or it could be just color fields

to see if there was any interest. The building had been

that represent a feeling. Two hands shuffling a deck of 191

What directions might we see you exploring next?

I am blessed with intuition. The world is infinitely new, and old. I never cease to be amazed with what’s next.

Not being a dedicated follower of fashion, I plan to continue advocating for sublime “gorgeousness and gorgeosity”.

What are you working on at the moment?

At the moment, my main focus is the completion of a 50” x 38” (127 x 96.5 cm) mixed media piece. It’s a series of nine separate images on one canvas. I come back to it when I have the time to allow the missing elements to appear from the other side as David Lynch theorized in a 2014 interview at the Brooklyn Academy of Music: “The Other Room. Over there … (pointing into the darkness off camera)”

"My reward has always been other people having a positive reaction to my work."

cards, fanning them and then showing a single card face at random. Return the card, reshuffle and show a different card. Repeat. Cocteau is the croupier. Fellini is the pit boss. I know when something is not complete, in most cases. There are exceptions, as when viewing a piece at a later date and seeing it reveal a component that was until that moment invisible. Why had I not thought of that before? My reward has always been other people having a positive reaction to my work. I do pause occasionally, but I never stop “seeing”. I always have unfinished work.

In modern art there is a struggle between Message v Quality. Why is it important to you that you don't just communicate but that it's done sublimely?

I can only speak for myself, and speaking has its own inherent dangers. Tastes change and messages quickly become dated (unless you’re Ed Ruscha). I choose to remain the boy with the half-dozen German pencils and big eraser. Sublime is a pillow of winds… Does the wind have a message? Compassion?

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"My intent is for a piece to be a harmonious part of the space that it inhabits, and to hopefully raise the spirit of those who cohabitate with it. Color and geometry together create a feeling. Realism triggers memory, of pleasure, beautiful things or places."

What role do traditional methods have in your work?

In spite of being a digital artist, I still use pencil and paper to rough out whatever idea I have while splashing around in a puddle of consciousness. Even though digital applications have become a permanent part of my toolbox, I still rely on hand drawing to put the creative inspiration on paper. There was only monochromatic television with a display slightly larger than a laptop in the mid-twentieth century. Seeing the world and creating interpretively that personal invention was limited to traditional methods. LEGO was still in development. My grandmother showed me how to use a paring knife to sharpen my pencil. I refined the technique later with a lead pointer to sharpen for hardness grade. I learned how to use stomps and tortillons, how to grip a Speedball ink pen and how to rotate the paper for symmetrical geometry. I filled reams of paper with little sketch collections of everything I saw. These skills are never not useful, even if one later develops a more loose, impressionistic or nonrepresentational style (or if the electrical power grid is interrupted).

What are you proudest of when looking back at your art career?

Outside driving, I don’t believe in checking the rearview mirror.

Website: www.brianjamesthompson.com

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GERALD STEIN

"Foremost I try to evoke the experience of a place and what I find exciting as a source of inspiration. Many of my paintings feature the unique polarity between city and countryside, the contrast between the natural space of the landscape and the urban space defined by the architecture."

0202 FO TSEB GITSED

"I paint what inspires me and try to capture the

different composition ideas as well as colour schemes in

experience for others to appreciate. Currently my

watercolour to gain confidence on the path chosen.

motifs come from medieval French and quattrocento Italian scenes I have encountered while travelling.

You have spoken about many of your paintings having as

I was educated at MIT and UC Berkeley before

their subject: 'the architecture of cities'... Please explain.

emigrating to Canada. For many years, I was a

Cities are shaped by imagination and collective memory.

partner in a successful Toronto architectural

My experience of how architecture has shaped urban

practice."

form and landscapes is the subject of many of my paintings.

You are a successful career architect, painter, and writer... What similarities are there in your approach

You focus on Italian and French cities... Why do they

to your creative pursuits?

particularly appeal to you?

There is the initial excitement of sketching ideas and

My interest in Italian and French cities started with

trying to express what I find interesting. But I explore

studying Renaissance art and architecture in university.

this in different ways before committing to a

Later when I was able to travel I became inspired to

particular approach. In painting this means trying

sketch and paint various scenes, initially to capture the 195

"For me architecture begins with sketching ideas and then refining and developing them in a more precise way. So in a sense it's similar to how I approach painting."

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experience and eventually to also express

materials. Initially I was drawing with

its beauty. To me there is an emotional

charcoal, pencil and ink and found it very

response where the built form engages

enjoyable, but soon wanted to use colour

the landscape, climate and light of its

as well. That led to pastels where I could

place.

quickly add colour without having to mix or use water. I found sketching captures a

How has your architecture background

vitality, energizing the drawing and

been advantageous to your art?

painting in pastel offered a wide range of

For me architecture begins with sketching

expression.

ideas and then refining and developing them in a more precise way. So in a sense

How did you develop your skills?

it's similar to how I approach painting.

I had taken a challenging free-hand

Furthermore many of my paintings

drawing course at university that was

involve buildings in a cityscape so it helps

more art-oriented as opposed to the more

for

technical

me

to

know

how

they

were

constructed.

drawings

required

for

architectural studios. Afterwards I would occasionally take life-drawing classes to

What sparked your interest in painting?

keep up my skills. Although largely self-

I was able to travel for work and vacations

taught in pastels I have taken pastel

to interesting places and I would always

workshops with Margaret Evans, Wolf

bring a notebook and some sketching

Kahn and Terri Ford among others.

"There are still smaller towns in Tuscany and Umbria that I would like to explore and sketch."

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"I feel mostly joy in working on something that I love.

At the same time it's always challenging, constantly aware of how the painting is developing and knowing what to do next. I feel the painting may never be finished but if I have expressed what I have intended then it is time to stop."

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What thoughts and emotions do you want to evoke in

What are some of the main challenges you encounter

viewers of your work?

when painting these cities and how do you overcome

Foremost I try to evoke the experience of a place and what I

them?

find exciting as a source of inspiration. Many of my

Painting in larger cities can be daunting. I try to paint

paintings feature the unique polarity between city and

earlier in the morning when there are fewer people

countryside, the contrast between the natural space of the

around and children are in school. If I'm sketching in a

landscape and the urban space defined by the architecture.

notebook I can usually find a bench or ledge to work

from. Painting in smaller towns is much easier. I can set up an easel or spend longer working on sketches.

People will approach and say a few words but I've never had any difficulties.

Share with us some insight into your process.

I have a few processes that I use. For plain-air pastels I apply the pastels directly on a sanded surface, usually a 9x12 inch surface. For plain-air sketching I use a 9x6 inch pad and apply watercolour over a pencil sketch. In both cases I'll try to do a complete composition without too much editing.

When working in the studio I will use the on-site sketches plus photo references to make thumbnail sketches and larger watercolour studies to work out the composition, value studies and colour palette.

These in turn form the basis of larger studio pastel paintings where I freely draw and paint with pastels building up the layers often using watercouler as an underpainting. I find there is an interplay between the underpainting, the absorption of pastel by the paper and the surface reflection of pastel that is fascinating.

What do you feel when you are painting?

I feel mostly joy in working on something that I love. At the same time it's always challenging, constantly aware of how the painting is developing and knowing what to do next. I feel the painting may never be finished but if I have expressed what I intended then it is time to stop.

What can we look forward to from you in 2021?

Hopefully later in 2021 travel will become possible again. There are still smaller towns in Tuscany and Umbria that I would like to explore and sketch.

"Painting in smaller towns is much easier. I can set up an easel or spend longer working on sketches. People will approach and say a few words but I've never had any difficulties."

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"To me there is an emotional response where the built form engages the landscape, climate and light of its place."

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What are you proudest of in regards to your painting

"I am proud that my paintings have been well received by the public and fellow artists."

career?

I am proud that my paintings have been well received by the public and fellow artists. It is reassuring that the thoughts and feeling I have put into paintings have been recognized.

Which Renaissance painters particularly inspire you and why?

There are many but certainly Raphael, Leonardo and Piero della Francesca stand out for their paintings, architectural ideas and innovations in perspective. There is a boldness in their sketches and paintings that has remained fresh to this day. In pastel I think the work of Degas and Monet showed the potential for the pastel medium to be inspiring. I have also found the work of less well-known nineteenth century French artists such as Leon Augustin L’Hermitte and Henri-Jean Guillaume Martin interesting and helpful in my development.

Website: www.geraldsteinfineart.com 201

NÁDIA MARIA 202

Born in 1984, Nรกdia Maria is a Brazilian photographer, who started to photograph as a child by capturing images of her dolls. Over the years she explored the art of photography. Her relationship with the camera and the images she captures were born in her childhood, and became a deep passion during her youth.

Her photographic artworks stem from her own reflections, and become a personal journal of her innermost thoughts and emotions; a window into her subconscious, letting her inspirations find her and delving into the depths of the human psyche.

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With her ethereal works she explores the intricacies of the subconscious mind with compositions that arouse her viewers into “song, rhyme, and verse” to set catharsis in motion.

Nádia Maria’s images convey a plethora of emotions with dreamlike qualities and make us feel like we are floating in and out of consciousness. She attributes her

photographic

inspiration

to

poetry,

and

photography is her writing, her poems, her intimate feelings... the darkness and the light of her life.

Website: www.nadiamariaph.com Instagram: www.instagram.com/nadiamariaphoto

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KEN NAIFF

"It was one clear night in October 1957 that the Sputnik satellite circled the Earth, and I viewed it through my small telescope as it orbited overhead. This was the beginning of the “space race”, and also the onset of my passion for space and astronomy."

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"Growing

up

in

the

bluebell-ladened

English

embellished. My early career was in general engineering,

countryside, my childhood passion for deep space

but I eventually focused on electronic engineering,

evolved into a technology career, achieving 7 US

completing a (now old-fashioned) apprenticeship and

patents, and now, as an Astro-Photographer, by

attending college to focus on the new burgeoning

integrating art and science, I capture and create

semiconductor industry.

high-resolution, deep space images which are both thought-provoking and nurture a sense of wonder."

How did your love of astronomy begin?

It was one clear night in October 1957 that the Sputnik

Tell us about growing up in England.

satellite circled the Earth, and I viewed it through my

I was born in Yorkshire, northern England, during

small telescope as it orbited overhead. This was the

WWII, and my family moved south to Sussex when I

beginning of the “space race”, and also the onset of my

was five years old. The countryside was my

passion for space and astronomy.

playground, fishing and hunting with home-made poles, bows and arrows in fields of primroses and

Tell us about Arizona and its role in your art.

foxgloves, and woods laced with bluebells. These are

In 1976, I emigrated to the United States, and enjoyed a

fond memories, which my senior years have probably

successful 26-year long technical career in electronic 207

My learning curve was quite steep and comprehensive, focusing on all aspects of astrophotography,

networking

with

other

astronomers, attending workshops, learning new software and astronomical hardware, honing my photography skills, as well as experimenting with different methods to image in the field, and refining post-processing techniques.

In

2014,

my

self-imposed

apprenticeship was over, and my first images were ready for public display.

It can take you a year to get one image. Why? Successful field trips are impacted by a number and digital systems, being awarded 7 U.S. patents along the

of factors, both environmental and man-made.

way, and leading the engineering effort to convert analog

Light pollution is prevalent, deep space objects

cable television systems to digital systems. My love for

are dim, dark, and distant, the earth is rotating,

astronomy was sidelined until in 2004.

and the ideal imaging weather is unpredictable.

I have techniques and equipment to help

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After retiring, my wife, June, and I relocated from Delaware to

manage distance, dimness, and rotation, but the

Arizona. I was no longer an “armchair” astronomer - I had

weather can’t be controlled, and it often totally

arrived in the land of open desert spaces far from cities, and

derails the best planned outing. Even a few

majestic clear night skies! It was perfect for astrophotography,

passing clouds can adversely impact an

and I grasped this opportunity to put my passion into practice.

evening’s work.

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To escape the nightly light dome of nearby Phoenix, I travel up to 300 miles to dark sites during the New Moon to set up my equipment and camp for week or so several times each year.

Most of the objects I image are in our galaxy, the Milky Way. These comprise mostly nebulae, which are large clouds of dust and gas, light years across, and which may eventually collapse to form stars and star clusters. The nebulae form spectacular shapes, some reminiscent of familiar objects, and all of them are awe-inspiring artistic renditions of nature.

Interestingly, deep space objects are exceptionally large, so high magnification is not a requirement for my telescopes, which serve as the lenses of my specialized cameras. Some objects are so large that I image sections of the object separately, and subsequently combine them, during post-processing,

"To escape the nightly light dome of nearby Phoenix, I travel up to 300 miles to dark sites during the New Moon to set up my equipment and camp for a week or so several times each year."

in a mosaic to form a single, seamless image.

However, these objects are also very dim and distant.

In order to capture enough light from these faint objects, many long exposures are required, and each exposure may be 15 to 20 minutes long. My most recent release “Spacescape”, a large 9-frame mosaic, has 82 hours of total exposure time! During these long exposures, the camera and telescope track precisely, typically to sub-pixel accuracy, in order to compensate for the Earth’s rotation, otherwise stars become elongated and fuzzy and the image is blurred.

Space has amazing and colorful objects. Since our brain immediately processes light, the human eye cannot capture enough light to discern the color. My cameras are monochromatic, so the images produced are black and white (grayscale). However, by inserting color filters I can capture the color and intensity of the object.

As I begin processing the data, I have many opportunities to make personal artistic choices as I refine the many “noisy” grayscale images into a single scientifically accurate, full color, high resolution, richly detailed image.

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What impact do you want to have on those that encounter

"When people see my images for the first time, they are surprised that my images are captured from the ground rather than from space, and that space has such amazing and colorful objects!"

your work?

When people see my images for the first time, they are surprised that my images are captured from the ground rather than from space, and that space has such amazing and colorful objects!

I hope my images capture the energy, intensity and power of the night sky and will provoke questions, especially from children, so they may gain some insight into awe-inspiring objects in the star-studded Milky Way and beyond. As a general observation, I have found that children often know more about space than their parents. Maybe it is a generational phase and the understanding and appreciation of our surroundings will increase with each new generation.

How has the COVID pandemic affected your creativity?

I have been successfully juried at numerous Art Festivals throughout the Southwest, but because of the COVID Pandemic,

physical

participation

has

been

curtailed.

Opportunities for desert outings have also diminished.

However, the COVID Pandemic has given me the opportunity to research other artistic possibilities and I’m currently working on a new collaborative effort and will be launching new images in the near future.

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"Some people are drawn to the colors and composition, while others are enamored with the highly technical, scientific nature of my work. In all cases, they admire the blending of art and science into amazing contemporary works of art."

How has your work been received?

The range of reactions to my work is varied. Some people are drawn to the colors and the composition, while others are totally enamored with the highly technical, scientific nature of the work. However, in all cases, people admire the blending of art and science into these amazing contemporary works of art. Currently, my work can be viewed at On the Edge Gallery, Scottsdale, Arizona. I have also been designated as the “Artist in Residence� at Soho, a work-live community, Scottsdale, Arizona. In 2021, my work will be on display at the National Museum of the US Air Force, Dayton, Ohio. www.darkskyimagesbyken.com 213

INGRID MCMILLAN

"My painting is a product of being a receptive witness of invisible things that shape our psychology and drive our behaviour. I think about our vulnerability, our fears and desires, and how we all seek to be loved. What are the edges between discord and harmony, and how do we protect our resilience?"

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Ingrid McMillan is a German-Canadian painter

2018. Ingrid has two children and lives in Winnipeg,

whose work is about humanity. Her collections are

Canada with her husband Mark. Her work is held in

imaginative meditations on compassion and idealism.

collections across Canada, America and Europe.

Each body of work consists of multiple oil paintings grouped around specific themes.

You are a German-Canadian. Tell us about how these two

“I construct narratives using figures and nature to

cultures influence your art.

metaphorically describe our interiority. I intuitively

Both my parents emigrated from war torn Germany

play at making the intangible tangible.”

determined to make a new life in Vancouver, Canada. But it proved to be too hard. They divorced and I was raised in

Ingrid’s work is influenced by Jungian psychology,

Germany with my great aunt until at age 4 I was re-united

spirituality and the psychological nuances in the

with my family and stepmom in Winnipeg Canada. My

work of great painters. Ingrid holds a BFA (honours)

parents were shaped by the trauma of war that influenced

and MEd (art) degrees from the University of

me deeply.

Manitoba, Canada. She worked as art educator,

In Canada our family customs were steeped in the culture

school counsellor and art consultant in a progressive

of Germany. At home we spoke only German, I was reading

public school division before painting full-time since

German books and attending German School on Saturday 215

"There were painters on both sides of my family so painting was valued."

mornings. I learned English first playing with the kids on

personal injustices I consciously redirect my thinking

my street, and then in public school, where my fluency

towards how I wish things would be. I think about the

improved. I was always drawing my daily impressions

conditions that support our longing to be understood

and experiences, and at age 12 I fell in love with painting.

and valued, and imagine empowering characters to feel

There were painters on both sides of my family so

safe and hopeful, to coexist in universal harmony.

painting was valued. I have an especially deep appreciation for German Expressionists, Paul Klee, Max

What have you learnt about humans through your art?

Ernst, Max Beckmann, Otto Dix and others. The

My painting is a product of being a receptive witness of

intensity of German aesthetic resonates for me.

invisible things that shape our psychology and drive our

Conversely, Canadian art that I was exposed to was

behaviour. I think about our vulnerability, our fears and

narrowly defined by Inuit carvings, Indigenous paintings

desires, and how we all seek to be loved. What are the

by Norval Morrisseau, and The Group of Seven.

edges between discord and harmony, and how do we protect our resilience?

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You have spoken about trying to take your paintings

There is a story of the battles won and lost by a giant of

towards human harmony?

the forest, a 400 year old tree. This tree survived

In the context of a troubled world I aim to make

innumerable avalanches, many times struck by lightning,

paintings that reflect my desires in favour of my

and raging storms. But it was the attacks on its inner

grievances. When I am broken-hearted about global or

strength that levelled the tree to the ground. It had been

"I think of art as the substance of being alive! It engages the intellect, fills me spiritually, and evolves self discipline, compassion, and patience and more."

destroyed by the incessant bites of an army of beetles.

Aren’t we all like that battling giant, resilient to a host of traumas only to have our hearts pecked apart by little beetles of concern? Again and again we prop up and polish our exterior, but our internal stamina is amoeba like. Perceived hurts and secrets of self betrayal hide in the recesses of our nervous system and we are most terrorized by our imagined army of demons.

What does art do for you internally?

possible. Painting demands of me to be deliberate, to

I think of art as the substance of being alive! It engages

trust my intuition and my decisions in the face of self-

the intellect, fills me spiritually, and evolves self

doubt. I am humbled in the absence of progress or not

discipline, compassion, and patience and more. I love that

knowing how to proceed, “What if who I am is not

art is accessible in ways no other language can reach.

enough?” Conversely, making art is validating and

While

a

especially exhilarating when surprises emerge. These

counterbalance to feeling trapped by a mechanical

rigorous cycles of the creative process are exhausting,

schedule. Since I quit teaching I have no time restrictions.

but I am committed to embracing the whole ball of

I feel liberated to unleash my messy streams of

polarities and feel deep gratitude for finally having the

consciousness on canvas, or experiment to learn what’s

time to fully embrace my passion.

I

was

teaching,

making

art

became

217

"One of the things that I love about painting is its immediacy and how it supports layers of expression. Every new layer interacts with the one still vibrating beneath.

This dovetails nicely with my natural way of ordering nebulous, spaghetti-like chaos to become a cohesive unit, where my thinking and painting converge."

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Share with us some insight into your process for making paintings.

Usually my paintings begin with an idea that is generated by a mental image or words that I hear or read. It’s like a download that compels me to investigate the thing of the thing. When the idea sticks longer than a few days, it grows into an obsession about the making. I mentally reverse engineer how to translate my vision, and paint a series until the theme stops speaking to me.

For example, during my academic studies for school counselling, we practiced intensive mock counselling sessions in the university classroom. I imagined emotions as tangible objects in our brains, made visible by transparent skulls. What physical features would best describe each emotion? What visual vocabulary would evoke each specific feeling? I made endless lists of human emotions and experimented by making about thirty small studies. Of these I selected eighteen to become The Brain Uncoiled. I made each emotion on large 40� square canvas, folding cotton cord in alternating layers of oil paint and glue to mimic the cerebral cortex immersed in brain fluid. I expected having to sew the cotton cord to the canvas. To my delight, the white glue connected it like a natural growth of the canvas.

Not only was sewing not required, the glue magically swelled the cotton to perfectly describe tender brain tissue. I still love most paintings in that series, especially Unafraid.

Usually I go out to my studio by 9 am, work for 3 hours and then stop for lunch and a walk in my local forest-like park where I am inspired by the ego-less dignity of trees. Then I spend another 4 hours painting in the afternoon. It takes me about two weeks of layering paint to build a painting into itself.

"Usually my paintings begin with an idea that is generated by a mental image or words that I hear or read."

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The bodies of work consist of multiple oil paintings grouped around specific themes. Why? Specific themes emerge as natural extensions of processing my thoughts and feelings. Slow Movement: a cultural reversal, is about observing the paradox of deeply engaged students in a frenetic culture. Other times I illuminate the invisible, or view nature as metaphor. My direct contact with the culture of youth and its increasing obsession with social media, sparked Play to Audience, where theatre stages are platforms for interacting with a collection of invisible friends.

Finally, I Love You Anyway was about reclaiming myself as an artist after resigning from a lifestyle that I had outgrown.

Why are you attracted to painting primarily?

One of the things that I love about painting is its immediacy and how it supports layers of expression.

Every new layer interacts with the one still vibrating beneath. This dovetails nicely with my natural way of ordering nebulous, spaghetti-like chaos to become a 220

cohesive unit, where my thinking and painting converge. I appreciate how a painting carries the residual energy of previous days, like thoughts held in a diary. It is also the medium that makes me want to level up my practice to improve as painter.

How has your practice changed over time?

In the early 90’s my life unravelled while attending art school and I exposed my deepest wounds on canvas. The work was honest, but I felt I wasn’t believed and I felt very uncomfortable making other people uncomfortable. Still do. Since painting about trauma failed to relieve internal anguish, I decided

to

avoid

making

direct

autobiographical statements. Instead, it is satisfying to paint narratives expressing my imagination. Labyrinth of Paradox was a series of over 30 pencil drawings that began with drawing students that I had been unable to connect with because others required all of my attention. While driving home from work, I decided on which students to draw from memory that evening.

It was my way of honouring the disciplined quiet students.

Finally these drawings became intuitive figurative pencil drawings of communities.

For the next four series of paintings, I made preliminary

studies

to

inform

larger

paintings. Since I stopped teaching in 2018, I have had two years to experiment without time restrictions. Now I paint directly onto the canvas to conjure the initial structure.

Editing is increasingly rigorous in that a series of over twenty paintings has been reduced to about seven. As well, for years I wanted to become a figurative painter, now more and more I view nature, especially trees, as metaphor for our inner world. The daily ritual of walking in my local forest-like park has also shifted from being a source of inspiration to a source of reference.

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Since being on Instagram I share my work and follow

Uncoiled 2012, Dream Home 2014, Play To Audience

profiles that expedite my learning about current art

2018. Finally, teaching placed me in a professional

production, art criticism and art exhibition. Thanks to the

political arena that helped me learn how to navigate the

generosity of the Instagram art community, I am

competitive climate in a healthy way.

informed, entertained, and feel connected in spite of working alone in the studio.

Which artists have you been most impressed by?

I like many artists or their specific work at different

You were an art teacher with up to 400 students a year

times and for different reasons. The common thread in

for 22 years. How has being an educator shaped you?

the art of my favourites is emotional warmth or human

Teaching gave me a golden opportunity to experience

resilience. Usually but not exclusively, they are

youth in their natural habitat of public school. Every day I

figurative painters, loosely listed here. In my teens I

had the best seat in the house for the art of life. It was

collected posters of work by Paul Peel, Rembrandt, and

rewarding and humbling and exhausting! Still, I felt

Winslow Homer. In art school I was impressed by Rubins

incredibly privileged to be infected by the energy,

and Michelangelo. Later my favourite painting was The

humour and innocence of youth. The challenges included

White House at Chelsea, 1800 by Thomas Girtin,

designing curriculum, fitting the organic nature of art

Woman in White, 1923 by Picasso, Agnes Martin and

making into a mechanical time table, and formally

Turner. I love Self Portrait, 1658 by Rembrandt in The

assessing each student three times a year. It was

Frick, NYC. Also, Bosch, Delacroix, Goya, Manet,

relentless work, but summers offered respite for painting.

Matisse, Odilon Redon, Eva Hesse, Francis Bacon, Jennifer Packer, Eric Fischl, Kiki Smith, Peter Doig, Dana

Teaching instilled in me a disciplined work ethic. As artist,

Schutz, and others.

I was protected by regular financial support and from

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taking myself too seriously. The diversity among schools

Tell us about your two recent exhibitions - 'I Love You

represented a cross section of society that fit my bird’s

Anyway in Berlin', and 'Pandemic 2020'.

eye view of the world. It was fertile ground to conceive

The summer of 2018 marked two concurrent life

my own art in the series Slow Movement 2010, The Brain

changing events: I quit teaching and my father had died.

"I like many artists or their specific work at different times and for different reasons. The common thread in the art of my favourites is emotional warmth or human resilience.

Usually but not exclusively, they are figurative painters."

"One of the most meaningful experiences of my life was being an art educator in a public school system where I conceived and executed large projects with students, adults and artists."

This propelled me to arrange a three month self-directed

threat of Covid 19 that spooked us all. These works are

artist residency in Berlin, where I had dreamed of

about my daily commune with my local forest-like park

studying thirty years ago. There I reclaimed my life and

where I projected the menacing qualities of nature.

myself as artist. Berlin, itself loaded with the spirit of revival, was the perfect place to mark my homecoming

Share with us some of the highlights of your art career

from a mountain of grief. I made twelve figurative

thus far.

paintings about embracing our internal shadow, as in

One of the most meaningful experiences of my life was

Jungian psychology, to arrive at self-love.

being an art educator in a public school system where I conceived and executed large projects with students,

Sometimes I painted 14 hours a day to squelch self

adults and artists.

doubt. When not painting, I walked and Ubered all over

Other highlights include, making Slow Movement and

Berlin, visiting as many museums and galleries as I could.

driving the paintings across Canada to exhibit and talk in

We prepared for a real life solo exhibition that included

three galleries in British Columbia. The residencies in

four exquisite works by a young local emerging artist,

Ontario, Canada and Berlin, Germany were important

and was reviewed on the day of the opening in the

for my artistic growth. Finally, now that I am free to

Berliner Zeitung, January 7, 2020 by the local journalist

think and do whatever I want, I consider every joyful day

Ingeborg Ruthe. Conversely, a few Pandemic paintings

in the studio a highlight!

were among an online group show in the UK. Back in Winnipeg I had made a series about the mysterious

Website: www.ingridmcmillan.com 223

ANDREW MCDERMOTT 224

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“IT IS BETTER TO PAINT FOR ONE MINUTE A DAY THAN TO THINK ABOUT IT FOR 24 HOURS A DAY; ONE LEARNS MORE IN THAT ONE MINUTE OF PAINTING THAN IN THINKING ABOUT IT FOR 24 HOURS.” ANDREW MCDERMOTT IAPS/MC,SFCA,PSC,PSWC Andrew is the past President and a senior member of the Federation of Canadian Artists. Andrew was born in Bolton, England and moved to Canada at a young age.

Upon College graduation in Graphic Design and Illustration, he studied and further refined his own unique style, winning top awards in both Canada and the US. His personal favorite is the Master Circle Medallion for the International Association of Pastel Societies, presented in New Mexico in 2013.

Having many published articles, included The Artist magazine 25 under 40. Andrew has also had full feature articles in top art magazines such as International Artist, The Artist UK, Magazin'art, and the Pastel Journal.

Andrew is a popular workshop Instructor and gives demos and lessons at many educational facilities, he is a life/figure drawing Instructor for the Illustration department at Capilano University, Langara College, and for the 3D Animation department at the Vancouver Film school. www.mcdermott-art.com

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HILDEGARDE HANDSAEME

"My ideas begin by drawing a line and then creating the image of a woman... A woman’s image offers through her curves so many possibilities that it is always exciting to display them in a new way. The lines develop further into a harmonious entity and balancing the right colors is a quest that brings great satisfaction."

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An abstract geometric artist with a focus in female

Give us a summary of your background and history.

figure, Hildegarde's work is easily identified in

Born in Kortrijk, I now reside and work in Terlanen (S.E.

collectors' circles, a result of her intuitive development

of Brussels). With an articulate preference for the figure

of her artistic practices. Her work is known for its

and the nature of woman I went the self-teaching route

clear, sharp lines, and combination of geometric and

in the plastic art form. The sensitive approach of this

organic forms.

theme remains my source of inspiration which is utterly inexhaustible.

Hildegarde is a master of color combinations and application, accomplishing harmonious and evenly flat

When I was about 6 years old, I saw the work of Picasso

areas of color that bring balance and a different

for the first time and found it breath-taking! I could look

dimension to her paintings. Hildegarde's paintings

at his line drawings for hours. I was full of admiration for

showcase her infinite quest to accomplish the ultimate

how he created an entire drawing with a simple line,

harmony as well as her love for the woman figure and

leaving behind the unnecessary—dissecting figures, and

human relationships. She has more than 35 personal

then putting them back together in a dissociative way. I

and group exhibitions around the world from Belgium,

found his use of color fantastic and his addition of

to the USA, Netherlands, UK and France.

ornamentation brilliant. It kept fascinating me. At the 229

distribution. He was amazed that I had developed my own style so early and that this only occurs with very gifted artists. He let me know that my style would evolve and today I am no longer asked to sign my work as it is so recognizable. My first exhibition outside of the academy was a great success. And so I continued...

Share with us some insight into your process.

My inspiration comes from myself. My ideas begin by drawing a line and then creating the image of a woman.

But I want to distance myself from the realistic images of women; it has become a game to find new curves and to embellish them. This creates something completely new, recognizable yet abstract. A woman’s image offers through her curves so many possibilities that it is always exciting to display them in a new way. The lines develop further into a harmonious entity and balancing the right colors is a quest that brings great satisfaction. I never work with a model. This way of working also extends to animals, musical instruments and certainly when I can add a feminine touch.

age of 16, I was in the same class as the son of a local artist and I always thought of what must his father be—a happy man! Much later, when I was 32 years old, I created two big drawings out of boredom; at that time I was alone at home. Of course, I did not think they were good and certainly not presentable to the world. My husband found the drawings and presented them to a friend who had studied plastic arts. She could appreciate the works and advised me to continue. I started taking classes at the Academy of Visual Arts in Overijse.

Although the artistic chord had been touched, it was not the intention to come out with it at all. In 1993, to my great surprise, I found my name in a list of artists who would exhibit at “Kunst in Overijse”. I called the Cultural Center to point out that mistake, but they had indeed received a registration in my name that apparently had been secretly submitted by my then 11-year-old daughter Charlotte. During that exhibition I was noticed by an “Eminence Grise” in the art world who advised me not to continue at the academy. He claimed that my style would be destroyed. He said I had a special way of drawing and also that I had a perfect balance of color 230

"When a spectator looks at my work, I would like it if he could take the necessary time to reflect on it."

How do you want your art to impact the viewer?

When a spectator looks at my work, I would like it if he could take the necessary time to reflect on it.

Some of my works seem very simple and yet it is precisely those works that were perhaps most studied to put the line in the right place. During analysis you can notice that a line stops somewhere and then continues in another part of the painting. Actually those lines are somehow connected to each other either as a continuous or as a parallel line. I myself have fun when I have managed to incorporate this in my painting or drawing.

Share with us some reactions to your work.

People say that I have a very personal style, that the recognisability is very good and that it actually does not require a signature. That the choice of color is good and that the whole is there, even when looking at the work from different angles.

It is nice to learn that when my work is discussed by a buyer, and this is what several buyers say, the longer they view / study the work the more they appreciate it, the more they prefer to see it and discover something new in it. That the work never gets boring. In addition to that question, a few art critics wrote the following about my works: “Hildegarde Handsaeme paints mainly women and follows a harmonic and constructively perfect pattern.

The figure in itself is dominating but she knows how to put it the right surroundings where nature and cosmos play a symbolic part. With a set of straight lines she builds a mysterial haze of inner feelings on the canvas in a simple but penetrative way. She does not call for hallucinating images bet lets herself go with sensitivity guided by an unfailing intuition. Even when the figures at first sight seem distant they point to a certain duality and yet her usage of colours express a honest alliance between the data and the deeper thoughts. -

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"People say that I have a very personal style, that the recognisability is very good and that it actually does not require a signature. That the choice of color is good and that the whole is there, even when looking at the work from different angles."

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"I think it is very important to work with the best quality products.

Since the line formation is optimally present and the color areas form a balanced whole, the use of tight canvas is necessary to accentuate this."

Simply and honestly Hildegarde gives us the

means she gets by her own way from

message of love and tenderness which should

background into focus so one can say

be shown to each individual. In a pictural

without looking at her signature that her

equilibrated and harmonic way she knows

personality is clearly there. Her work is very

how to remind us of the glamorous intuition

personal and shows that art in se has no

of woman. (F. De B. 1997).�

boundaries, is not subject to strict laws, is unseizable and difficult to put into words

“Hildegardes work presents such an original

(E.BOON).�

form and content that it is difficult to classify her in a painting school or to compare her to

What attracts you to your preferred

an eventual equal painter. Only gifted artists

mediums?

succeed to be independent from the start

I think it is very important to work with

and grow gradually to a recognisable style.

the best quality products. Since the line

This is utterly rare. As a red thread

formation is optimally present and the

Hildegarde's personality runs through her

color areas form a balanced whole, the

works which show us a very characteristic

use of tight canvas is necessary to

world. She seems to know always what she

accentuate this. That is why I prefer the

does and why and she leaves nothing to fate.

professional linen from Artel as a canvas.

her work is as she meant it and what she

These fabrics use an additional aluminum 233

frame so that the fabric retains its tautness even above a heat source. The acrylic paint also meets the highest requirements. Because each color area consists of several layers, I like to use acrylic paint because of the short drying times. My ink drawings are made on grainy 300gsm Arches or Canson paper. When shipped, the drawings are protected with the necessary material

"Art is a universal language. I also notice this in that my work has spread across all continents. There is more; art transcends the world because it takes people to new impressions, new unworldly places."

and are sent flat so that no creases occur and the works can be framed flawlessly.

What do you feel when you are creating?

work, there is a good chance that I will succeed in one

When I start a new work I don't always know what the

go or‌ a completely new drawing will arise. The will to

end result will look like. I make a small rough sketch on

create a good drawing is very dominant and

a sloppy piece of paper looking for a useful line. I then

challenging.

work this out further until I have an acceptable whole

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that looks good. Sometimes I manage to transfer it

What are your views on the role of art in today's

effortlessly enlarged to canvas. But sometimes I don't

world?

succeed at all and it is rather a battle with the canvas.

Art is a universal language. I also notice this in the fact

It is best to let the canvas rest a bit. When I resume the

that my work is already spread across all continents.

But there is more, art even transcends the world because it takes people to new impressions, new unworldly places. It creates a relief, a resting point, an emotion or a dream. It colors the sometimes colorless life.

How has your art practise evolved over your career?

I started with frequent participation in art competitions and group exhibitions. Afterwards, more and more individual exhibitions and exhibitions in galleries followed. Today I focus digitally. For several years, many specialized art sites have been active on the internet. Of course it is a search for the artist to find the right platform, as one art site presents itself more as a shop window while the other art site promotes more the work of the artist. In any case, the internet is a wonderful medium to increase the visibility of art and... it is a gift that the art-loving public has also embraced for it's digital possibilities.

How has the COVID-19 pandemic affected your creative expression?

As a result of the Covid-19 pandemic you spend more time at home. You paint and draw more than usual. You have the urge to look up more online. You discover new possibilities to distribute your art virtually and you go deeper into it. This will lead to new online galleries in which you will immerse yourself in order to know how these new sites work. In this way you will become acquainted with new possibilities that can be useful in making your art known.

"I started with frequent participation in art competitions and group exhibitions. Afterwards, more and more individual exhibitions and exhibitions in galleries followed. Today I focus digitally."

www.hildegardehandsaeme.com www.facebook.com/hildegardehandsaeme www.twitter.com/Hilde_Handsaeme www.instagram.com/hildegarde_handsaeme_artstudio wwww.nl.pinterest.com/hhandsaeme/_created/

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IRA LUJAN

"Native American art has always been a vessel for storytelling, utilitarian, and ceremony purposes. I started my studies of glass by recreating some of these vessels. My hope is that, as people view these familiar pieces they look deeper into the vessel to feel and hear the stories that were told but in an older language interpreted from the living light of glass."

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Ira Lujan was introduced to glass blowing in Taos, New

grandfather on the Taos Pueblo Reservation and finding

Mexico during the summer of 2000. He went on to

arrow points chipped from obsidian. I would say look I

begin an apprenticeship with the Native American

found an arrowhead, he would laugh and say that’s just

Glass Artist Tony Jojola. He then studied under

glass. I am from Taos Pueblo and Ohkay Ohwingeh

Preston Singletary at Pilchuck Glass School during the

Pueblo the northern Pueblos of New Mexico. But I grew

summers of 2006, 2009. He also studied under Pole

up and went to school in Albuquerque.

Turners in 2012, 2013, 2014. Working with Jojola and Singletary brought forth the unique possibilities of

After high school I moved to Eugene Oregon for a short

incorporating Native themes and influences with

time. There is where I discovered Glass Blowing at the

ancient techniques of glass blowing. Today, Lujan's

Eugene Glass School. When I returned to New Mexico I

work is highly influenced by everyday scenes of Classic

enrolled in art classes in Taos.

Native American Pueblo life.

One of these classes was Glass Blowing taught by Tony Please share with us a bit about your background.

Jojola a Native American from Isleta Pueblo. In Taos,

Ever since I was young I believe glass was a part of me.

surrounded by all the teachings of the arts, is where I

My first memories as a young boy are hiking with my

realized glass would be my vision quest for this life.

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How would you describe the unique DNA of your art?

The unique DNA of my art is described as two art forms using the Four Elements but opposite processes combined in an attempt to create a new art form. Glass is pottery that has an inner glow. Clay and glass start as sand. Glass and clay are molded when malleable, the difference is one uses fire and the other water. Clay you can touch, glass is created with a breath of air. These two mediums have been around for centuries, its only that now Native Americans have access to Glass as an art form. Through collaborating and teaching glass with other Natives, I have been inspired by the movement and the story it tells is the same as the pueblo culture - it reflects a unique visual language that I have connected to. This interaction has inspired my own work.

Share with us some insight into your process.

My process starts with a 2000 degree gathered ball of molten glass melted in a furnace on the end of a blowpipe. I layer my colors using powdered color glass which is sifted on the outside of the molten ball then melted and cooled then gathered over incasing the first, sifting the next color over. When the blown form has slowly cooled to room temperature, I then draw and cut stencil tape on the outside of the form. Next, I use a sand blasting cabinet to sand carve the first layer of color to create my design work for each unique glass piece as the final step to my process.

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240

How do you want your art to impact the viewer?

Native American art has always been a vessel for storytelling, utilitarian, and ceremony purposes.

I started my studies of glass by recreating some of these vessels. My hope is that, as people view these familiar pieces they look deeper into the vessel to feel and hear the stories that were told but in an older language interpreted from the living light of glass.

What are typical reactions when people first discover your work?

When people first discover my art the first thing they ask “is that glass?�. How is it done? But mostly they are drawn to the way light shines through the colors.

Tell us about 3 of the artworks that define your career.

The first piece is a series that I am still making. The canteen was the first blown piece that I mastered. Its an important piece in that its become a monetary production piece in a series that helps my process evolve.

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"I am currently working on Pueblo Pottery forms of the South West."

The second piece is also a series of sculpted glass figures called The Water Carrier. The importance is in the story it tells. Inside the walls of the Taos Pueblo there is no plumbing or electricity. Water is gathered in pottery and carried home on to of the heads of these pueblo women. The chandeliers have had a huge impact on my career. It has brought my work into the installation area and has a cross over European and Native American beauty.

Share with us some of the themes and concepts that you have explored.

The first three years blowing glass I explored some Italian forms and techniques. It was a great experience blowing glass as thin as possible and still have it come out in one piece, unbroken. Also, a great foundation for blowing straight glass forms, I’ve learned skills to keep the glass form balanced, clean, and uniform.

What are you currently working on?

I am currently working on Pueblo Pottery forms of the South-West. Keeping the design motif true to shape of the form, scale, and intricacy. To complete the glass pottery with a stylized sculpted lid.

What directions are you interested in exploring?

Chandeliers, exploring new concepts of realistic glass sculptured inclusions to the chandeliers.

What intrinsically attracts you to sculpting glass?

I was attracted to the flow of the material and the interaction of the team work that comes with glass blowing. And also the discipline that comes with working with hot glass because heat, timing, and patience has a lot to do with the outcome of the piece.

Website: www.ilujan.artspan.com

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JEFF WILSON 244

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246

Jeff Wilson grew up in Edinburgh,

Jeff has completed residencies at the

Scotland and trained as a structural

Booth in Shetland, Parks Canada’s Art in

geologist. He worked in the field of

the Park and the Wallace Stegner

mineral exploration around the world,

House.

settling in Vancouver in 2004, and took art classes at Emily Carr University, kick-

His work is held in numerous private,

starting a hobby that transitioned to a

public and corporate art collections,

full-time art practice in 2013.

including Alexco Resource Corp., BC Children's Hospital, Firehall Arts Centre,

Jeff’s painting collections have exhibited

Le Dressay and Company, Lion’s Gate

widely in public galleries in BC, Alberta

Foundation, MOI Solicitors, Salmon Arm

and WA State. Highlights include the Art

Art Gallery, SimplexGrinnell, Smithers

Gallery of St. Albert, Port Moody Arts

Art Gallery, Town of Okotoks, Union

Centre, The Langham, Okotoks Art

Gospel Mission, Vancity Credit Union,

Gallery, Smithers Art Gallery, Gibsons

VGH Foundation and Victoria Gold

Public Art Gallery, The ACT Gallery,

Corp.

Bellingham City Hall and the University of Washington Law School.

Commercial

representation

Gray

Gallery

Sky

includes

(Seattle,

WA),

Jeff has received a number of awards,

Hambleton Galleries (Kelowna, BC),

including

inaugural

Kimoto Gallery (Vancouver, BC) and

Saltspring National Art Prize, appeared

Van Dop Gallery (New Westminster,

in the recent “Landscape Artist of the

BC). Jeff Wilson is based out of Portside

Year Canada” TV show, and received two

Studios in Vancouver.

Finalist

in

the

Downtown Eastside Small Arts Grants from the Vancouver Foundation.

Website: www.jeffwilsonart.org 247

ROB BUNTIN

"My work is born from and most closely aligns with postimpressionism and fauvism... In my own words I have referred to my work as modern impressionism. It is an exploration of color culminating in combinations of layered strokes that deliver a smack to the brain, while at the same time pulling you into a warmth of graduating hues."

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Rob Buntin is an oil painter of 30 years, and his story

my iPad and Apple pencil to sketch a few drafts. I have

from the dusty dirt roads of Georgia in the United

configured the pencil to mimic my stroke so I can get a

States to the cobbled streets of France carries with it

sense of how it will play out. This takes a few hours but on

some turns that explain his style. Buntin brings

occasion, sketching for a commission has taken weeks.

impressionism to the future by leveraging colors layered in deliberate brush strokes that deliver a

After planning out the colors, composition, and layers

physiological spark, while light captured across

thoroughly, I begin painting. I paint layer upon layer

matter and air draws in and calms.

across the whole canvas. The oils dry at different rates depending on the color and chemical makeup, so I may

The first thing that must strike viewers of your work

wait 2 to 10 days between layers. As long as I stick to the

is a great level of dedication and attention to detail.

color plan, the painting will wrap up in 20 to 80 hours.

Tell us about your process and how long it takes you

This may seem like a lot, but it is elegant compared to

to work on a painting.

where I once was. There was a time when I would just pick

The process is a mix of old and new. I capture photos,

up the brush at the moment the concept struck me and

scoping out locations during the day, and returning at

start painting. I would spend a few hours painting joyfully,

dusk and dawn. I sift through the photos, and then get

and then a few more grunting, then repainting, then 249

"Where impressionists paint with masterful fleeting strokes, I may plan the placement of an individual stroke. In the end my work fills the gap between the past and the present, and allows me to feel a connection with those great masters."

250

repeat. Even on occasion I would spend an

Your work feels like an information age

hour sanding the paint off with an electric

update on impressionism. What did you

sander

identify as missing in this field?

or

cutting

the

canvas

and

remounting it (Pan to the curious

I once cringed to think of the technology

expressions

gallery

connection. I had sought to get as far

window). Over the years I have learned to

away from my 3:00 am cubicle nights as

trust the more methodical process.

possible, but the deliberate nature of my

looking

in

the

art is definitely influenced by the tech How would you describe your work in

methodologies

your own words?

programming and analysis. I have grown

It is born from and most closely aligns

to accept it.

with post-impressionism and fauvism.

Regarding a gap that I was trying to fill,

I have never heard a specific name for it,

this was not a deliberate endeavor. I have

although have heard it affectionately

always connected with the art of Paul

called ‘blocky’, or even better, a mix of

Signac. The way the colors interact is just

cubism and pointillism called ‘pubism’. In

amazing. Over time my technique grew

my own words I have referred to it as

into a pseudo impressionism/fauvism but

modern

an

with a layered technique that requires a

in

more

impressionism.

exploration

of

color

It

is

culminating

of

deliberate

20

years

approach.

paint

with

of

IT

Where

combinations of layered strokes that

impressionists

masterful

deliver a smack to the brain, while at the

fleeting strokes, I may plan the placement

same time pulling you into a warmth of

of an individual stroke. In the end my

graduating hues.

work fills the gap between the past and

the present, and allows me to feel a connection with those great masters.

You are especially drawn to painting cityscapes and landscapes at dusk and dawn. What qualities make them such compelling subjects?

The moment when the street lights have just come on or are just about to go off‌ when the sky is a deep blue‌ the black of the buildings is broken up by violets of dawn and dusk inching in, and the lights from windows throw warm glows of yellows and oranges. It allows me to graduate colors such as from blue to violet to red, which delivers the most impact. It also allows for striking complementary colors such as rich blues and rich oranges to be present in close proximity.

These are old school color theories that are present in almost all of my paintings. When I am walking alone in the black streets at 5am, my first thoughts are that I would rather be in bed, but as the sky starts to warm and a few windows across the city start to flicker on as people start their early routines, the colors emerge and pictures start to be painted in my head.

You

have

talked

about

achieving

a

psychological spark in viewers of your work.

Give us some specifics on this.

For me the art that I am most drawn to starts with the color combinations and how certain combinations can trigger the dopamine release in the frontal cortex. It is never a single color alone, but is the perfect harmony of juxtaposed colors that intensifies the effect. That is the spark that I seek out in my paintings. Sometimes it is a bright spark triggered by combinations of

"For me the art that I am most drawn to starts with the color combinations and how certain combinations can trigger the dopamine release in the frontal cortex. It is never a single color alone, but is the perfect harmony of juxtaposed colors that intensifies the effect."

cerulean blues and yellow ochre or maybe a warm spark triggered by oranges and yellows against ultramarine blues. Combining these complementary pairs with a scheme that also graduates them from one color to the other, or tinting/shading from less intensity to greater intensity further heightens the spark. Not everyone will experience it in the same way, which makes it all the more interesting to me.

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For anyone that has been to any of the places you have

shown, women appreciate art more than men, especially

painted, they must realise that you have captured

for the artistic qualities. But I sell a lot of art to men or to

something they would never have felt from a thousand

wives buying a painting their husband loves. The men, in

photos. Share with us some of the feedback you have

many

received from those who are familiar with these places.

manufacturers, etc. and I find that interesting as well. So

Wow. I have never heard it put quite that way. People do

there could be a subconscious connection there between

seem to connect with the feeling of the painting. I

our methodologies that draws their attention.

cases,

are

builders,

plumbers,

architects,

suppose it is like how a memory is warmed over time, the lights becoming warmer, colors more vivid, and the

How did you develop your interest in art?

details are blurred into more of a feeling. I have had some

I have been interested since I was a child, though was

pretty emotional experiences with customers. Some of

often frustrated with finding subject matter. Everything

them were commissions for a loved one, where they were

in the world outside in the south in the U.S. seemed

blindsided by this intense image of a special place. In one

brown and gray- dusty pecan orchards and cotton fields,

case a man was walking by the studio and stopped to look

gray square buildings, brown lakes, brown trees‌

in the window, and then started crying. I spent about an

Despite that, I had a great high school art teacher, Peggy

hour talking to him about his past and how it drummed up

Braun, that motivated me and started an advanced

memories for him (In the end I could not bring myself to

placement course for three of us. She pushed us hard, and

tell him that it was not actually the location that he

after many late nights I ended up being the only student

thought it was). It is a special part of art, and for me an

at the end. My interest expanded more at Furman

unexpected positive that comes with selling your art

University, where my professor, Olof Sorensen, shared

professionally.

my affinity for bold colors. I was still a bit frustrated and bored with the colors of the real world around me, but it

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Does your art resonate strongest with any particular

was the introduction there to the works of the old

groups?

masters that brought the inspiration I needed. The

I typically find people are first drawn to the intensity of

internet was really taking off in the 1990s and access to

the colors, and then step closer and grasp the style. The

great images of the impressionist and fauvist masters

most interesting realisation was how much men have

who utilized such bright and intense colors made me

connected with it. Typically, at least as studies have

realize that the fields and rocks they were painting were

"People do seem to connect with the feeling of the painting.

I suppose it is like how a memory is warmed over time, the lights becoming warmer, colors more vivid, and the details are blurred into more of a feeling."

no more or less dull than the ones I was looking at. It was

have a specific problem, and would begin with the

me that was being dull. Inspiration today comes from the

brainstorming of the vision for the solution, and then

abundance of art swirling around, in galleries and studios,

move on to the designing of the solution in words and

but more so in social media. There is so much great art at

flowcharts, and then move on to the actual coding

your fingertips, and I love being surprised by the

development of the solution. We knew that we could

explosions in my head that great artists are triggering

rush it together in a week or two, but in following the

with their usage of color.

necessary protocol it would often take 6 months to two years. Much of the process was not exciting because we

From your perspective can you identify ways that your

could not just jump to the finished project to see it in

computing career has influenced your artworks?

action. There were points along the way where we could

The computer science background has helped me most in

see it coming together, but we had to have patience and

vision, planning, and discipline. In my I.T. career we would

trust the process to ensure that the end result would be 253

"I love being surprised by the explosions in my head that great artists are triggering with their usage of color."

"This deliberate nature of my work reaches to the individual strokes.

When I look at one of my paintings, even after several years, I can see one of the final strokes and recall the deliberation and the reason it is there." correct. This is all exactly the same for me in art. There is a lot of patience and discipline required, because the temptation is always there. The colors on the palette are screaming to be slapped onto the canvas, but while giving in to it would feel great for five minutes, it would be either ruining the painting or sending it down an alternate path that may have no end. This deliberate nature of my work reaches to the individual strokes. When I look at one of my paintings, even after several years, I can see one of the final strokes and recall the deliberation and the reason it is there.

You came back to art after two decades spent building software. How was the transition?

From the beginning I wanted to be an artist, but I was convinced by those around me that it was not the time for me to be attempting an art career, saying plainly that I would be a starving artist and unable to support my family.

So I picked a career that I could hopefully at some point leverage in the future to inch my way into art. At the time I knew absolutely nothing about computers, and found myself surrounded by people who lived and breathed tech.

It was going to be a rough ride. I never really left art, though. It was always there, even if it was drawing on yellow sticky notes in my cubicle at 2am while waiting on a test of a bug fix to complete. I held onto the plan that it would all work out, and art gradually inched its way back in until in 2008 I was officially working two jobs and painting late at night and on weekends. Those days were great days, but also tough. We had a young child, and my wife, Nicole, was also working. Nicole was carrying a pretty large burden 254

those days. Then we had a second child, and the

You and your wife now live in Clermont-Ferrand,

complexities of life grew more fun, but challenging. It

France with your two children who are also budding

was in 2016 that we heard that Nicole had the

artists. Tell us more about this.

opportunity with her work for us all to move to France.

Yes, I have two beautiful girls that their teachers have

This was the moment we had been waiting for, though

said every year are both talented artists. I say this

we didn’t expect it for several more years. Moving to

because I personally have no real frame of reference

France and transitioning to full time art were two

for how good a 5 or 7 year old is supposed to be. When

dreams converging at once. Though I must admit, it has

we travel these days, it has reached the point that

not all been dreamy. Transitioning to a full time art

people will stop in their tracks and back up to look over

business in a country where you don’t speak the

the girls’ shoulders at their sketches. I cannot take

language has been tricky, and after three years I am still

credit though. They don’t even let me paint with them

learning both the business and French. Some great

anymore, because they say I am too picky and that I am

people have helped, and my wife has been so

always wanting to make their paintings better. Well,

supportive and the perfect partner in the adventure.

yes, exactly.

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How has France impacted your art?

The art of France’s past, France’s art today, and France itself as a subject matter for art all make it a pretty ideal place for an artist. It was my wife and her work that made it all possible for us to move. And after much travel around Europe, my wife and I find France still to be the most beautiful. The architecture and natural landscape, and often combination of both, is stunning, and offers an unlimited supply of subject matter. I remember as a child in Georgia walking with my sketchpad down the dirt alley to the muddy pond at the end to sit and draw it (and my brother bringing his gun to sit and shoot the frogs). I realize how fortunate I am now to have this opportunity.

The unique light in Normandy and Provence, the villages with the old bridges lit at night by beautiful lamp posts, the lavender and sunflower and poppy fields, the vineyards, the black stone churches made of volcanic rock, the turquoise waters of the calanques, the clouds scattered above hills quilted with the yellow of rapeseed.

There is so much richness in France that the opportunities for artistic expressions are endless, and I am happy to spend forever chasing them down.

You have been painting for 30 years. When you look

There were literally kids laughing, some screaming, one

back, what are some of the best decisions that you made

even crying by the end of it. I think the teacher was

that got you to where you are today?

accustomed to a more controlled environment, but it

One of the hardest processes as an artist is developing a

made an impact.

recognizable style. Most artists by definition do not want to live by rules, but the business of art mandates that

Any advice for up and coming artists?

artists follow the rule of painting one way so that people

I believe success is an ongoing process and I am nowhere

will recognize and buy your art. I was no different in my

near the end of that journey. I am still striving to come

battle against this premise, but finding a style and the

up with creative ways to break through into new

decision to stick with it allowed me to further develop it,

markets to reach people who may want my art. This

develop more business, and in the end I have been

year, for example, I employed our babysitter, who

fortunate enough thus far to love working in it. This was

speaks at least three languages, to call targeted galleries

driven by advice early on from those wiser than me. The

across Europe to try to tap into those galleries attending

decision to reach out to experts along the way, and trust

exhibitions that I liked. She made contact with one of the

their judgement and guidance, has been invaluable.

top three on my list and I am now working with them.

Success for me was taking advantage of opportunities

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Tell us about some of the proudest moments in your

when they arise. The landscape in the art market

career thus far.

changes every few years, and you have to be willing to

I would have to say teaching a lesson on color theory in

adapt to it, figure out where your art will thrive, and act

my 10 year old daughter’s classroom was pretty great. I

on that. Since this is information that is not at your

could see their minds were blown when breaking down

fingertips, you have to be willing to listen a lot to those

the science of a Monet painting, and showing the tricks

in the market, especially when they are talking about

that colors can play on the brain with some color tools.

your work.

What can we expect from you in the future?

Expanding my presence in Europe is my first goal.

I have started working with Arts Evasion Galerie out of Toulouse, and they are doing a great job during these tough times with creative marketing. I look forward to seeing how things progress as the world returns to normal. I also am planning to expand into Spain with another gallery in 2021, and try to push my art into as many exhibitions as possible. As far as my art itself, I understand that the market right now in Europe wants bigger paintings, and for my style the bigger the better, so it will be fun.

Website: www.robbuntin.com Instagram: www.instagram.com/robbuntinart Facebook: www.facebook.com/robbuntinart

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CAROL MCINTYRE

"Throughout my painting career, regardless of the medium or style, I have had three overriding intentions with my work. They are to create color harmony, mystery, and depth. The latter invites the viewer in, sparking their imagination, memories and encouraging them to ask questions about themselves or the artist."

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At age 36, Carol McIntyre gave up a secure corporate

When did you first know that you wanted to become an

paycheck for an uncertain art career. She was born

artist?

in Iowa, grew up in Philadelphia, worked in

Let me start answering this question with the time when I

Minneapolis, and now resides in Colorado to be

stopped making art. I was a sophomore in college majoring

closer to her cherished cabin. Her award-winning

in art when I ‘woke-up’ one day asking myself, “How am I

paintings have earned her a signature membership in

going to make a living as an artist?” Unfortunately, I had

the

an

no one to turn to. I concluded that my only options were

associate membership in the Oil Painters of America.

to teach elementary school art or be crazy like van Gogh.

Early in her career, McIntyre served as the president

Consequently, I switched my major to educational

of the Minnesota Watercolor Society and juried

psychology and went on to be a school psychologist,

several shows.

followed by a position as a corporate trainer. Oh, how I

Transparent

Watercolor

Society

and

wish I had known about museum curating or art Her recent book “I Just Want to Paint: Mixing the

restoration. Between the ages of 21 and 36, I did not

Colors You Want!”, her teaching, and blog have

touch any art making materials because it was too painful.

impacted thousands of painters by unleashing their

However, at age 32, I married into a musical and artistic

creative spirits.

family which markedly altered my life. My quiet, beloved 259

mother-in-law learned about my closeted

asked a reputable art instructor to review

talents and desires, so she started

several paintings with the intent of giving

nudging me toward art making. She sent

guidance on my use of color. He stated,

me books, colored pencils, paper, etc. One

“You already know.” I was dumbstruck

fateful cold January day, while visiting my

because I knew this was not true.

in-laws, she sent me down to her

"I believe learning about color, particularly mixing color, is like riding a bike. You must learn the skills, and then, with practice, you can proclaim, “Look mom, no hands!”

260

basement studio with a few watercolors

This

and instructions. Soon I was a duck

instruction (before the internet, CD’s,

swimming in water! Arriving upstairs with

etc.) Though I was living in an arts

my first watercolor and hearing their

oriented metropolitan city, the only class I

proclamations was a cherished moment.

could find was in a university’s graphic

They immediately bought me my first set

arts

of paints, brushes, and paper. Since then, I

professor to let me enroll. This is one of

have never looked back. The sealed door

my best career decisions. It jump-started

to

my concentrated study of color along

self-expression

had

finally

been

cracked open.

sent

me

searching

department.

I

for

convinced

color

the

with my collection of over 30+ books and CD’s on color, all the while gaining my

You wrote the multi-award-winning

color confidence.

book: "I Just Want to Paint: Mixing the Colors You Want!" How did you realise

During this time, I learned, with dismay,

there was a need for this guidance?

that most of my fellow painters were not

About 2 years into learning watercolors, I

interested in learning about the how’s and

and why’s of color. They bought into the myth that color is intuitive. I believe learning about color, particularly mixing color, is like riding a bike. You must learn the skills, and then, with practice, you can proclaim, “Look mom, no hands!”

As I observed other painters’ frustration, I decided to develop and teach my color mixing methodology. It’s a step-by-step process of strategically choosing the six primary colors you need to mix the colors you want. I taught workshops, began a blog, was hired to create a video online course, and demonstrated at art societies. There isn’t anything much more satisfying than watching light bulbs go off in student’s eyes and minds.

Color is considered, by many, to be the first aspect of a painting that a viewer notices. It’s complex, magical and one of the most difficult art elements to learn. I wanted, and still do, to help artists achieve that first stage of gaining color confidence, that of learning how to mix color.

This unleashes creative expression and opens the door to tackling the next stage, which is learning how to apply color. Too many creatives stop making art because of the frustration they experience with mixing color. They end up mixing mud and they don’t know how it happens.

Based on my research, no one was teaching an easy-to-use system like mine. I knew my book would fulfill a niche.

You self-published "I Just Want to Paint: Mixing the Colors You Want!". Give us an insight into the obstacles that you had to overcome and

"Color is considered, by many, to be the first aspect of a painting that a viewer notices. It’s complex, magical and one of the most difficult art elements to learn.

I wanted, and still do, to help artists achieve that first stage of gaining color confidence: learning how to mix color."

how this book has impacted readers.

Motivated by the testimonials I was receiving from my blog and video course, in 2016 I decided to self-publish a book. Before starting, I thought I had checked all the boxes, such as having: done the research, identified my audience, acquired writing skills, knowledge of instructional design background

and

marketing

know-how,

developed a mailing list, and the passionate drive 261

"I decided to develop and teach my color mixing methodology." to impact others. Also, I had previously written a memoir which meant I knew about cover and interior book design and the importance of hiring editors.

Wow! was I in for a surprise. I learned there is nothing easy or simple about self-publishing. Along the way, I enjoyed myself, met wonderful people, and learned more about the book publishing industry that I knew was possible. My goal was to create a high-quality hard-back book that would endure the rigors of heavy studio, classroom, and library use.

Thus, the endless details and the financial requirements were more than I had anticipated. Then the reality of 1,500 books arriving in a semi was both thrilling and daunting. “How am I going to find homes for all of these?� Six months after publishing my books, I realized I had been, for nearly two years, a writer who was an artist. Though gratified with excellent sales, I was mentally exhausted and knew it was time to switch back to being an artist who writes.

My heartfelt reward has come from my readers multiple comments, exclaiming they have finally found the color book 262

they have been looking for. They love the clarity and easy

much like a composer chooses a musical chord.

to follow instruction. Several have stated that they have

Sometimes I create a small color mixing chart with these

been able to take their painting to the next level.

colors to give me guidance. Then I start applying paint and mark making without knowing or thinking about the

What do you aim to achieve when working on a piece?

result. Creativity is the interaction between play,

Throughout my painting career, regardless of the

technique, and curiosity, like improvisation the outcome

medium or style, I have had three overriding intentions

can never be planned. In the early stages, I turn the panel

with my work. They are to create color harmony,

90 or 180 degrees to assist me in letting go and not

mystery, and depth. The latter invites the viewer in,

becoming too attached to the work. It took me nearly two

sparking their imagination, memories and encouraging

years of constant painting, to willingly let go and fully

them to ask questions about themselves or the artist. I

experience this creative freedom. About a third of the

often play with contrasts. For example, mixing organic

way into this intuitive process, I take a moment to analyze

shapes with geometric, curved with straight lines,

its voice to identify what it is saying. Once I have received

smooth and textured areas, etc. The tension of opposites

and agreed upon a direction, I invite the critic to gently

not only creates energy, but it also shows that

participate. As the painting develops, I check to see if my

differences can exist harmoniously in one space.

intentions are being met, and I critique my design, composition, values, etc. By the way, I will alter my color

Tell us about your paintings in the "Unveiling the

scheme if I believe it will add to the energy or mood.

Invisible" collection.

Each painting starts on a lightly textured surface created

You have a unique approach in your painting process

by applying three layers of gesso. I prefer a hard surface,

that involves taking photos of each painting through its

because it allows for more physical interaction via

various stages. Please tell us about this.

gestures and scraping. Next, I decide on the color scheme

Years ago, I started taking photos of my artistic process.

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"I have frequently reflected on questions, such as, why did I paint that?"

This was initially done to teach and educate others so

arrowheads and capture water creatures. All the while, I

they could see the stages. Sometimes I publish them in a

knew there were magical beings watching over me. My

blog, and they can be found on my website portfolios

revelation and new medium led me to embrace my love of

pages. Soon, I discovered that this documentation is

nature more fully and to creating my “Enchanted Forest”

invaluable. I can go back to see the steps I took to create

series.

an effect and often I am surprised to see what I did. Fun! You recently had some difficult news regarding your

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In 2020 you began creating abstract nature works using

health. How have you managed in this situation along

cold wax. What inspired this exploration?

with COVID, and how has it influenced your art?

The diversity of acrylic mix-media art materials intrigue

When COVID hit, I approached it as an opportunity to

me, but early in 2020, I discovered oil paints mixed with

hunker down and deep dive into learning my new

cold wax medium. This medium spoke to me because it is

medium. Not only was I motivated to experiment in the

a more robust medium and resonates with my love of

studio, but I was also preparing for a solo show in April

scraping off layers to reveal the surprises. A huge array of

2021. Painting became even more important because of

unconventional tools makes it a messy task and possible

this devastating pandemic.

to create a variety of textures. This process joyfully takes

Then in August, I received the surprising diagnosis that I

me back to my childhood days of digging and exploring.

have multiple myeloma, which is an incurable blood

This medium change coincided with my personal insights.

cancer. Other than a persistent oral infection, I had no

During my career, I have frequently reflected on

other symptoms. This news generated a collision of

questions, such as, why did I paint that? What am I trying

emotions. Despite being fiercely independent, I did not

to say? What are people’s interpretations? Why is

hesitate to reach out for support. It’s heart-warming to

painting important? What life experiences influence me,

receive loving concern from many people and, most

etc.? It was the last question that heightened my

importantly, my gentle and steadfast husband. Learning

awareness of nature’s impact, particularly the forest, on

how to navigate the healthcare system, a multitude of

my life. As an 8-10-year-old suburban girl, I spent hours

doctors, minor surgeries, tests, and test results was a

alone in our neighborhood woods, in awe of nature’s

roller coaster. Fortunately, my prognosis is good which

beauty, simplicity and complexity. Often unhappy at

means I am in the early stages and do not currently need

home, I escaped to climb outcroppings, dig for gold and

treatment. Some thought I would stop painting. No, not

"Painting requires being in the present with a focused concentration."

at all! Painting has always grounded me and is essential to

more committed to bringing beauty into the world.

maintaining my mental and spiritual health. However, I

Regarding my work, brain fog interceded, causing

did have to choose to let go of many other tasks, such as,

unsatisfactory results. Painting requires being in the

blog writing, maintaining my website, marketing tasks,

present with a focused concentration.

administrative tasks, house maintenance projects, etc.

Many paintings were tossed or sanded over because I could not get into the flow. Between August and

Upon reflection, I believe my approach to painting has

November, I kept the faith despite the disappointing

made me more resilient. Uncertainty is a constant in my

outcomes. However, one of my favorite paintings during

creative process. Instead of bemoaning the loss of control

this time “Midnight Muse,� reveals hope conveyed by a

on many fronts, I cherish the life I have and the people in

lone tree stalwartly shining on the threshold of an

it. Having cancer has made me feel this more deeply and

ominous mystery.

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Tell us about your collection of works “The Art of Wine & Spirits".

Watercolors were my first love and for 15 years I painted realistically. Then I went cold turkey and ventured into pastels, oils, and acrylics, while exploring abstraction. After a couple of years working in mixed media, I decided to tackle the challenge of combining abstraction and realism with the additional challenge of painting glass and liquid.

Creativity is inspired by challenges. I enjoy a good glass of wine or martini. Hence, they were a fun subject for a series.

"Watercolors were my first love and for 15 years I painted realistically. After a couple of years working in mixed media, I decided to tackle the challenge of combining abstraction and realism with the additional challenge of painting glass and liquid.

Creativity is inspired by challenges."

Please tell us about your "sacred place" (your studio/ cabin up in the mountains).

When I was 11, my family took a cross country car trip from the Philadelphia to California. On our return trip, we stopped to visit my great aunt and uncle at their remote 4-room Colorado mountain cabin. Steel cables and giant logs firmly keep it upon a massive boulder on a steep forested hillside overlooking the South Platte River. A large screened in porch makes it feel like a tree house. Soon after arriving, I knew I had found my place and sensed I had been in this area in a previous life.

Ultimately the cabin was passed onto me. Shortly after trading in my corporate suits for an artist’s smock, I began my annual, solo month-long sojourns to the cabin. For over 12 years, I drove 1,000 miles from Minnesota to Colorado. It’s my place of rejuvenation, relaxation, and reflection, all the while creating and taking in nature. No cell service and no TV are available.

I created a small studio space in a previously designated guest room. Because it was built in 1930’s, the cabin has many quirks, including an outside shower, requiring regular maintenance on my part. Fifteen years ago, I convinced my husband to move to Colorado Springs so that we would be within 90 minutes of my sacred place.

266

"Shortly after trading in my corporate suits for an artist’s smock, I began my annual, solo month-long sojourns to the cabin. For over 12 years, I drove over 1,000 miles from Minnesota to Colorado.

It’s my place of rejuvenation, relaxation, and reflection, all the while creating and taking in nature."

"I believe my approach to painting has made me more resilient. Uncertainty is a constant factor in my creative process. Instead of bemoaning the loss of control on many fronts, I cherish the life I have and the people in it."

Who are some of the people that have most inspired and contributed positively to your amazing career?

When I was in junior high school, I attended an after-school group art class in an artist’s studio. My first lesson with Mrs. “B,” a boisterous, buxom Italian American who wore enough jewelry for three women, left an indelible mark. She handed me a set of colored pencils and blank paper, then asked me, “To pick the color and draw a line the depicts energy, then grief, then joy, etc.” Her instruction, compassion and passion opened a door to a world I knew would never leave.

My first two and half years studying watercolor were with Terry Genesen Becker at a Minneapolis art center. She provided the solid foundation I needed. More well-known artists include Jacob Lawrence, Judy Chicago, Georgia O’Keeffe, Remedios Varo, JosefAlbers, and M.C. Escher. www.carolamcintyre.com www.facebook.com/colormaestro www.instagram.com/colormixingexpert

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CAROL CARTER 268

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Carol Carter is an internationally recognized artist whose career has spanned more than 35 years. Carol has taught workshops for over 30 years, as well as in university.

Her paintings have been in many national and international

exhibitions,

both

juried

and

invitational. She has been featured in several global publications including: International Arts Magazine, Art of Watercolour, Watercolor Artist, and L’Aquarelle Magazine. In 2012 she was an AIRE fellow for the Everglades National Park. She is part of the Art in Embassies program with art currently

in

Montenegro.

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the

American

Embassy

in

WWW.CAROL-CARTER.COM

In 2019 she was also honored with Master Signature Member status, American Women Artists and Master Signature Member status, Heartland Art Club. She recently exhibited in “Making Their Mark: American Women Artists� at the Booth Western Art Museum. She is the recent recepient of 2020 Snehil Lifetime Achievement Award, Snehilsrijan, India.

She has exhibited her work in Europe, China, Hong Kong, USVI, Morocco and throughout the United States. She has lead many symposiums on how to make a living as an artist and marketing art as a career. She has frequently served as a juror in art exhibitions both on national and on international levels. She is on the advisory board of the American Watercolor Weekly.

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SVETLANA SIMEONS

"Landscape painting is my dialogue with Mother Nature. I express my love and admiration, she tells me her stories and opens her secrets to me, allows me to use my artist licence, and thanks me for removing man-made objects from the scenery."

0202 FO TSEB GITSED

"I am a Russian Canadian, an active member of FCA.

to see the original masterpieces both of the Russian and

My first noteworthy piece of art was a graphite

world art at the most prominent museums in Russia. Since

portrait of my karate coach, drawn at the age of 15.

my childhood I’ve been a citizen of the whole international

Then there were occasional, rare splashes of

world of art. So to tell you the truth, I’ve always perceived

creativity throughout my life resulting in small pencil

art as supra-culture beyond and above any country or

or watercolour pictures. It was six year ago that I

ethnic boundaries. The beauty and strength of art is that

started painting in oils, and my artistic genes had

it’s universal. It’s not the artist’s ethnic origin that attracts

finally realized. I paint or plan to paint in all thematic

and influences me, instead it’s the artist’s philosophy and

genres except portrait."

the quality of the artist’s work.

You have only been painting for six years. How have you

You are a Russian Canadian - tell us about your early

developed your painting skills to a high level in such a

memories of art in Russia and how both cultures

short time?

influence your work.

Quality is a key concept of my art. I believe art is all about

My mother was an art lover. There were about 40

creating value. Suppose I want to make a gift to you, so

large-format books on art at my home of childhood.

money is not an issue; if I ask you to choose between a

Wherever we travelled together around Russia, my

landscape photo and an accurate painting of the same

mother took me to the art museums. I was fortunate

landscape – which one would you choose? And if I ask you 273

"The beauty and strength of art is that it’s universal.

It’s not the artist’s ethnic origin that attracts and influences me, instead it’s the artist’s philosophy and the quality of the artist’s work."

274

to choose between an accurate painting

keep on working on my paintings until I

of a landscape and a reinterpreted artistic

feel in harmony with them, when the view

painting of the same view, more pleasing

or idea that impressed me and wanted to

to your eye – which one would you

be painted has been properly “pressed

choose? The latter. Why? Because there is

out” on my canvas. Like in the Scripture,

more added value in them. As Phaedrus

“And God saw that it was good”. That’s

says in Zen and the Art of Motorcycle

the moment to achieve: when the creator

Maintenance, “Quality, value, creates the

and the creation become one.

subjects and objects of the world”. Art and quality are two sides of the same,

My quality standards are changing with

they create each other.

time, they grow with me growing. Quite often I revisit my works. Even if it is a five-

I am sad that at some art schools they

year-old painting, I can remove the

now teach that quality is not important

varnish and repaint a little detail. The only

and that all you need is “to be creative,

exceptions are my first landscape and my

artistic and expressive” forgetting that

first still life. I heard that “fixing an old

the word “create” means “produce”, “art”

painting is like feeding a dead horse”. But

means “skill” and “expression” means

I prefer to humbly follow the example set

“press out” in Latin, which implies labour,

by Da Vinci, who kept working on Mona

knowledge, and keeping the viewer in

Lisa for about 15 years. In practical terms,

mind. I still have along way to go to reach

I constantly learn and improve my

the quality I strive for. But I do my best, I

painting techniques, with a dedication to

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honing my composition skills. I learn from the artists before me and invent my own techniques. On a funny note, when I go to the museums, I always lock my hands behind my back so that when the siren goes off the museum attendants could see that I have no intent in damaging the painting – such events happen because I tend to forget about the security rules when I get captivated by the artists’ mastery and when trying to explore the artists’ brushwork I approach the paintings too close.

How can this trend away from quality be reversed?

I believe that conceptual art is the highest form of artistic expression. But if void of quality it's like plain sugar. Food for brain? Absolutely. Yummy? Not even for a little child who prefers a flavourful candy to a spoonful of sugar, to say nothing of a gourmet. Don’t get me wrong. I am totally for the freedom of artistic expression. The problem starts when they try to convince me that plain sugar is all I need. It’s the viewer who suffers because some modern artists prefer to take an easy path and call an underpainting or a conceptual sketch a finished product because that’s how they feel it or probably are just unable to add quality to this stage. Such artists make art serve their selfish self-expression only, and not the needs of the society as it used to be. A part of the problem is that Value and cost have become different things. It’s only the collective (not just elite) consumer who can reverse this trend through being educated, having developed elevated taste, knowing the value, having self-respect and, yes, demanding quality. In practical terms, Fine Arts should be taught at secondary schools in such a way that the students understand the creative process and value of art product; and the museums, art galleries and art magazines should be funded by the governments for buying and exhibiting modern quality artwork.

"I am totally for the freedom of artistic expression. The problem starts when they try to convince me that plain sugar is all I need."

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"Quality is a key concept of my art.

I believe art is all about creating value."

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"It’s only our art that can let us outlive ourselves."

Tell us about your landscape paintings.

The Canadian Rocky Mountains feature prominently in

Landscape painting is my dialogue with Mother Nature. I

your work. Please describe your connection with this

express my love and admiration, she tells me her stories

area and why is it a rich source of inspiration.

and opens her secrets to me, allows me to use my artist

If I told you that it's because I live in Calgary, which

licence, and thanks me for removing man-made objects

makes Kananaskis, Banff or Jasper reachable within a

from the scenery.

quick drive, it would be an evident fact but not the real truth. And the truth is that I chose Calgary because it is

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Tell us about your still life paintings.

located within close proximity to the stunning Rocky

Still life painting is my dialogue with myself and the

Mountains. The Canadian Rocky Mountains are not just

viewers, and also provoking a dialogue of the viewers

beautiful, they are magnetic and spiritual. I heard a

with themselves. My still lifes are usually thematic, story

professional traveller and film maker calling them a

telling, philosophical and somewhat romantic, just as I

"place of force". They attract you, embrace you, and

am. I thoroughly compose them, and to make a story

covenant you forever. And if you are an artist, you just

integral and convincing I get my painting subjects from

cannot help yourself from trying to connect to this realm

all over the world.

from within.

"Still life painting is my dialogue with myself and the viewers, and also provoking a dialogue of the viewers with themselves."

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"Every painting I make is an extension of my life."

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Share with us some of your proudest moments so far.

Your motto is “Vita brevis, ars longa”, which means

Those moments are when my paintings are chosen for

‘Life is short, and art lasts”. Please explain.

juried art shows. It happens often when I make

“Why would a man need more than one woman? –

submissions, which proves that I am on the right track.

Maybe because he fears death.” Those who understand

I started painting 6 years ago, and in the beginning it was

this quote from the film Moonstruck will understand

a pursuit of "how-to" question. Then there was a long

how my sadness caused by the transient nature of

block and a "now what" question. I am thankful to Steven

everything and especially of life propels my art. It’s only

Pressfield and my Painting Angel who patiently kept -

our art that can let us outlive ourselves.

quoting Dali - "guiding my hand" through that difficult

“Time fears the pyramids” not because the pyramids are

time and who is still with me. This can actually be my

made of stone, but because they are pieces of art made

proudest achievement that I've made it through that

from stone. Every painting I make is an extension of my

block.

life. Every flower I paint keeps on living on my canvas.

So seemingly a result of fearing death, for me, art is in

Share with us some of the feedback you have received

fact a powerful means of celebrating life.

received from fans of your work.

The best feedback was when at an art show a visitor

What is your favourite technique?

gave out a very loud Wow! and swayed his arms when he

I usually paint alla prima, but the biggest fun is the Old

saw a painting of mine. And the saddest was when a lady

Master’s method based on the working-up-from-grisaille

wrote me a long letter about how she admired my

principle, in which case I use a modified technique I

painting but could not afford buying it even at a

invented myself. This method takes a much longer time

considerably discounted price.

but I love it for having Light as my co-author. You can appreciate the light-emitting effect created by this technique in my Flamenco and Red Rose paintings. That

Website: www.simeons-art.com

magic glow is worth the effort.

www.instagram.com/svetlanasimeons 281

AMOGH KATYAYAN

"Art is a passion that keeps me going. There are two main drivers for me to create. First, for me, art is meditation. When I’m working on art, the stress of day to day life disappear. I tune out everything while I am working on a piece. Second, I get a sense of true satisfaction when my art makes others happy."

0202 FO TSEB GITSED

I am an engineer by college degree and an artist by

in me, a clear sense of my responsibility towards the

heart! I paint with my unconscious mind and feelings

environment, which is depicted in many of my paintings.

to start on a blank canvas and then finish with conscious mind finding shapes and figures repressing

Your parents encouraged you to study Engineering.

current world problems or sometimes mythical

Were you always interested in art and what are your

stories.

earliest memories of creating?

Like all other Indian parents at that time, mine pushed me

You grew up in the foothills of the Himalayas in India.

to become an engineer. I joined the State Engineering

Share with us some insight into the beauty of this

College and started my career as a Project Engineer

area.

executing several different industrial projects. I am not

My father, a teacher, was stationed as in a remote

sure when exactly I first became inclined towards art, but

village deep in the Kumaun region of the Himalayas. I

I do remember a childhood story from when I was in

grew up very close to the pristine beauty of mountain

Grade 3, I painted a black butterfly and my teacher failed

ranges, valleys and glacial rivers away from all the

me, giving it a 2 out of 10! Perhaps my teacher could not

pollution of industrial areas. The air was clear, the

see the potential in me at the time. At the time, I was

water was pure, and the intimacy of nature developed

shocked by my failure. I started learning to make better 283

"Usually my work is influenced by my surroundings as well as local and global current events. These influences range from the Me Too movement to natural disasters in the Amazon rainforest to the day to day life of a common man."

284

art with help of my mother, who had

How do the two cultures - Indian and

taken some professional art courses. I got

Canadian - influence your work?

(much better, and eventually my teacher

While both cultures have significantly

circulated my art throughout the school

impacted my work, I have also had the

to show as an example of great art.

privilege to live in Southeast Asia and Europe,

which

shaped

my

thinking

You now live in Calgary, Alberta. Tell us

process as well. Usually my work is

about life in this part of Canada?

influenced by my surroundings as well as

I grew up in a small town, and as a result I

local and global current events. These

seldom find it comfortable living in big

influences range from the Me Too

cities. For me, Calgary is the perfect place

movement to natural disasters in the

to live, small enough to commute from

Amazon rainforest to the day to day life of

from one end to the other in half an hour

a common man.

and big enough to enjoy the nightlife, concerts, or sports games. It is located in

Your mother provided the nudge to

the foothills of Rocky Mountains close to

reignite your creative fire. Tell us about

Banff National Park, so there is a lot of

this and your journey to this point.

natural beauty close to home in the

This is a very interesting story! Originally,

winter and summer.

my parents pushed me to become an

285

engineer, a profession I have held for the past 28 years. My passion for art returned around 6 years ago when my mother decided to take an art class after putting down her brush 45 years ago. I registered her in an adult art class but since she has trouble speaking English, I sat with her as her translator. During that class the instructor also encouraged me to paint, which is when I realized that my passion for art still burned strong. Since then, I started creating art and hope to continue until I die. I can’t stop making art anymore! Over the past six years I have participated in several events, exhibitions and shows, and gained membership in several art associations and societies.

To commit to creating art at a high level, there must have been a compelling internal reward describe what creating fulfils in you?

Art is a passion that keeps me going. There are two main drivers for me to create. First, for me, art is meditation. When I’m working on art, the stress of day to day life disappear. I tune out everything while I am working on a piece.

Second, I get a sense of true satisfaction when my art makes others happy. Every time I’m at an exhibition and someone stops by to talk about my paintings, I feel a strong sense of satisfaction and pride. That feeling of creating something, whether it’s a painting or sculpture, is escalating and fulfilling.

Your series ‘Our Hero’, describes the day-today life of a common man. What inspired this and how pleased are you with the outcome?

In the news, online, and in books and movies, people emphasize the importance of leaders and superheroes. While superheroes get so much of the shine nowadays, in my opinion the real hero is the common man. True heroism is not only about moving mountains or travelling through

"While superheroes get so much of the shine nowadays, in my opinion the real hero is the common man."

the stars but also about being there for yourself, your family, and your friends. The “Our Hero” series turns the common man into a hero. He walks his dog, spends time with his family, goes on adventures, and explores spiritual side of life.

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The evolving story for both you and the viewer is an important focus in your work - please shine light on this.

My art carries a message and tells a story. These are stories that I want audiences to listen to with their eyes. I don’t tend to start my paintings with any specific concepts or preconceived ideas. The story usually develops along with the work. I find shapes in the colours and textures of my paintings, influencing how the story of each painting develops. Part of the beauty of art is that viewers can develop their own story based on their unique perspective. In my view, art is about these perspectives, not absolutism.

You have compared your painting technique to "looking for images in the clouds"... what does this mean?

In my childhood, I spent a lot of time looking at the clouds, finding animals, objects, and shapes within them. My painting technique can be compared to the looking for images in the clouds. I begin with a blank canvas, and as I

"My art carries a message and tells a story. These are stories that I want the audience to listen to with their eyes."

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"The story usually develops along with the work. I find shapes in the colours and textures of my paintings, influencing how the story of each painting develops. Part of the beauty of art is that viewers can develop their own story based on their unique perspective. In my view, art is about these perspectives, not absolutism."

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"My technique can be compared to the looking for images in the clouds."

I layer on coats of paint create textures and colours, I start

finish this series! I am also working on an ‘Animals’ series,

to see shapes and figures emerge from the paint. This is

where animals portraits are combined with my painting

the foundation from which my paintings develop. With

techniques to create a story.

the freedom that this open-minded approach brings, my paintings takes on a life of their own. From the images I

Your work has received significant acclaim. It is rare to

that I see, my paintings take on stories, issues, and

see an artist achieve - in a short career so far - such

experiences to which others can relate.

powerful themes and masterful execution. What would you attribute your creative success to?

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What are you currently working on?

I am indebted with support and encouragement from my

I am still working on my ‘Our Hero’ series. As the common

loved ones, friends and family alike. Despite the fact that

man’s action are limitless, I am not sure whether I will ever

my full-time job as an engineer leaves me with relatively

little free time, my wife has been extremely supportive of

stand yoga pose, or even a person free-falling from space!

my passion, allowing me the freedom to express myself through art. My friends, who were my first fans, always

Consider everyone: This is a very early painting in my

encouraged me by coming to my exhibitions and hanging

current style. This painting carries a message for all of us.

my art in their homes.

If you look carefully, you can see three factories competing with each other for resources as well as an

If you had to pick three artworks to define your career

open drain pouring pollutants at the bottom of the

so far - which would they be and why?

painting. Looking up, you can see the effect of the

Perspective: This was my first painting in the ‘Our Hero’

pollution in form of a dead turtle, fish and a cow skeleton.

series and was inspired by Hindu philosophy ‘Aham

Within this painting, the color red is meant to represent

Bharamasmi’ which translates to ‘I am the Divine’.

blood and destruction. Everything drawn in this painting

Essentially, this boils down to a core concept within

emerged by looking for images within the background

Hinduism, which is that the creator (God) and creation

colours and textures. The more carefully you look, the

(human) are not two separate identities but one single

more details you will find, representing the wide-scale

identity. The painting shows a human silhouette with

impact of pollution on our ecosystem.

several drawings within the body meant to represent the entirety of the universe, representing the notion that

Serenity: Serenity is inspired by the calmness of Buddha.

human and God are one. Another perspective that was

This painting represents the calm and tranquillity within

pointed out to me by a viewer is that by changing the

Buddha despite the chaos around.

orientation of the painting, it transforms from a jogger running in an empty space, or a person doing a head-

Website: www.amogh.art

"The more carefully you look, the more details you will find,"

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DEBORAH KENNEDY 292

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An artist and writer, Deborah Kennedy’s work has

Deborah Kennedy's artwork consists of conceptually-

been presented in the United States and Europe. Her

based installations and objects in galleries, museums

exhibitions include numerous solo and group shows

and public spaces. Her work begin with questions,

featuring objects, conceptually-based installations,

such as: What new ways of thinking can help us solve

and public art focusing on ecological and social

our environmental problems? Can we reform our

themes.

technological systems so they operate in a biocompatible manner? How is exposure to toxic

She is noted for creating four large-scale installations

chemicals affecting the health of human and animal

on the Berlin Wall six months before it was torn down.

populations?

This work was an inspiration to thousands who witnessed art in the service of social change and has

Questions, such as these, focusing on social and

been featured in books and newspapers in the United

environmental dilemmas are the starting point of her

States and Europe.

work. These questions propel her investigations.

Today, the majority of her research is web-based,

Her work has been widely reviewed and she has

where she tracks rapidly advancing scientific research

received numerous grants and awards from art

on endocrine disruptors, the amphibian decline and

councils and museums in California.

other areas of concern. This research informs her choice of images, materials, and methods. Therefore,

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Recently, Kennedy received awards from the Bay Area

her creative process and artwork are characterized by

Poets Coalition for her poetry. Her recently published

an on-going state of inquiry, extensive research, and a

book, Nature Speaks: Art and Poetry for the Earth,

balance between concept and form. Kennedy says, "I

brings to life the profound bond between ourselves

want to work at the growing edge, where we as a

and the larger natural world. Kennedy lives in San

global community are struggling to create new visions

Jose, CA, teaches college classes in art and art history

that will help solve our environmental problems. My

and presents at ecology conferences. She often hikes

hope is that these new perceptions will help us change

in an urban riparian corridor where she spots osprey,

how we think about ourselves and our role in the

hawks and herons. In the evening she watches for

world. Then, perhaps, we can begin to change our

moon bows, earthshine and other modern miracles.

behaviors as individuals and larger communities."

WWW.DEBORAHKENNEDYART.COM

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LESLIE LENDVOY

"Painting fulfills my need to preserve that which is beautiful or ephemeral in nature. It’s heartbreaking, to see our world struggling to maintain its balance and health, now more than ever. As life becomes more hectic and challenging, and our environment more threatened, I become more committed than ever to capturing on canvas the essence and spirit of that which stirs my soul."

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Leslie Lendvoy is a west coast artist from a five

years, taking workshops with many top artists from across

generation BC family. She has a Masters of Fine Arts

North America. Since retiring from teaching, my travels

from UBC and is a juried member of the Federation

have taken me plein air painting in the Rockies, Croatia,

of Canadian Artists. Her work wins awards and hangs

along the wild Pacific coast, throughout the South West,

in galleries and homes in BC and in Arizona, where

Mexico, and especially into Arizona during the winters.

she spends her winters plein air painting.

I’ve always found that painting sharpens my senses and deepens my appreciation of this world. Recently I’ve

How did you become the artist you are today?

focused on painting in oils, still searching, camera in hand,

Growing up on the west coast of BC, I spent much of

for that unique combination of lighting, colour and

my life outdoors exploring nature’s amazing vistas and

composition... whether it be a remote strip of rugged

stories either through photography or painting. My

coastline or an old crumbling adobe on a forgotten Barrio

uncle, RE Walker, was an accomplished west coast

corner.

artist so watching him paint with passion when I was young always inspired me. I completed my Masters

How do you approach painting a particular piece?

Degree in Fine Arts at the University of BC and

I’m drawn to interesting light, reflections and mood...

experimented with multiple mediums throughout the

places and moments that have stories to tell. Sometimes I 297

"Throughout my process I try to stay open to where my painting wants to take me, keeping drama and harmony always in mind."

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use my plein air studies as a reference for

comfort

and

constancy

for

me.

larger work, other times I use my

Figuratively or literally, no matter how

photographs and start with a few

rough the seas or how steep the cliffs,

thumbnail sketches. Often, I go directly

being in nature centres me in time and

onto the canvas, toning it with an earthy

place. My everyday concerns seem trivial

colour and brushing in my overall design.

in comparison to the ageless wonders of

While wet, I play with the composition,

our world. I am forever grateful to nature

lifting out the lights and reinforcing the

for being there whenever I need solace.

darks. This initial stage of manipulating

Being an artist is my way of honouring her

the shapes and values is very visceral and

and giving back. Painting also fulfills my

instinctive as I work to capture what

need to preserve that which is beautiful

initially attracted me to the subject. Next I

or ephemeral in nature.

focus on choosing my colour palette, followed by brushstrokes, edges and

It’s heartbreaking, to see our world

highlights. Throughout my process I try to

struggling to maintain its balance and

stay open to where my painting wants to

health, now more than ever. As life

take me, keeping drama and harmony

becomes more hectic and challenging, and

always in mind.

our environment more threatened, I become more committed than ever to

Describe your relationship with nature.

capturing on canvas the essence and spirit

Nature has always been a major source of

of that which stirs my soul.

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Your paintings achieve a rare balancing act: calming

beach awakened by a suddenly splash of sun. Calm and

colour choices and transitions, combined with exciting

energy, in harmony with each other. Even when I paint

depth result in refined pieces. They gently capture the

my animal portraits there is a push and pull between

viewer into exploring with the promise of discovering

strength and vulnerability: a balancing act. I love that my

or getting lost within the world of the painting. Thats

art is a way of celebrating nature’s stories, both simple

our view, but how do you see your paintings?

and grand. It is gratifying when I see my paintings

Thank you. You’ve described exactly my experience as I

hanging in homes and galleries throughout BC and the

paint: it’s very much a balancing act. A constant push and

American South West because I know the stories I am

pull between drama and tranquility. A gentle touch; a

sharing through my art are recognized and appreciated

bold stroke. A neutral grey; a colourful highlight. A quiet

by others.

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"When I paint with oil it almost feels like I’m sculpting, pushing and pulling the shapes into life."

Tell us about the mediums you have worked with.

West Coast Morning. I painted it after returning home

Throughout the years I’ve worked in a variety of mediums:

from a FCA Plein Air Retreat to Bamfield, BC, an isolated

charcoal, pastel, acrylics and oil. I also enjoyed working on

area perched way out on the Pacific west coast. It was

stained wooden furniture, incorporating the natural grain

challenging to paint the light just right and capture the

of the wood into paintings of farms and wildlife. When we

beautiful wildness of that wind battered point. I followed

travelled throughout the American southwest, I found

my heart on a lot of choices and was thrilled when it got

acrylics dried way too fast in the desert heat. I then

Honourable Mention in this year’s national show! I felt all

discovered pastels and loved the hands on experience of

along it was special so it was gratifying others did too.

layering them on sanded paper. Painting in oil, however, is

Island Memories is another one that stands out for the

now my favourite medium by far. I love it’s texture and

tranquil mood I was able to capture along with the strong

malleability... the richness of the colours and their ability

reflections that mirrored so many island moments for me.

to blend. When I paint with oil it almost feels like I’m

The palette and transitions were subtle and the rocks

sculpting, pushing and pulling the shapes into life.

challenging but I was pleased with the results.

Heading West on Zero Avenue was a favourite drive

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If you had to chose the top 3 artworks you have created,

when we lived on the farm. My heart always skipped

which would they be and why?

when the westward sky suddenly appeared, particularly

I learn so much about technique and myself with each of

at a dramatic moment. I was pleased with the way I

my paintings. Often the most difficult ones are the most

captured the vibrant sky on one of those evenings, as the

rewarding in terms of lessons learned. Then again, some

last of the sun spilled down through the trees onto that

flow surprisingly easily and feel equally satisfying. It’s

quiet country road. I started it as a monochromatic value

hard to chose the “top” three as the architecture and

study and it flowed well from the start. I love being on the

animal portraits are so different from the landscape

road, where it takes me, and the memories it brings me.

paintings but my personal favourite so far is probably

Here’s to the many paintings ahead!

What are you working on and what can we expect

"Your work has a magical luminous quality about it..."

- Collector

from you in 2021?

This past summer was very busy: I was awarded Honourable Mention in the national Federation of Canadian Artists 2020 Landscapes Exhibit hosted by the FCA Granville Island Gallery in Vancouver, BC. We also sold our horse farm in Langley and downsized to a small village on the banks of the nearby Fraser River, surrounded by big sky, rivers, wetland trails, and rugged mountain views. I’ve been out plein air painting, gathering references for a new series on rivers and valleys. I’m also continuing with my west coast series based on years of travelling Vancouver Island and living on the Gulf Islands. In addition, I’m planning some 12x12 wildlife portraits as well as some architectural studies of our picturesque village and nearby heritage barns. I will miss our horses and farm, but downsizing gives me more time now to enter more shows, take on more commissions, get involved in environmental projects, and best of all— more time to paint and share what I love.

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WHAT COLLECTORS AND VIEWERS SAY: "Your work has a magical luminous quality about it."- Susanna G., Tubac, Arizona "Another stunning work!"

- Lindsay A. Nanaimo "Beautiful work. Your rocks are amazing."

-Francesca D., Montana "Gorgeous rendition of our gorgeous and rugged BC coast."- Patti T., Abbotsford "Your treatment of water and reflections is superb! A real talent." - Bob H.,Tucson "A gem for sure. Wonderful light."

- Alan Dunfield, Vancouver Island "This [animal portrait] is fantastic. I can almost touch him!!"- Rita, Delta "Lovely! A wonderful job of placing the paint and leaving it alone." - Lalita Hamill, Langley "Congratulations! You are running with the big dogs now!" - Gaye Adams, BC "I’ve been following Leslie’s work for some time, trying to purchase one before it sold, and finally got lucky when I saw the painting “West Coast Morning” in the FCA 2020 show. It reminds me of a family trip to the West Coast of Vancouver Island: rugged, rough, but so beautiful."

- Scott F.S. , Vancouver "I purchased the painting “Island Memories for its beauty and serenity. I have hung the painting in my office for it provides me with peace and serenity on those hectic work days."

- Private Collector, BC

www.leslielendvoy.com

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SARAH HYLTON

"Because I want to be of benefit to sentient beings, I entrain to be a hollow bone, a channel, for beneficent beings. I believe the Spirit of some of my paintings are not of me, but are of energy creating through me and communication from these multidimensional realms."

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Sarah is an Expressive Artist and Arts Facilitator

working on and place it at the foot of my bed. I will stare

specializing in a whole person-centered approach for

into it, allowing it to inform me before I fall asleep and

creating art. She is an avid painter, dancer and

when I arise. I will notice what works and where to re-

ceramic sculptor and can often be found dancing

enter the painting. Sometimes I will “dream into” the

while painting. Sarah’s paintings have been featured

painting for months at a time. Always, I will see the Spirit

in galleries, juried exhibits and are in private

of the painting emerge and evolve. This may mean I

collections.

“sacrifice” an aspect of the painting I have previously held as precious, in order to authentically move forward. I let

You described painting as an experience of art as a

the process of painting open a channel of curiosity and

dream. Please explain.

play that my own hubris is diminished by.

I experience painting as accessing and being immersed in the language of the unconscious. becomes

a

communication

symbolic with

The process

representation non-ordinary

of

the

realms

that

What is Depth Hypnosis and how has it affected your creativity?

The Depth Hypnosis discipline was developed by Isa

influence waking consciousness. I respond to personal

Gucchiardi,

Ph.D.

and

Founding

Director

of

the

inquiry, what is most relevant to my development of

Foundation of the Sacred Stream. Depth Hypnosis

consciousness. A painting can have many layered

integrates the modalities of Transpersonal. I had been

paintings within it. Regularly, I will take what I am

gifted a workshop with Isa after a series of experiences, 307

"I experience painting as accessing and being immersed in the language of the unconscious.

The process becomes a symbolic representation of the communication with nonordinary realms that influence waking consciousness."

308

both traumatic and initiatory in nature.

premise that the earth and all biological

Shortly after this workshop, I faced fire

life are one being, contemporarily called

calamity and was displaced from my home

Gaia. In this orientation, human beings

for several years. I continued training as a

are biologically part of Gaia. Therefore,

Depth

Applied

our social restoration and interspecies

Shamanic Practitioner, while addressing

cooperation is essential to the over-all life

personal symptoms of Post-Traumatic

force of the Being of Gaia and our quality

Stress Disorder. In the process of healing

of life as human beings. In observing

and deepening my experience with

nature we can bear witness to the

altered states, my life force became

interspecies cooperation

Hypnotherapist

and

stronger

and

more

organized.

capacity

to

hold

power

in

My a

An example of my artistic work in

compassionate way has increased. My

permaculture is a mural titled the Three

creativity and life force are inseparable. I

Sisters, installed in the Ceres Project

am more able to follow my joy in being

Garden.

creative and not be derailed by my own

interdependence of all sentient beings,

suffering.

from starlight to salmon, and is essentially an

The

mural

acknowledgement

illustrates

of

the

indigenous

Tell us about your work in Permaculture

wisdom, as told in the story of the Three

Design.

Sisters. As a community youth art project,

Permaculture is essentially a style of land

the painting process brought together

stewardship and management, and social

youth from various different cultural and

interaction based on biomimicry. We see

socioeconomic backgrounds participating

this illustrated historically in indigenous

at the Ceres Project Garden and S.A.Y.

practices. Permaculture includes the

Dream Center. People of all ages are able

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to sit in the garden, as well as help cultivate organic food to be used in making meals for people with significant health challenges. S.A.Y. Dream Center is a multi-service housing campus for homeless youth. The mural is dedicated to the indigenous Miwok and Pomo nations of the region.

You are an Applied Shamanism Practitioner; how does this influence your painting?

As a practitioner, I have non-ordinary experiences, and have become more agile and disciplined in moving between dimensions of reality and interacting with nonordinary beings. Because I want to be of benefit to sentient beings, I entrain to be a hollow bone, a channel, for beneficent beings. I believe the Spirit of some of my paintings are not of me, but are of energy creating through me and communication from these multidimensional realms. The process of painting helps me to consciously integrate these experiences and insights and stabilize in my ground of being.

What does art do for you internally?

Following my inspiration resources me. I am able to develop compassion for my experience. I may wrestle and flail about in what I do not understand, but ultimately, art midwifes me through that.

You have a passion for empowering disadvantaged people. Please share with us some of your efforts.

One arena is co-facilitating Expressive Arts classes for homeless

and

transitionally

housed

community

members. We use a holistic approach, humanistic in nature, in our work with people.

What role can art play in healing the world?

The Arts allow humanity to communicate with one another sincerely and without harm. Through art a

"Following my inspiration resources me. I am able to develop compassion for my experience. I may wrestle and flail about in what I don't understand, but ultimately, art midwifes me through that."

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"Art has the capacity to transmute energy and rebuild communities."

person or group can express themselves honestly and go

more

inclusive

paradigm.

Neural

pathways

can

beyond the limitations of society without violence.

regenerate through creative practices. Art has the capacity to transmute energy and rebuild communities

Art can be a social narrative and commentary, as well as

restoratively and sustainably. Art is healing in nature.

sacred and personal in nature. There is a cacophony of

Creative inspiration comes from the drive for life and

dissonance in America that at its base speaks to a lack of

helps us tolerate our differences. Art won’t kill us.

cooperation and abuse of power and resources.

Last year I designed a community project that included Art is creative not destructive. It can deconstruct

an exploration of personal dignity. With shelter-in-place

outmoded and fixated forms of being that have been

restrictions, I adapted the project to include the

normalized, and does so through all the senses. Through

Hexagons of Dignity Tapestry. People of all ages and

art, our sensory gating can expand to include a new and

backgrounds have been participating, creating hexagons 311

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that represent their own experience of personal dignity.

Please tell us the story behind Dreaming W/Bear'.

Where needed, I support fostering this exploration of

I hadn’t painted for myself in raising my son as a single

what personal dignity means. This is an inquiry into how

mother. After being bitten by the bear, I returned to my

we relate to our own essential nature and authenticity.

studio and painted for myself. Initially, I started the

Thus far, people have created narratives of their process

painting as a collage of drawings I had done.

and shared these with me, as well as donating their

The apple with cows and a chicken were an idea for a

hexagons. The inclusive nature of this ongoing project

community project, and I had been playing with tiny bees

allows for many social and economic backgrounds to be

on tracing paper to come up with a stencil design. I began

part of the tapestry. It is my hope that this tapestry

layering paint and thinking about “falling from

continues to grow and that in America, as well as other

innocence” as told with “Eve’s first bite into the apple.”

nations, people can become aware of their own personal

One thing led to another. I saw the woman and bear

dignity, and where lacking, develop positive regard for

within what I had done and then realized I had been lying

themselves and others.

in this position when I had my wild encounter. The fact

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most clearly, and thus the painting becomes a visual transmission of energy. I define a good painting as one that keeps communicating to me as well as others long after the final layer of paint is dry. Besides, a painting feels complete when I experience a sense of satisfaction and can lay down my brushes.

Tell us about some of the proudest moments in your art career so far.

I can think of two. One was in my twenties when I was primarily creating lost wax casting jewelry. I was invited to visit a jeweler residing on the second Mesa in Hopi Lands. In his home, we talked for what seemed like hours. I had brought a couple of pieces of my work, in particular a necklace. We talked about the processes of how we implemented our designs and the meaning of our symbolic representations of interfacing with sacred forces. We were engrossed with one another’s methods and the similarities in our finished art compositions. that the bear was embracing the woman, felt like

My host explained the Hopi method of using layers of

reassurance that I would be OK emotionally. While

sheet metal to render their sculptured jewelry. He was

painting Elder, I further explored the nature of my

giving me a teaching and at the same time was clearly

experience; my relationship to bear; and the healing

inspired by my approach and the universal language

process.

informing both of us. After he showed me articles in the magazine Arizona Highways, where he was the featured

Why is it important that the aesthetic value of your art is as great as the message you are conveying?

Thank you for the inherent compliment in this question.

It’s really about working until I feel a sense of satisfaction. As a self-taught artist, I have trained myself to discern what aesthetically works for me and what doesn’t. Because I do not have academic training or purport to have mastery in any particular style or form, I have ample room to experiment and stay fresh. It is in this experiential process that I follow my curiosity.

If something is interesting to me, there is a genuine sense of authenticity in what I am creating. It’s a dialogue with the painting: a call and response.

A painting is more like a relationship than an object. I do not aspire to be like anyone else, but rather to stretch myself beyond my known abilities and to satisfy myself aesthetically. This is often a multi-layered and complex journey. It is, in and of itself, refining by nature.

Sometimes it’s through aesthetic value that the complexity of our human experience is communicated 314

artist, we went into a sweat lodge in his backyard.

The second time was an installation at the Paul Mahder Gallery in Healdsburg CA. I was working with homeless women and co-facilitating a medicine doll project. The women were invited to create dolls for themselves. I supplied the natural materials and facilitated their personal exploration in designing and making their dolls. The finished dolls were then hung on a wooden armature in the shape of a safety pin. This was during the time that immigrants were fleeing war torn countries and the safety pin was used as a symbol of solidarity. The Paul Mahder Gallery was creating a forum to showcase awareness of homeless issues being faced in Sonoma County. The Medicine Doll/Safety Pin Project was included in this installation. Women from the Expressive Arts classes were also invited to include additional artwork they had created while navigating housing scarcity. The women participating came to the reception, and were so proud to be part of the exhibit and for their artwork to be seen.

At the time, Wosene Kosrof had an extensive installation at the Paul Mahder Gallery. I felt this sense of being part of a bigger purpose. I was honored to facilitate the restorative and healing nature of art for the women and to have them be showcased in a prestigious gallery that simultaneously featured Wosene’s paintings, an artist I admired so deeply.

What drives your inner need to always learn more?

My Dad described the motivation as divine discontent. This concept has stayed with me as I am motivated to develop in consciousness. With art, I try to discern what about an artist’s work I find engaging and why. What does the art communicate to me and what about the artist’s style is engrossing? Though in some ways I might be hampered by not having academic training, I also do not have any restraints of conditioned aesthetics. I can freely experiment. It is in this experiential process that I follow my curiosity and inspiration.

It’s a journey of discovery by trial and error. I do not aspire to be like anyone else, but rather to stretch myself beyond my known abilities and stay fresh. I try to satisfy myself aesthetically and to be in communion with what I experience as Divine Energy in Motion. It is often my intellect that needs to be set aside, so that I can follow the direction of my heart.

At times, this is easier said than done.

"The Arts allow humanity to communicate with one another sincerely and without harm."

Which artists (past and present) have inspired you most?

Anonymous Ancient Indigenous Artists; Chagall; Picasso; Van

www.sarahhylton.com

Gogh, Lilly Yeh; Wosene Kosroff and my son, Levi Hylton.

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MURRAY ZIMILES 316

317

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Murray Zimiles, a painter, printmaker, curator and author was a professor of art at Purchase College, State University of New York, from 1977-2014. He achieved his BFA in painting and printmaking from the University of Illinois and his MFA from Cornell University.

Post graduate study of printmaking at the Ecole Nationale Superior des Beaux Art, and at private workshops in Paris, France lead to coauthoring two books on lithography.

In 2007 he was elected a member of the National Academy, NY. Zimiles was the Guest Curator of the American Folk Art Museum’s exhibition and author of the book/catalogue publication Gilded Lions and Jeweled Horses. In 2008 the book won the National Jewish Book Award in the Visual Arts category. Zimiles has participated in numerous solo and group exhibitions since 1965. In 2003 a mid-career retrospective of his paintings and drawings was held at the Neuberger Museum of Art, Purchase, NY. He had a major exhibition of his Holocaust paintings, drawings, and prints at the

Florida

Houston

Museum

which

recently

acquired

approximately 140 pictures executed from 1984-91. In 2016, his painting triptych, 911, was acquired by the 911 Memorial and Museum, NY. His work is held widely within private collections such as the Ronald Lauder collection and museum collections throughout the world, notably - the Museum of Modern Art, NY, the Brooklyn Museum, NY, the Philadelphia Museum of Art, National Collection,

WWW.MURRAYZIMILES.COM

Washington, DC.

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MICHELE TARAS

"When I started painting, I was surprised to see how much happiness poured onto the canvas. I really like to celebrate life and all its moments. I have painted about friendship, love and human issues.

I also love painting animals."

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Michele Taras has been described by reporter Kitty

Being a fashion photographer was a lot of work. You had

Huisman as "a young Picasso, as if he fell into a

to coordinate models, makeup artists, hair stylists,

rainbow." Michele Taras began painting in 2018 after

designers, location etc... but the challenge of bringing

a long career as a fashion photographer. Her work

everything together always brought such satisfying end

has sold across North America, the Caribbean and

results, and it is fun working in a team.

the Middle East. Her style is contemporary art naive. Her bright colours and happy images make her

It is funny how your insecurities can hold you back from

style easily recognizable and her artwork stands out

what you were really meant to do. For years I thought I

in a room.

couldn't draw or paint and I think it is because of this that I went full throttle into photography. In 2018, I decided I

You are a painter, fashion photographer, and art

would try my hand at painting and see how it goes.

apparel designer. What do you enjoy most about

I bought a canvas and it actually sat in my guestroom for

each of these creative pathways?

about 2 months before I actually had the courage to start.

I love the fact that being an artist, you don't have to

However, with paint and brush in hand I found that

limit yourself to one medium. I have always been a bit

colours and forms came easily to me and before I knew it I

of an overachiever and work hard at everything I do.

was painting and selling more than I even dreamed was 321

possible. In 2019 I decided on a bit of a whim to design clothing and bring together my passion for fashion with my passion for art. It was really rewarding. I didn't expect much to come from it, I was really only doing it for fun and to express myself, but then I received a phone call from Vancouver Fashion Week asking me to come be a part of their show. It was mind-blowing to receive this personal invitation because their fashion week is truly spectacular. When I sat there watching all the other amazing designers I was so humbled to be a part of it all.

You describe your style of art as 'contemporary art naive'. Please explain.

We have all heard of the style "Art Naive" where artists use child - like forms and imagery to create their art. My style is so unique and many people have told me that it stands apart from other artists and you can recognize a

"My style is so unique and many people have told me that it stands apart from other artists and you can recognize a Michele Taras right away.

I think what makes my art contemporary is my use of curvy forms, imaginary characters and bright complex colour patterns."

Michele Taras right away. I think what makes my art contemporary is my use of curvy forms, imaginary characters and bright complex colour patterns.

You are from Montreal but you have lived in China, and travelled to Haiti and Kenya. How has travelling influenced your creativity?

I believe that we are all influenced by the world in which we live. African artists are more likely to depict African culture in their work, American artists more likely to depict American life and so on. Having lived abroad and traveled extensively, you cannot help but bring more to your art. Travel really changes you as a person. I first noticed this when one of my paintings "Portrait of Longnecked ladies" made many people comment that it had a definite African vibe to it. Africans are not afraid of using colour and patterns and neither am I. You combine unexpected colors, patterns and shapes that fluidly support and communicate with each other.

Tell us about the evolution of a piece.

My mind is constantly churning up ideas for paintings. I find it hard to keep up with my thoughts. Usually I have a definite idea of what the painting will be in terms of the subject and how it moves on the canvas. Then I start painting. Sometimes the colours come quickly, other times I have to stop and give space and time to properly figure out which colour should go where so the piece makes sense and everything balances in the end.

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photography awards in the world: the PX3 (Paris International Awards) and IPA (the International Photography Awards based in the USA) among many others.

How does your background in photography influence your painting?

I remember as a child walking with my mom in art museums, looking at the paintings and commenting: "Mom, if these painters had taken a photography course, their art would be so much better." I believe that photography trains you to see the world. It teaches you how to balance objects in the frame to make it look much more than ordinary.

What are you passionate about and how does your art speak about those themes?

When I started painting, I was surprised to see how much happiness poured onto the canvas. I really like to celebrate life and all its moments. I have painted about friendship, love and human issues such as Trump's wall and the impact of Covid. I also love painting animals.

Sometimes on their own and sometimes showing their relationship with their human counterparts.

Your art has been well received across the globe. Tell us about some of your major successes.

I love how people appreciate my art. There is no greater compliment than someone buying one of my pieces. It is pretty incredible to me that I have only been painting two years and I have already been accepted in many juried shows and have sold my work to different continents.

You had a distinguished career as a photographer.

Share with us some of the highlights.

I have been very fortunate to receive wide acclaim for my photography work by the largest international 324

"I remember as a child walking with my mom in art museums, looking at the paintings and commenting: "Mom, if these painters had taken a photography course, their art would be so much better."

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"My mission with my Art Apparel brand was to make women understand that we are all beautiful, regardless of race, age, size, sexual preference or disability"

Tell us about the mission behind Michele Taras Art Apparel.

My mission with my Art Apparel brand was to make women understand that we are all beautiful, regardless of race, age, size, sexual preference or disability. It was very important to me on all my runway shows to have all types of models. I had gay models, older models, petite models, curvy models, a model with Alopecia and even a model in a wheelchair. I also had a runway show with exclusively Asian models. (You can see videos on YouTube) For many years I had the motto: "The purpose of art is to break the rules of conformity." My fashion design was always more about making a statement in the fashion world than selling clothing. I was so grateful to the fashion shows for supporting this mission and allowing me to bring this variety of models to the runway.

Share with us a bit about the creative process behind your art apparel brand's range.

Being a photographer I am no stranger to computer work. When I design my clothing I take elements of computer graphics and some elements of my paintings. I might for instance take an eye that I painted and repeat it in a pattern and put it on clothing. I do not like to take an exact replica of my art because I like my art to remain intact and unique. I also want my clothing to be high-end so I have it manufactured high quality and limited edition. I never make more than 25 pieces of one item.

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"I feel like I have traveled a long road of hard work to finally end up where I belong. Expect to see my paintings on the walls of big museums going forward."

What can we look forward to from you, going forward?

When people ask me what I will do going forward, I always say that I am riding the roller coaster and will see where it takes me. However I am so excited with my paintings. I feel like I have traveled a long road of hard work to finally end up where I belong. Expect to see my paintings on the walls of big museums going forward. I feel I owe it to the people who have bought my paintings to do my best to become a famous, wellaccomplished artist.

Website: www.micheletaras.com Instagram: www.instagram.com/michele_taras 327

CAROLYN KOLLEGGER

"For me, a painting begins when something about a scene catches my eye and my heart. I have an inner stirring that says you've got to paint this. Usually it has to do with the light... a highlight on something, rim lighting perhaps or high contrast of light and shadow - drama!"

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Carolyn is passionate about all things mountain and

the globe that come to Las Vegas, to all the State and

desert. She lives in Las Vegas, Nevada, and travels

National Parks in the West! They are very enthusiastic to

the Western US with her husband, Erwin, a

see these amazing places!! As a tour company he

Professional Tour Operator, and paints En Plein Air

currently offers THE ONLY Painting & Hiking Tour to

while he hikes and climbs. Together they currently

clientele and this gives me many great painting

offer the only Painting & Hiking Tour to visitors to

opportunities as well as the opportunity to pass on my

Las Vegas,

love of the great outdoors and painting En Plein Air!

Please share with us your background and journey to

When I was 10 years old I started Summer oil painting

the artist you are today.

lessons at a prestigious Museum, the Butler Institute of

I am passionate about all things mountain, ocean and

American Art, in Youngstown, Ohio. Many a Summer

desert inspired by woodsmoke, pine, sage, and salt

morning I rode there on my purple sparkly banana seat

air!! I call Las Vegas, Nevada, home and travel the

bike with a peanut butter and jelly sandwich in my basket

Western US with my husband, Erwin, a Professional

to enjoy for lunch under one of the huge trees on it's

Tour Operator with his own business, Out West

expansive front lawn! Still today, when I open my Pochade

Adventure Tours, which takes visitors from around

box and the smell of oil paints greets me, I am transported 329

"Through my high school and college years of art education and exploration I experienced many other art mediums such as oil pastels, watercolors, and acrylic paints, but when all was said and done I returned to oil paints as my medium of choice."

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back in time to my beginnings as an oil

with other tremendous Western artists

painter and I thank God for giving me that

Matt Smith, Jim Wodark, and Bill Cramer,

in my life!

deciding landscape painting was for me!

Through my high school and college years

Now, I travel and visit the State and

of art education and exploration I

National Parks of the Western United

experienced many other art mediums

States capturing their beauty, in oil paints,

such as oil pastels, watercolors, and

for future generations. While I am based

acrylic paints, but when all was said and

in Las Vegas, Nevada, I also consider the

done I returned to oil paints as my

nature of Arizona, California, Utah, Idaho,

medium of choice.

Montana and Wyoming to be my home!

A turning point in my career was the

Through my website I offer original oil

opportunity to be mentored by Master

paintings, (online and in-person) lessons,

Artist Tim Tanner while living in Jackson

and accept painting commissions.

Hole, Wyoming. Represented by The Legacy Gallery at that time, I had the

You studied at the world renowned

opportunity to spend many hours there

Butler Institute of American Art. Tell us

surrounded by his art as well as a host of

about this time and its impact on you.

other world-class artists, seeing this was

When I was 10 years old my mother

the level I wanted to attain with my own

enrolled me in Summer oil painting

art. I went on to study Plein Air painting

lessons at the famous Butler Institute of

American Art and how prophetic that was to come to be in my life! From the first moment I held brush to canvas and smelled the oil paints and Linseed oil I was hooked!! I raced there each lesson day, way ahead of all the other students, on my purple, sparkly banana seat bike, with a delicious peanut butter sandwich in my basket for lunch. When I would get there, (because I was there sooo early!) I had the ultimate privilege of getting to go into one of the backrooms with the Curator and help carry out all the easels and supplies for our days work!

Wow! And I spent hours wandering the art filled rooms staring at all these incredible masterpieces!!

Today it still takes my breath away! I love it. When I open my pochade box to paint the smell transports me back in time and I remember it like yesterday! After lessons, before heading home, I'd sit in the huge front lawn under the big trees and eat my peanut butter sandwich! On my way home I'd stop at the library to take out yet another of their many Step-By-Step drawings books to take home and continue my education there. I was always drawing and before long could draw anything I saw. My bedroom was set up with an easel and oil paints. I painted mostly horses... little did I know my future would would be as a Western artist! Through my teen years I regularly went into the local college book store at Youngstown State University to buy art supplies to teach myself other disciplines. My mom was there getting her Masters Degree so I would tagalong with her to school and she'd give me money and send me off to the bookstore where I spent hours browsing supplies!

My art education has been lifelong and included high school courses, college courses where I studied life drawing, and then private studies with several incredible Master artists like Tim Tanner, Matt Smith, Jim Wodarkand Bill Cramer. In fact I am a sum of all the wonderful art teachers that have touched my life. It's all been so wonderful!! I am so thankful and grateful for the Butler Institute of American Art and I hope one day to have a work acquired by them (and I have just the piece in mind wink wink), the Museum that started it all for me!!!

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How do you approach painting?

"Importantly, the composition needs to be able to answer the question "What do I want to say here?" That helps me identify my focal point which is necessary for placement within the composition and edge work as I paint."

For me, a painting begins when something about a scene catches my eye and my heart. I have an inner stirring that says you've got to paint this. Usually it has to do with the light... a highlight on something, rim lighting perhaps or high contrast of light and shadow - drama! I feel like light draws the eye into the scene. Importantly, the composition needs to be able to answer the question "What do I want to say here?" That helps me identify my focal point which is necessary for placement within the composition and edge work as I paint. And, if I can name the painting, that solidifies it in my mind... if I can't, I feel like I don't have a solid start.

I start with some quick thumbnail sketches and I take some photos for reference so when the light changes I don't chase it but can refer back to my photo. It's amazing having cell phones that make this very easy to do!! Also to turn a color photo to gray scale for values. Things go pretty quickly from here as the light changes so quickly. Based on the thumbnail sketches I know if I'll paint the motif in Portrait or Landscape.

I use a thinned paint color, usually Yellow Ochre but sometimes Ultramarine Blue to draw in the main masses. I use these two colors because they are colors I use frequently in

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the underpainting. Establishing lights and darks is the goal here and to judge the paintings balance.

There is SOOO much to painting, so many moving parts so-to-speak! Most people never realize and if we do our job well, we make it look easy!!

Almost every artist is excited about the start of a new painting... in the middle phase enthusiasm can wane as obstacles come up that weren't addressed by pre-planning with thumbnail sketches and design. Many paintings never see the finish because of this. With students I work with we address this very fact. With solid preparation it is possible to finish works Alla Prima, which is, in one session. my color mixing and will therefore be basically absorbed into

People will ask me how long it takes to finish a

my painting. Addressing my color palette, I use a limited

painting and I answer that it varies. Size and

palette consisting of a warm and cool of each - yellow, red and

complexity are the big contributing factors.

blue which I split on my palette warms on one side cools on the other with white anchors, so-to-speak, on each end. This is my

Obviously smaller less complex pieces can take just

own device and break from a traditional palette setup but it

a few hours, or a few hour session or two. When I go

works quite nicely for me. I will have a puddle of Burnt Umber

out in the field Plein Air painting I take 2 sizes of

and Thalo Green handy at times. I always start with a nice size

linen panels, 6 x 8 and 9 x 12. If a composition seems

pile of cool purple since that is the base of so much of my color

worthy I may take it to a larger piece. I do have a lot

mixing. After the draw in, I go for somewhat of a value study in

of people that like to collect these sizes though.

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Many times the people that see me painting in the field are the ones that want to acquire that painting.... because it has become sentimental by virtue of their experience that day and by a personal connection we established which means the world to me.

What is specifically unique about your work, how can a painting be recognised as a Carolyn Kollegger?

That is an interesting question because unlike some artists that are identified by a certain specific genre selection, I feel I am identified by the geographical location of my work. And, I am a storyteller. I am out there in the field with extreme temperatures and often, circumstances, and I share that back story with art patrons! Even something as light and funny (now!) as the time I got attacked by a bee on my easel when I started to paint, I share about a painting!

While I am identified as a Landscape and Wildlife Artist of the West, that encompasses much... much territory and varied flora and fauna. I do love and want to paint everything, all if it!! This of course requires one getting good at everything! You need to learn about and get good at all sorts of animal anatomy - horses, deer, Big Horn Sheep! And locale... desert,

mountains,

beach,

street

scenes

from

everywhere... I love it all!! I have a Western Children’s Series I started years ago and this, along with Commissions I do, requires figure work and portraiture. So, for me, I can't restrict myself and, believe me, I've thought about it, and would love to do that, but that isn't being true to me. It has been said though, that to be good at any one discipline within oil painting you need to have experienced all of them... that only makes you a stronger, better, artist, and I believe this is true! At the end of the day, I feel people will be able to identify me by my Plein Air and landscape work with my consistent color palette, clarity of focal point, solid representationalism with detail, and beautiful refined brushwork!

How do you want your paintings to impact viewers?

I want people that contemplate my work to be impacted by the amount of love I pour into my subjects and compositions. They will get clarity of what I have chosen to paint by how I thoroughly, but not laboriously, I render my work. I pay deep attention 334

to, and really care about, detail. I feel like I love pulling

Describe some of the typical reactions from people

out certain details wherein I could choose to leave them

that discover your work?

out to lessen the amount of work for myself but I don't.

Well, some of the most common things people say to me

This is important because my Mission Statement is: With

are "Did you paint that?", "Do you sell your work?" and

so many global catastrophes ravaging our landscape, I

"Do you have a business card?". I am also thankful to be

feel called to capture in oils the fragile, vulnerable, ever-

able to say that people frequently comment "Wow,

changing landscape, as it is today, for future generations.

that's very good!". There are so many people that LOVE coming upon an artist at work and they actually want to

So, I want Yellowstone National Park to look like it does

take a picture of me or with me, which makes me feel like

and the same with Yosemite and the Grand Canyon...

a Rockstar! I am especially thankful if at that moment my

etc! Especially, iconic images like the Grand Teton need

painting is beyond " the awkward phase"!!

to be identifiable! What if one day part of the Grand Teton cracked off? My images pre this event would

I of course talk to everyone and some of these very

remain a part of history! I know that's a dramatic

people are the ones that will purchase that particular

example but it serves to drive my point home. Thank

painting they saw me working on as soon as it is put on

goodness for images of the New York City skyline pre

the website. So you never know who you are talking to!

9/11/2001! So powerful! So as artists, and certainly

Some people say "Wow, I always wanted to be an artist.",

photographers included, we do have this commission in

or "I always wanted to try painting." So, I hand them my

life, I consider it an opportunity, to convey an accurate

paint brush and tell them to go ahead and they are

pictoral description of our landscape and I want my work

adopted! They say, "No no, I don't want to mess it up!"

to stand up amongst the best and for the long haul!

To which I say, "Don't worry, you can't mess it up!" They 335

"Fresh Fish" another friend/ collector who said she knew when she first saw me working on Honey, the Grizzly Bear, in my studio she knew she was going to buy it when I finished it!! All of these sales, when I doubted myself and my abilities, told me I was on the right track and to just keep going...

My hardest piece "Two Dear", wherein I agonized over the correct rendering of every detail including the accurate portrayal of the river water and under-water rocks but, most especially the little gal floating the river in the tube... because my precious youngest daughter was the model and it needed to be more than perfect!! The couple that purchased it were very appreciative of all of it are so relieved and they ever so cautiously touch brush to

and it taught me that the time, and even extra time, we

canvas like they're terrified! They make a stroke and they

put into pieces is worth it! Don't accept half backwards

beam with delight!! It is so gratifying!! But another

work from yourself but push for the best you can do!

interesting common reaction that people have, is multiple purchases. A new collector may ask, do you have any

The first Commission I received was a total surprise and

more work I can see and I am thinking they don't like this

came out of the blue, "Wedding Meadow". A groom was

particular piece and would rather have another but then,

entrusting me to paint the meadow he and his bride-to-be

they buy several and in some cases many. When I think in

would be married in! It was to be a gift to his bride on

terms of Collectors rather than more Collectors, my

their wedding day and it brings me to tears even now as I

Collectors have more paintings! I can identify in my mind

think of it! Talk about no pressure.. It spoke to me of the

these Collectors, our encounters, and I am deeply moved

trust Collectors of Commission pieces put in us.

by their love and support of my work and my career.

Wow! These are awesome people who were put on this

My first multiple art piece sale (8 pieces in all plus a

earth, I'm sure, to validate artists.

Commission, "Three Amigos") broadened my horizons so to speak! Where before I had thought it was great good

What 3 paintings would you say best define your career

fortune to sell one piece at a time, now someone validates

so far and why?

me in an even more significant way! And this particular

So I have more than 3 paintings that define my career and

couple had such integrity as to offer me MORE money for

this is why: My first Gallery sale: I took in the painting

the Commission because they thought I under valued it! I

"Head Count" and left it with the Gallery owner hoping

mean who does that?! That taught me about the integrity

somewhere along the way it would sell and I wouldn't

of art Collectors and makes me strive to live up to their

look like a fool!! She called me 5 minutes after I left and

belief in me as an artist.

said a couple walked in right after I left it with her, bought it, and could I bring her more! I was so thankful and

My first sale during all the chaos and unexpectedness of

learned about the Gallery /Artist relationship.

Covid was to a wonderful couple that already had a piece of mine "Home On The Range". They reached out and

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My first REALLY LARGE piece... "Bucket of Chicken"

inquired about several pieces I had on my website and

because a friend with a vacation home near us bought it.

acquired three. This taught me that there are truly angels

Our kids played together when they were in town and

out there that will keep us buoyed up and moving forward

when she saw it in my studio she asked how much I was

in even the worst of times! All of my Collectors are

going to ask for it. She wrote me a check right then and

precious and life-altering encounters of the best kind!

there! I learned about the power of friendship and about

They keep me fortified for the artistic journey still to

framing and shipping really large pieces!

come and keep me demanding the best of myself!

You were a big city person (you lived and worked in NYC

When I paint, I lose all track of time! The artistic process for

as a marketing director for several firms). How did you

me leaves no room for meals or phone calls or other

develop a passion for western landscapes?

distractions if I have my way, there is just the mission in

I grew up on the East Coast and actually never thought I'd

front of me and I am buoyed by excitement and hope...

live anywhere else really. We had a beautiful home in

HOPE that keeps me moving forward taking this vision, this

Florida and a stable full of horses and were quite set. I

idea I hold in my head and getting it down in oils on canvas. I

didn't yearn to move out West, it just happened as a

am single-minded in my pursuit to bring out the most

natural course of events... such as often happens with

perfect representation of my subject I can achieve.

destiny! The economic collapse of 2007 caused my husband and I to rethink our life plan.

What can we look forward to in 2021 from you?

I am excited for all 2021 holds for me! It will be a great year

Having spent the majority of their lifetime in Florida we

for creativity and productivity! I will be out in the field most

wanted to show our children life in the mountains (my

of the time!! I plan to participate in as many outdoor

husband being from Switzerland)! So, we moved the

Invitationals and Plein Air Festivals as possible, creating an

family to Jackson Hole, Wyoming, where my husband had

awesome body of work, at various locales, the rest of the

spent some time as a ski racer in his 20s. I will never

time! When we aren't out on a multi-day Canyon Tour we

forget driving up to the top of the Pass that leads into

travel by motorcoach which is quite nice to various

Jackson, with our pickup truck and trailer full of horses

locations including the California coast, Arizona, Wyoming,

and looking down seeing the beauty of Jackson Hole for

Montana, Utah, Nevada, New Mexico and for the first time,

the first time - I KNEW I had arrived at a destiny place!

Alaska! I will also be preparing for a lengthy stay in Europe

Wow!! Talk about life-changing! Seeing and living among

where I plan on doing pastoral scenes of the Swiss Alps as I

the seasons and the scenery of Jackson, the Grand Teton

have dual citizenship; American and Swiss (by marriage).

National Park, and Yellowstone National Park I wanted to

I want to do street scenes as well because Switzerland,

paint like never before and capture it all! So, I don't think I

France, Italy - all of Europe has these wonderful outdoor

developed this interest in the Western landscape, it was

gourmet eateries that are so colorful! And then, there's the

always there deep down, just waiting for ME to arrive!

Eiffel Tower to be painted!! As my husband will be climbing Acongagua in Argentina, as prep for an Everest Summit,

What do you enjoy most about painting and what do you

Patrons can expect to see some of those landscapes coming

feel when you are creating?

from me!! 2021 will see me Juried into more prestigious Art

What I love about painting is being able to manipulate the

Shows and having Exhibitions of my work as well!! It will be

oil paints first color-wise then value-wise then creating

a busy and amazing year!!

masses and forms with every step getting closer to a finished image that will be delightful to look at and enjoy!

Website: www.carolynkollegger.com 337

MEREDITH MULLINS

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Meredith

Mullins

exhibited

She is the Director and Co-Founder for the International

American photographer currently living in Paris. With a

Fine Art Photography Program. Prior to moving to Paris,

background in television, film, and communications,

Meredith was a leader in the art community on the

Meredith has been a fine art photographer for 40 years.

Monterey Peninsula of California for more than 30 years,

Her work is represented in several publications and is in

including teaching photography and serving on arts

museum and private collections throughout North

commissions and photography boards. In 2001, she

America

received a California Visual Artist of the Year award.

and

is

Europe,

an

internationally

including

the

Bibliothèque

Nationale in Paris.

Meredith Mullins explains: "My work is diverse—from Meredith’s images of Paris center around life on the

Paris street photography to free floating figures

streets—the life of Saturday nights and Sunday mornings.

weightless in water to the artistry and strength of the

Her current series “En Dehors du Temps,” is an

circus arts. The underlying theme always centers on time

exploration of time—how to expand it; how to defy it; and

and space— the moments that expand between the ticks

how to move through it, in and out of it, and beyond it.

of a clock... and movement that challenges the standard

Meredith

rules of mass and matter. The images are about defying

is

a

writer/photographer

for

National

Geographic School Publishing, OIC Moments, several

gravity... and being set free."

Paris blogs, and Paris Magazine, and also leads photography workshops for adults, teens, and preteens.

www.meredithmullins.artspan.com 339

MARCIA BIASIELLO Marciana Biasiello lives just outside of Chicago. She creates beautiful paintings that are imbued with shimmering pattern in a romantic, narrative space.

"I have always been moved by story. We tell them out loud to each other, and silently to ourselves, sometimes without realizing it. Narratives connect the subtle, revealing and creating meaning. The branch, the chair, the adored, the longing, the projection, the connection.

Words move us. And, images do as well, hopefully not just the instant and disposable.

My paintings are stories. I see these images as depicting pivotal moments. What happens before, after and even during the moment of the scene being depicted is open with possibility. I see the frame as drawing a line around an otherwise normal environment and an otherwise uneventful moment. By constraining the space and loading it with extremes, a next step seems inevitable.

But a next step from choice, not restriction and constraint. Interactions between him and her, him and the past, her and the future, etc., all overlay the present moment to make any next move possible. I don't know what each figure in these paintings will do next. We are all fluid and unpredictable in each other's lives, and even in our own."

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WWW.MARCIABIASIELLO.COM

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BARBARA BERLIN

"I‘ll bring everything into the studio: joy/ sadness/ frustration/ worry/ peace... nothing is wasted and I’ll use it all to create. I am inside the canvas... I am fully present and the world disappears. I always need to go beyond the familiar, {that’s too easy}and to discover a new way to manipulate the paint... duplication isn’t on the menu."

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Barbara Berlin has been making art for over 50 years.

colour-field artists of the New York School, the drips, the

When she lived in New York City in the 60’s she fell

exuberance, the pouring and the large-scaled platforms...

in love with Abstract Expressionism. It’s what the

I found it all to be immensely captivating and enticing. So

galleries were highlighting and she wanted to hang

much so that I enrolled in art classes. I began at The

these richly seductive paintings on her walls. As she

Museum of Modern Art and then at The New School. In an

could ill afford a purchase she decided to enrol in art

abrupt and unexpected change I found myself back in

classes. That decision opened the door to a life long

Montreal. I’ll admit that it took a while to readjust... taking

passion!

art classes at the Saidye Bronfman Center and meeting other artists provided the perfect remedy.

Give us a summary of your background and history I was born in Montreal and went to McGill University

By the late 70’s I was ready to rent a studio and I started

[BA ‘62] with a major in art history, followed by

to place my canvases on the floor... they became too large

MacDonald College for a teaching diploma [‘63].

for an easel. Often 2 or 3 canvases side by side and setting

I moved to New York City in the 1960’s when galleries

aside brushes, I favored sponges. I wanted a hazy water-

were resplendent with paintings by Pollack, Rothko,

colored effect and an imperceptible passage from one

De Kooning, Motherwell...etc. The flowing paint of the

tone to another. These paintings had the appearance of 343

344

watercolors - yet composed with oils. In 1980 I had my

rubber spatulas - (I am always on the lookout for any

first solo show in Ottawa at The Church Gallery, a

new tool that might hold some surprises as I often

reconverted old church with 30 foot ceilings, white-

frequent hardware stores).

washed walls, and skylights... it was an ideal place to hang those paintings - which one critic described as “soft

When I deemed it the ‘right time’ to approach a

as human tissue and as sharp as shards of glass.”

prominent Montreal gallery showing contemporary art, I met with Gerard Gorce of The Waddington-Gorce

What followed was a 10 year incubation period, a period

Gallery. I had two solo shows, the first in 1994 and the

of silence due to an emotional upheaval. Somehow when

second in 1997. Then during a trip to New Mexico I

I returned to to my studio another aspect of my being

visited with Larry Bell in his Taos studio. This

came forth... I replaced my sponges with metal and

relationship then led to Larry suggesting to his gallery 345

"The wonderful thing about abstract art is that it’s open to interpretation.

It requires someone to be open-minded, to allow the art to impact."

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INDIGO, in Boca Raton Florida, at THE GALLERY CENTER that they show my art and they represented me for several years. I participated in a 3 person exhibit in 1996 [at Indigo]. Recently Larry purchased one of my paintings... “The paperworks are wonderful, the improvisation and spontaneous flow of the image are not at odds with the technique.” In 2013 I resettled in a small rural village, Morin Heights, nestled in the Laurentian Mountains just north of the big city. This setting has had a huge impact on my art and has enabled me to paint the art shown here.

INSIGHT INTO THE PROCESS I‘ll bring everything into the studio: joy/ sadness/ frustration/ worry/ peace.... nothing is wasted and I’ll use it all to create. I am inside the canvas... I am fully present and the world disappears. I always need to go beyond the familiar, {that’s too easy}and to discover a new way to manipulate the paint...duplication isn’t on the menu. And I innately require balance between the elements of soft/ hard and straight/ circular. Also, and most importantly, I want to create something beautiful and captivating, an image I’ll be happy to look at every day! I attempt not to take it all too seriously - to have fun and to feel the joy that creating brings and hopefully to transmit this spirit.

WHAT I FEEL WHEN I AM CREATING I feel several emotions when I am creating.... at the onset, when the image is often chaotic I ask myself: How shall I ever resolve this? And yet out of chaos something magical emerges. Then, of course, there’s the endless questioning: have I said enough? Is the image engaging? Should I stop now? should I add

"Most importantly, I want to create something beautiful and captivating, an image I’ll be happy to look at every day!"

more? Always a conundrum. For me the painting is simply not an art object... it’s alive and together we discover surprising results. Actually when I think I have finished I’ll ask the painting, “Is there anything you need?” Sometimes she suggests something and I’ll comply. When she says nothing I know this

"For me the painting is simply not an art object... it’s alive and together we discover surprising results."

conversation is over!

HOW I WANT MY ART TO IMPACT THE VIEWER I think that the wonderful thing about abstract art is that it’s open to interpretation. It requires someone to be open-minded, to allow the art to impact, to enter 347

the painting and to let the colors and the movement

paint! My art is extremely personal and self-taught to a

transport to another place, to give one’s own meaning -

large degree... it was a long struggle to reach the

be it positive or negative! It’s all entirely and immensely

knowledge I now have in my hands! I rarely frequent

personal and I want to enrich everyone’s experience

galleries and furthermore, if truth be told, I am not often

with art of all sorts. Because my art is abstract and for

interested in the art others are making... and as a result

those who might find it confusing I tell them “it’s not

everything you see is deeply personal and I think easily

about nothing... let your eyes fully engage in the

recognizable... it’s all been a wonderful and fascinating

transparencies, the compositions, the colors, and the

journey and the journey continues....

musicality of the piece... and allow yourself to have a visceral, cerebral, and an emotional experience."

WHAT ATTRACTS ME TO MY PREFERRED MEDIUMS

When I listen to music I allow the notes to infuse and

“THE PUREST AND MOST THOUGHTFUL MINDS ARE

wash over me and I want people to do the same when

THOSE WHICH LOVE COLOR THE MOST”

looking at my art... play with the shapes, colors, twists,

- John Ruskin, (Art Critic).

swirls... to see how it affects you... and I hope that the

I’m uncertain as to the validity of this statement,

vibrancy and the exuberance which I bring to the canvas

however, as the reason I make art is my love of color... I’ll

will transmit. After all: life isn’t just what you see it’s also

accept this endearing quote! I have always used oils

what you feel!

when painting on canvas... in the 60’s when I started painting, acrylics weren’t as popular nor as refined as

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HOW MY ART HAS EVOLVED OVER THE YEARS

they are today - and I love my oil paints... the richness of

I have been painting for 50 years! That’s a long time

the colors, the flexibility, the depth and the luminosity

indeed. At the beginning the images were simpler- more

all enthuse me. From the water-colored effects with

unidimensional. As I evolved and the art evolved with

turpentine to the density of thick impasto... and mostly

me I demanded more complexity - more layers to add to

the fact that they either dry slowly [much more so than

the richness and depth of the art. And there’s a security

acrylics] or I may choose to have the paint dry quickly

that only comes with age and especially experience.

with the use of certain mediums mixed into the paint.

There is no short cut to making interesting and arresting

When I paint on paper [and I use ARCHES 300 lb paper-

imagery. Waiting for the muse to strike is foolish. I think

the heaviest available] I prefer using transparent inks,

that nothing happens unless I go into the studio and

high-flow acrylics, and watercolors... and I apply the

"Often, really often I am queried: how long did it take you to do the art? And I always respond: ”50 years”.

That’s all I’ll say!"

paint with a variety of tools - sponges, applicators for

MY VIEWS ON THE ROLE OF ART IN TODAY’S

liquid paints, and even eye droppers... and am always

WORLD

looking for something new to expand my variety- I allow

I think that art has always had a specific purpose - or

myself much greater freedom on paper- and keep less

else why would it have survived for so long? It’s an

too as often the “experiments” fail! But these amazing

important mechanism for survival because it makes us

colors and varieties keep getting more and more

more attentive - to really look at what’s in front of us. It

seductive and I always find either new mediums to

raises consciousness. During the ongoing horrendous

explore and/or new implements to use.

upheaval from 2020, I think more than ever we need to escape all the ugliness which is presented on a daily

WHAT PEOPLE SAY WHEN THEY DISCOVER MY ART

basis! And looking at art is the perfect antidote.

Because my art is abstract... the following reactions occur: Either people ignore these large colorful canvases

HOW THE PANDEMIC HAS AFFECTED MY CREATIVE

hanging in my home, which is rare but does occur,

EXPRESSION

possibly because they are flummoxed or totally

I have been actively pursuing an online presence and in

disinterested. Often, really often I am queried: how long

the past have avoided it despite being aware of it’s

did it take you to do the art? And I always respond:”50

importance today. I still am stuck with the idea of studio

years”. That’s all I’ll say! Or - they will start to really look

representation and slowly adjusting to the new reality!

and will tell me about the images they see... limbs,

There has been a conscious effort to structure my time

torsos, faces, animals and then I know that they are

in the studio and to being mindful of creating a

engaged. In truth I never see anything remotely tangible.

headspace free of all the noise around. Then also the

A sex therapist living in New York City once purchased

thought of making videos and teaching the techniques I

an earlier painting for his office. He stated that he loved

have developed. I think it would be a natural for me to

the soft sensual images and especially the ‘floating

do so and by teaching I would gain as much as I would be

breast'.

giving.

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"I think more than ever we need to escape all the ugliness which is presented on a daily basis! And looking at art is the perfect antidote."

350

"My art is deeply personal and I think easily recognizable... it’s all been a wonderful and fascinating journey and the journey continues."

HOW MY LOCATION INFLUENCES MY ART For the past eight years I have been living in the Laurentian Mountains north of Montreal. A county setting for the first time on a full time basis- we see deer, foxes, and a large variety of fowl. My art has always been colorful and I think it’s definitely more joyous, more playful and the lack of stress and happiness that country living brings has contributed to the art you see here... it’s also the wonderful ease of having a studio at home.

Website: www.barbaraberlin.com Saatchi Art: www.saatchiart.com/barbaraberlin

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JOE FERRY

"I am always at ease painting so I hope that feeling of peace comes through to the viewer. Many of the folks who have purchased my paintings have said they feel calm when they look at them. Most of the people who own my paintings have hung them in their bedrooms so that the first things they see in the morning are my paintings."

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Joe Ferry is a 7-Time Grammy Award Nominated

Share with us some insight into your process.

record producer, guitarist and bassist; author of the

I paint the canvasses black or dark blue or some other

critically acclaimed "Connected" book series, painter

dark color. Then while it's wet, I flick the stars into the sky

of international note, leader of The Big Ska Band and

with a toothbrush. Then I run a brush lightly of a section of

Professor Emeritus, State University of New York.

sky to create shooting stars. Then I begin the main part of the work - the buildings, fences, lampposts etc. The paint

Give us a summary of your background and history.

is applied with a knife and several colors are blended

I am a 7-Time Grammy Nominated Record Producer

together on the canvas. Once the painting is complete I

and Professor Emeritus at State University of New

apply an even coat of clear, glossy sealant.

York. I hold a PhD in motivational psychology and a Master of Fine Arts degree in Music. I am a published

How would you describe the unique DNA of your art?

author ("Connected" book series) with my latest book,

Actually my paintings do have my DNA in them because

"Cut Me While I'm Hot" to be released in Winter 2021

when I'm mixing colors I spit on the paint to make it easier

by Fulton Books. I have no formal training as a painter.

to apply to the canvas. I am always at ease painting so I

I learned from Bob Ross the TV painter guy and from

hope that feeling of peace comes through to the viewer.

studying the work of Van Gogh on my own.

Many of the folks who have purchased my paintings have 353

354

"I just want folks to chill when they look at my work.

That's why I do it."

"I was born in the Bronx, New York City.

So that's where my love of old buildings comes from."

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"Aside from Van Gogh and Michel Delacroix I have recently become interested in the work of Basquiat.

I have tried to do a couple of paintings allowing the spirit of his hand to guide my hand.

This is a path I will continue to explore."

356

said they feel calm when they look at

Please tell us 3 of the artworks that have

them. Most of the people who own my

most impacted your career and why?

paintings have hung them in their

Notable creations from the past include

bedrooms so that the first things they see

album covers for guitarist Doug Munro's

in the morning are my paintings.

records. "The Blue Lady", "Blueness" and "Shooting Pool at Leo's".

How do you want your art to impact us?

I just want folks to chill when they look at

Share with us some of the themes and

my work. That's why I do it.

concepts that you have explored.

Aside from Van Gogh and Michel

What do people say when they discover

Delacroix

I

have

recently

become

your work?

interested in the work of Basquiat. I have

Thankfully most of the folks I meet really

tried to do a couple of paintings allowing

like my work. I get a lot of real cool

the spirit of his hand to guide my hand.

compliments. No one has ever said the

This is a path I will continue to explore.

paintings suck but I have had people say

There is a painter whose work I collect, a

that all my paintings look alike. It doesn't

friend of mine, Jesse Clemente. His style

bother me. If they looked deeper they'd

is abstract, sort of the Basquiat school. He

see the paintings evolving from year to

and I have done exhibitions together. He's

year.

very talented.

"I feel peaceful painting.

I don't usually paint for hours on end. I paint in spurts. Sometimes an hour, sometimes a minute. But every drop of paint is intentional.

Whether it took an hour or a minute to apply."

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What are you currently working on?

Currently I am working on another version of my early painting, "Window." What's next? I don't know. Something!

What directions are you interested in exploring in future work / upcoming projects?

I love acrylic. It's easy to work and it dries quickly.

I paint on canvasses mostly but people have asked me to paint the walls of their homes. Usually I paint on whatever I have, including cardboard and wood.

What do you feel when you are creating?

I feel peaceful painting. I don't usually paint for hours on end. I paint in spurts. Sometimes an hour, sometimes a minute. But every drop of paint is intentional. Whether it took an hour or a minute to apply.

What are your views on the role of art in today's world?

My views on art: I see art everywhere. I especially love graffiti. Some of it is exceptional. The work of Chema Skandal is marvelous. He designed one of my album covers on Jump Up Records. Whatever it is, whatever era it's from, if it's honest I will probably find something about it that I love.

Tell us about your location and how it influences your art.

I was born in the Bronx, New York City. So that's where my love of old buildings comes from. I live on a mountain now. Nature and all that. So I have to travel to find cool old buildings for inspiration.

How has the COVID-19 pandemic affected your creative expression?

The COVID pandemic has affected me in much the same way it has affected everyone. The "Tribute To Basquiat" painting was done during the height of the pandemic. It's edgier than my other, later 2020 paintings.

Website: www.jferry.artspan.com

359

FLAVIA LOVATELLI "My passion is collecting the throwaways; the scraps, the

from what we leave behind. My satisfaction comes from

forgotten, the broken pieces and lending them into

observing the natural reaction from the viewers, of the

unique works of art using tools, color, imagination and a

possibilities.

dash of whimsy. I am one of the pioneer recyclers and sustainable artists before these terms even existed or

I am a sustainable artist residing in Columbia, SC. Born of

became popular.

an Italian father and an American mother, I was raised in Northern Italy where my work won numerous prizes and

My work is either entirely made from re-purposed

awards in high school competitions. I made the United

materials or have a high content of it. I was born an artist,

States my home in 1979. I am the Founder of Art

living and breathing color, design, drawing and the desire

Ecologie Group; a movement of like minded sustainable

to learn a variety of techniques and abilities that might

artists that bring the Annual ecoFAB Trash Couture, an

further my quest for injecting re-purposed items into my

acclaimed inspirational recycled fashion show and the

art. An artist my entire life meant the constant

subsequent traveling show “Re-Current� a display of

daydreaming, anything I saw triggered ideas, and my

each artist’s ecoFAB Trash Couture piece with cohesive

brain was inspired in many different directions from

wall art and a sculpted piece to show how art is

painting to designing furniture, creating wallpaper for my

influenced by everything.

room, creating, painting, daydreaming as long as I can remember.

I love the freedom of creating what I want from random objects. I am held to no parameters, I am sold to no

My inspiration comes from everywhere and no place in

particular media, I like them all and love to cross breed

particular; from nature, architecture, and people in their

them. This allows me to create many fun pieces and

daily life, children playing and movement. I am a

allows me the ability to awe the viewer with a piece of

multidisciplinary artist focused on marrying traditional

disposed material that is turned into something so

and non-traditional materials into a curious narrative of

interesting when multiplied exponentially."

harvested objects. TrashionArtista, 2D and 3D artist, I compose works from everyday scraps, forging a story 360

www.flavia-lovatelli.com

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DON SLOCUM

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Don Slocum is a professional photographer living on

"My time spent in Hawaii has been a spiritual journey and

Hawai'i Island, which he has called home for over thirty

this has greatly influenced my photographic imaged. As a

years. He moved to Hawai'i and continued to develop his

trained

photography skills, much of which he learned on his own

information about where to go and when. This nearly

coupled with some formal training and also guidance

always results in spectacular images. I really can no

from various local artists. “It’s great living in a supportive

longer doubt it when I get the calling, day or night."

intuitive

many

times

I

receive

internal

photographic community like the one that exists on Hawai'i Island,” Don explains.

While many artists today will layer or composite a number of images in the editing room, Don prefers the

Beginning his career photographing fashion, performers,

single-shot approach, meaning that all of his images are

and commercial projects, Don gravitated to landscape

actual reflections of reality and are true events he was

photography, inspired by the natural and raw beauty of

present for. He welcomes you to join him on various

the Hawaiian Islands. As may be clear from his stunning

adventures around the island through group, individual

photographs, he spends a lot of time in Volcano National

classes and personalized tours, whether you are just

Park, around the majestic Mauna Kea, and various

learning to use your camera, or whether you are ready to

shorefronts on the west side of the Big Island. He says,

push your photography skills to a new level.

“With its rich assortment of locations and wide diversity Hawaii Island may be unmatched on planet earth.”

www.donslocum.com 363

NARD LEE

"My work explores the unsolved questions regarding racial inequity, class, and religion... When painting, I am exported to a place filled with fear, unrest, discrimination, and pain. But I always leave a space for beauty and light at the end of the tunnel. My paintings are inspired by the souls of the past who refuse to be forgotten."

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Nard Lee attended Howard University. His academic

often driven by historical context and view things by

interests were put on hold when he started his first

how they should have been rather how they may have

business at 20 years old. He sold his business and

been celebrated by history. My perspectives are that of

worked as an actor and model for 13 years. His film

a child who grew up in the 70's and 80's, that are just as

credits include 'Silence of the Lambs' and 'He Said, She

relevant then as today. When painting, I am exported to

Said'. A passionate creative from an early age, the self

a place filled with fear, unrest, discrimination, and pain.

taught artist could no longer ignore the voice that's

But I always leave a space for beauty and light at the end

driven him to visually opine his view on today's unrest

of the tunnel. My paintings are inspired by the souls of

through paint on canvas.

the past who refuse to be forgotten.

Please share some insight into your background.

Share with us some insight into your process.

Born and raised in Washington DC, now based in Miami.

Before placing paint on campus, I take a deep breath,

My work explores the unsolved questions regarding

close my eyes, and try to put myself in the place of my

racial inequity, class, and religion. My dominant lens is

subject. I want to experience how they may have felt

that of the often overlooked and underestimated kid

before I saw them in my mind’s eye. My challenge is not

keenly aware of how the outside world views him. I am

to see them as they are but to attempt to capture who 365

366

"It (my art) is always about an unsuspected contrast.

Opposing views. Friends and foes.

Protagonists and antagonists.

I am seeking an unsuspected element that begs a question that I usually do not have an answer to."

they were before. I am searching for a

What do people say when they discover

subtle beauty in my artwork, purposely

your work?

hidden within the chaos of the piece. My

What I remember most is, “Always makes

goal is to have the observer see beyond

me think.” “Thoughtful mind of the artist

the image and to experience a disruption

is clearly visible.” There is always a

to their senses while absorbing the pain,

direction and movement. Lots of action.”

fear and joy experienced by my subjects.

That is all I can ask as an artist.

How would you describe the unique

Please tell us 3 of the artworks that have

DNA of your art?

most impacted your career and why?

I think in a word dichotomy. Its always

Everything with me begins with Basquiat

about an unsuspected contrast. Opposing

and there could easily be 33 pieces. But

views. Friends and foes. Protagonists and

“Portrait of Glenn” is a piece that I see in

antagonists. I am seeking an unsuspected

my sleep. His art of storytelling is what I

element that begs a question that I

am striving for without the text.

usually do not have an answer to.

E Pluribus Unum. I am in total awe of Marcus Jansen’s work. The scale and

How do you want to impact the viewers?

storytelling, the landscapes. He places

I think the easy answer to the question

you in the middle of the chaos. His

begins with drawing an emotion. I begin

battlefields and experiences as a soldier.

with questions. What? When? Why? How

His work depicts beauty and chaos then

and Who? Then add a revisionist historian

blends in a familiar figure of Americana

context to be considered.

that forces us to ask how he/she/they got 367

"I begin with questions. What? When? Why? How and Who? Then add a revisionist historian context to be considered."

368

there. Salvador Dali’s, “The Persistence of Memory.” It

What are you currently working on?

may be considered conservative for Dali as its land-

I have begun to work on a series of paintings with a

scape, but the presence of clocks and time transformed

historical context titled, Same Orange Jump Suit.

into something unexpected has stayed with me for

Orange Jump Suits are prevalent in American prisons

years. It forced me to view art differently as a young

and easy to identify. In some areas of the United States,

man and ask questions before admiring its beauty.

they were even considered fashionable for a short period of time. I’m “orange washing” paintings to draw a

Share with us some of the themes and concepts that

contrast on racial protests and disruption in 1960’s

you have explored.

America and present-day America.

I am always exploring and searching for combinations that include shapes and layers, landscapes, textures.

What directions are you interested to explore next?

I am looking for a perfect blend of beauty and chaos. I do

I have been doing a lot of research on our first 5

not really have a label or concept that I am specifically

Presidents. How they lived, fought, and thought about

exploring. I try to be free with movement and non-

what they were fighting for. I am looking for an element

restrictive.

of their story that is seldom told.

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"I am looking for a perfect blend of beauty and chaos.

I try to be free with movement and non-restrictive."

370

What attracts you to your preferred mediums?

I love the flexibility of acrylics, but oil pastels and chalk give a movement to a piece that I may end up having zero idea of the outcome. I like that I am often surprised by the combinations of depth, color, texture,

"The angst of how I may or may not tell a story creates the anxiety that keeps me awake at night."

and direction that pastels produce.

What are your views on the role of art in the world?

share, the more we learn about each other.

Art is not just in museums and galleries and auction houses, its everywhere. I think art belongs to everyone

What do you feel when you are creating?

and that part of our role on this planet is to be creators.

My ideas for a piece are generally produced by an

I do not know what is should cost. I don’t know if it

incident or event. Unrest. Politics. Injustice. I am

should be large scale or 8 x8.� I always know how it

thinking about the people involved, what they felt and

makes me feel and when we share that with each other,

how they would like me to tell the story. I would always

it impacts all of us. So as art tells the story of our

like there to be a hero and a villain and the angst of how

existence on this planet, it connects us, it delivers

I may or may not tell a story creates the anxiety that

truths and uncover lies. The more art we create and

keeps me awake at night.

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"Art connects us, it delivers truths and uncover lies. The more art we create and share, the more we learn about each other."

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Please tell us about your location and how it influences your art.

I was born in Washington DC and every Sunday after church, my Godfather would take me to the other side of the city. We would visit the National Gallery of Art, Air and Space Museum, The National Portrait Gallery and these visits gave me another view of the city that would have been small without these excursions. When I lived in NYC, I would spend hours in MoMa. While in Paris, I found myself not wanting to leave The Louvre of Versailles and was struck by the scale and detail of the pieces. I have lived in Miami for 25 years and the dynamic and energy of the city has always given me energy. My pieces are not necessarily driven by South Florida, but South Florida drives my energy to paint.

How has your art practice evolved over your career?

It is a process and I learn something every day. I am still early in my career so ask me that question 5 years from now and I will have a better answer.

How

has

the

COVID-19

pandemic

affected your creative expression?

2020 was not fun for too many reasons to count. But it allowed me to spend more time with a brush in my hand and that is a good thing. www.nard-lee.com www.instagram.com/nard.art

"My pieces are not necessarily driven by South Florida, but South Florida drives my energy to paint."

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MOTOKO

"My roots in the Japanese culture and Zen philosophy strongly influence my work. I am also guided by the concept of a peaceful, gentle, and harmonious way of life, which I believe is much-needed especially in this time when there is much violence, conflict, and suffering in the world. My art combines positive energy with the concepts of happiness and balance."

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Motoko is one of the most recognized artists on the

Please share with us a summary your background.

Sunshine Coast of BC, Canada. Born and raised in

I was born and raised in Japan, where I was educated and

Japan, she immigrated to Canada in 1992. Inspired

worked as a dietitian. In 1992, I immigrated to Canada.

by the diversity of nature and human emotions, she

This is where I started to pursue my lifelong passion which

uses her fine sense of color, design, and texture to

was to create art. Mostly self-thought, I now operate my

create abstract paintings in acrylics and encaustics.

own private art gallery in Garden Bay on the Sunshine Coast of British Columbia.

Her goal is to create art which inspires and generates peaceful and harmonious energy in people’s hearts

Share with us some insight into your process.

and minds. Motoko’s art is exhibited in her own

A piece of art starts with a vision that I have for the final

private gallery and on her website. She is also

outcome. I let this vision guide me through the creative

represented by Van Dop Gallery, BC. Motoko’s art

process, with my intuition for colour, texture, and shape.

graces private homes and corporate spaces in Canada, USA, Europe, and Japan. Her work has been

How would you describe the unique DNA of your art?

featured in books, magazines, television programs,

My roots in the Japanese culture and Zen philosophy

and in many solo and group art exhibitions.

strongly influence my work. I am also guided by the 375

"A piece of art starts with a vision that I have for the final outcome.

I let this vision guide me through the creative process, with my intuition for colour, texture, and shape."

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"My favorite theme is water.

I find that people have a natural attraction and love for water.

Perhaps it’s because 60% of our bodies consist of water. It’s a source of life, and has a calming, cleansing, and healing effect."

concept of a peaceful, gentle, and harmonious way of life, which I believe is much-needed especially in this time when there is much violence, conflict, and suffering in the world. My art combines positive energy with the concepts of happiness and balance.

Share with us some of the themes you've explored.

My favorite theme is water. I find that people have a natural attraction and love for water. Perhaps it’s because 60% of our bodies consist of water. It’s a source of life, and has a calming, cleansing, and healing effect.

The sounds and sight of water inspires creativity and inspiration. This is a theme that I have worked on and will continue to explore.

What do people say when they discover your work?

Words that people have used to describe my art include healing, inspiring, peaceful, calming, harmonious, and joyful. I find immense joy in knowing that my art awakens these emotions from people.

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"The sounds and sight of water inspires creativity and inspiration.

This is a theme that I have worked on and will continue to explore."

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"Words that people have used to describe my art include healing, inspiring, peaceful, calming, harmonious, and joyful. I find immense joy in knowing that my art awakens these emotions from people."

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"I predominantly paint in acrylics.

I like it because it is very versatile when it comes to building texture."

How do you want your art to impact the viewer?

What are you currently working on?

My goal is to create art that generates a calming effect on

I am currently working on a series that depict waterfalls.

people, to promote peace, harmony, and joy in their lives. I wish my work to gently touch people’s emotions and allow

What do you feel when you are creating?

happiness and serenity to surface even amidst chaos.

Just living in that moment is what I love when I am creating art. There is nothing else but me, the canvas, the

What ideas are you interested to explore in the future?

brush, the paint, and the present moment. It is the very

I am interested in exploring more texture and depth in my

concept of Zen‌ being mindful of what I am doing, in a

work, while at the same time experimenting with simple

calm and peaceful way.

and understated compositions. I would like to explore ways on how I can evoke positive emotions from viewers

What are your views on the role of art in today's world?

through simplicity and subtlety.

For me, art helps us in the pursuit of happiness. I see enough suffering, conflict, sorrow and tragedy in the

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What attracts you to your preferred mediums?

world today. Art brings joy to people when even they are

I predominantly paint in acrylics. I like it because it is very

in the midst of a difficult situation. I believe that art

versatile when it comes to building texture.

brings positive energy to our lives.

Tell us about British Columbia and how it influences your art.

British Columbia, Canada is one of the most beautiful places to live in the world. My art is definitely influenced by the natural beauty that surrounds me. Most of my themes are inspired by nature that I see in my daily life around where I live. I do not create landscape paintings but my emotional response to the beauty of nature around me is manifested in my abstract expressions.

How has the COVID-19 pandemic affected your creative expression?

Like most people, I miss social interactions. I also feel compassion for those who are suffering due to the pandemic. During these times when isolation is the preferred norm, I found more time to focus on my art. I feel that this had a positive effect on my creative expression.

Website: www.motoko.ca

"My art is definitely influenced by the natural beauty that surrounds me."

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JENNIFER PAZIENZA "ALL THINGS ARE MELTABLE, AND REPLACEABLE. NOT AT THIS MOMENT, BUT SOON ENOUGH, WE ARE LAMBS AND WE ARE LEAVES, AND WE ARE STARS, AND THE SHINING, MYSTERIOUS POND WATER ITSELF." - MARY OLIVER 384

In addition to Jennifer Pazienza’s extensive exhibition record her resume includes activities in art education, awards, and accolades. Her work is held in Public, Private and Corporate Collections in Canada, the USA, Britain and Italy. A Jersey girl from an Italian-American family, she has painted for nearly 30 years, from her beloved Keswick Ridge in New Brunswick.

"Pixelated images appear in nanoseconds. Superhuman art installations challenge market economies. Still, I maintain an oldfashioned affair with oil paint. Drawn from traditions of the past, yet wholly rooted in the present, I intend for my paintings to relieve us from the non-stop visual onslaught of contemporary life. Love, longing, and the fluidity of time shape the poetic landscapes I make. So too, my 35-year exploration of working with a limited colourist palette. A student of the ephemeral; of truth and beauty, of light and place and home I paint to remember, to belong, to understand—to dissolve dualities and ease tensions."

Website: www.jenniferpazienza.com 385

ABRAHAM DAYAN

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Abraham Dayan is a contemporary French painter. In his

the mystical. In my scenes I try to rework what is

own words: "One day I woke up and I had to paint. I am a

common in creativity such as salon tables or other

self-taught artist, in my work I put in what I find

objects with a different approach to the characters in a

necessary for the viewer to understand."

space and perspectives, I also use more colors that are my own, I try to ensure that the work is interesting that

"My vision of the world! That's what I want to leave. I

the spectator always discovers new things in the

want to change the world by putting in colors instead of

painting."

monotony. I do not like the dull weather, in my characters I love that there is emotion that emerges from

"Through their works they become eternal (pretty or

them especially in my portraits. I want my portraits to

not). It is easy to see this simple phenomena when you

touch people by the beauty and the power of some traits

are in a Museum when the work that you admire of a

and certain colors adapted to the character. When I paint

great painter fascinates you, controls you, dominates you

them, I put what is necessary in my eyes so that the

and speaks to you. It is proof that through the work the

spectator understands but I leave open doors for

artist became eternal, often also by what they had

imagination."

understood about the future, so I also want to become eternal."

"Through the beauty, the creation and subtlety, I help them to see sometimes the shocking and prophetic, and

www.abrahamdayan.net 381

JAN TETSUTANI

"Conversations with God, expressed in coastal themes and abstract art.

Many times, it feels as if God uses my natural surroundings to communicate to me. I translate that into my art... I believe art is a bridge to connect with someone. There is someone on the other side of the work who is looking for beauty, inspiration or hope. Art is like a glance, that can touch the soul."

0202 FO TSEB GITSED

Jan Tetsutani almost never became an artist. She is

while involved in church ministry, this all changed when I

self-taught and was born and raised on the island of

felt God nudged me to use the creative gift He had given

O’ahu, Hawaii. Jan’s paintings are conversations with

me. It was so unexpected. God showed me that the dream

God expressed in coastal themes and abstract art.

was not dead, just dormant. Like a seed, it was up to me to

Her works are found in luxury homes around the

start nurturing it. But how would I nurture it? It seemed

world.

impossible. About a week later, a professional artist, Delro Rosco started offering painting classes at my church. What

Tell us a bit about your background and your calling

timing! I was like a dry sponge absorbing whatever I could

to full-time art.

learn. Delro and his wife, Sue, recognized I had a gift and

My grandparents migrated from Japan to Hawaii to

offered to help me.

find a better life. With only a 2nd grade education, my mom’s mother struggled as a widow, with nine

Like a chrysalis in its cocoon, I felt the struggle of

children. My father’s mother was a single parent as

embracing this call as an artist. Self-doubt, feeling like an

well with four children living in a one room home. As a

imposter, feeling like an orphan, feeling too old and too

child, I dreamt of being a successful artist, but as a

late were all obstacles God was helping me to overcome

teenager the dream died. Over two decades later,

with mentors and an artist community. As my work started 389

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selling and doors started opening, I was

smiles on our faces. It's stunning and

affirmed of my calling as an artist. Today

we're so happy that it will have a

the dream is alive and well.

permanent place in our home. Thank you!!"

Describe the power of art to transform

– Alli Polin, Australia

living spaces.

"More than ever, we want our homes to be calm and happy.

Art has the power to ignite our imagination to take us to beautiful places of serenity."

More than ever, we want our homes to be

“Your painting became a favorite with the

calm and happy. Art has the power to

family. I am very thankful’

ignite our imagination to take us to

- Akiko Tezuka, Japan

beautiful places of serenity. It can change the atmosphere and soothe the soul. Art

You have said "I don’t just care about art.

allows us to slow down, reflect and just

I care about you." Why is it important to

be.

have the viewer in mind while creating?

I believe art is a bridge to connect with

Share with us some of the feedback from

someone. There is someone on the other

collectors.

side of the work who is looking for beauty,

“Thank you again for your consistently

inspiration or hope. Art is like a glance,

gorgeous work!! I am so excited about all

that can touch the soul.

of your art here!"

– Christine Merritt, Cabos

Share with us some of the highlights in your career so far.

"...it honestly took our breath away. Our

It is an honor to be a part of Four Seasons

family of four stood there with HUGE

Resort O’ahu at Ko Olina’s curated artist 391

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"God has always been faithful. Much of my inspiration comes from my life and my time spent with God. Whatever I paint, I feel His delight. I can’t imagine life without Him." "I am so blessed to live in Hawaii, it’s such a beautiful place. From the mountains to the ocean, inspiration.

I have barely scratched the surface trying to capture and create the awe and wonder that surrounds me."

program called #FSWayfinders. This partnership allows me

How would you describe your style of painting?

to exhibit my work, host workshops, participate in art shows

Conversations with God, expressed in coastal themes

and paint live in the lobby giving me the opportunity to meet

and abstract art. Many times, it feels as if God uses my

so many wonderful people from around the world. In 2018 I

natural surroundings to communicate to me.

was invited to Nagoya, Japan to exhibit my work and host

I translate that into my art.

workshops. That same year, I was commissioned to paint a mural at the luxury ocean resort & residences called Timbers

What role has faith had on your art career?

Kauai. Being invited as one of featured artists at Manoa

Despite the many disappointments and hurt I have

Gallery and having my work alongside some of Hawaii’s

faced; God has always been faithful. Much of my

masterful artists that l admire, has truly been an honor.

inspiration comes from my life and my time spent with 393

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"I value those that experience my art.

I believe in offering nothing less than my best."

God. Whatever I paint, I feel His delight. I can’t imagine

person workshops there. I wanted to help in some way.

life without Him.

My online painting workshops were one way to let people who were isolated and alone know someone cared. I’ve

You have been described as radiating an infectious

never done a livestream on Facebook before, but I went

energy. What is the secret to your positive force?

for it. I was so surprised that it reached people from

I believe to be fully known (the good, the bad and the ugly)

around the world like in places like London, Lithuania,

and fully loved, has brought much healing to my soul. I am

Japan, Tahiti, South Africa and the States. Separated

thankful to be alive and I consider each day as a precious

families were able to connect with each other via the free

gift from God.

painting workshops. Nurses said it was what they looked forward to amidst the chaos.

Tell us about Hawaii and its role in your art?

I am so blessed to live in Hawaii, it’s such a beautiful place.

Why is it important for you to execute a high-quality

From the mountains to the ocean, inspiration. I have

piece of art every time?

barely scratched the surface trying to capture and create

There are two reasons:

the awe and wonder that surrounds me.

1) I value those that experience the art piece.

2) Because I believe in offering nothing less than my best.

You create custom art pieces and murals. How do you approach custom work?

Your art pieces are across a spectrum of sizes. Do you

I approach custom work by first having a conversation

prefer large or smaller pieces?

with the client. I like to hear their vision and heart for the

I actually prefer larger pieces as I feel more freedom

custom work.

when I paint larger pieces.

Your online tutorials have been a resounding success.

Tell us about this aspect of your work.

Website: www.jantetsutaniart.com

When COVID hit, everything at Four Seasons Resort

Instagram: @jantetsutaniart

came to a halt along with exhibiting my art and hosting in

Facebook: @jantetsutaniart 395

PEGGY BLOOD

"Blood’s creative process is free without boundaries, exploring and discovering. She is only the connector of what is brought forth, the paint and canvas take control. The outcomes are just as new and surprising to her as if she was the viewer absorbing the work for the first time."

0202 FO TSEB GITSED

Expressionistic artists Peggy Blood is a painter,

children (8-16) under the Office of Equal Opportunity

muralist and illustrator. She primarily uses oil and

(OEO) for two summers. It was such a gratifying

mixed-media to convey and examine visually the

experience that she knew Art Administration might be a

female figure, nature, critical perspectives on social

career direction worth considering. After graduating from

and cultural issues. Her large scale works usually

the University of Arkansas in Fayetteville, Ark (the first

depict complex images with vivid colors and heavy

black graduate to obtain an MFA), she taught at her alma

impasto. Blood’s paintings explore and push the

mater for three years and served as Interim Chair for one

medium to engage with the audience in a dialogue

year at the University of Arkansas in Pine Bluff. From

about their perception, context and meaning within

Arkansas by way of New York she moved to California.

the composition.

Can you pinpoint when your interest in art was sparked?

Share some details of your background with us.

Blood’s interest was sparked at the young age of four.

Throughout Peggy Blood’s career she has had the

Blood 's parents encouraged her to draw and paint. She

opportunity to develop various programs. In her

recalls her mother buying her a watercolor set, prior to

young years as a junior and senior in college she was

her entering kindergarten. She painted pictures from

appointed to direct and develop an art program for

Ebony magazine and the landscape of the family property.

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culture did not have a major impact on Blood’s painting style. Subject selection change due to the environment experienced. Blood has always traveled within the US and abroad, and had found different cultures and landscapes fascinating. Blood responds universally in her approach with an emphasis on relating it to her personal experiences and/or identity whether as a citizen of the USA, Georgia, or as a black person living in a global society.

Share with us some of the stories and themes you have explored.

One theme focused on Chinese women behind the scenes as the backbone of China’s society. She stands

"Blood responds universally in her approach with an emphasis on relating it to her personal experiences and/or identity"

What do you seek to stimulate in viewers of your art?

Blood hopes to inspire curiosity and surprise. At first glance, the viewer may think they have captured the essence and meaning but as they linger they will realise that there is a multitude of happenings being depicted.

Please share some insight into your creative process.

Blood’s creative process is free without boundaries, exploring and discovering. Blood is only the connector of what is brought forth, the paint and canvas take control. The outcomes are just as new and surprising to her as if she was a first time viewer absorbing the work.

What pathway best fits your creativity?

Mixed media gives Blood an unlimited opportunity to explore textile texture on a two-dimensional surface, impasto is executed on every painting.

You have lived in California and later in Georgia. How have these locations contributed to shaping your art?

The landscape and culture in Savannah is drastically different from that of northern California. However, the

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behind the man, accepts imperfections, but is actually the spine of the family's existence. The painting depicts an older woman dressed in peasant clothes and a hat with a shoulder pole caring a load of vegetables in one basket and a baby in the other basket as she picks beautiful flowers. The painting is symbolic of a hard-working farm woman that seeks out the beauty and softness of life.

Another painting depicts a multitude of umbrellas that form into a bicycle with a load of grass in the back basket.

Your work has been shown in many galleries and reside in collections across the USA and globally. Tell us about some of these places.

Contributions abroad have a greater impact on foreigners especially since few foreigners experience art from black Americans. Overall people are surprised to see a woman

"Few foreigners experience art from black Americans. People are surprised to see a woman artist paint on a large scale.

Most did not know black people in America were artists. Children in Africa were amazed that a woman painted as a professional because men in Africa are primarily Fine Art painters and women work on crafts."

artist paint on a large scale. Most did not know black people in America were artists. Children in Africa were amazed that a woman painted as a professional because men in Africa are primarily Fine Art painters and women work on crafts.

The list of Embassies, Museums, and Galleries below is a sample of some of the places that have shown and or collected Blood's art within the last ten years: - Embassy gallery/Ethiopia, East Africa.

- Embassy gallery /Monrovia, West Africa , Liberia.

- Embassy gallery Guyana, South America.

- Kerala Lalithakala, Akademi Museum, Kochi, India.

- Varanasi Historical Museum, Varanasi, India.

- Kolkata Creative Center Museum , Kolkata, India.

- Gallery Gitanjali, Goya, India.

- Jiujiang University Gallery, Jiujiang, China.

- Shanghai Teacher University Gallery, Shanghai, China.

- Obafemi Awolowo University Gallery, Nigeria, Africa.

- Ray's Atelier Gallery, Colva, India.

- Methodist Episcopal University, Monrovia, Liberia.

- Stella Maris Polytechnic University Monrovia, Liberia.

Tell us about some of your career proudest moments.

The proudest moments in my career were: a) Blood was voted and recognized by my colleagues as a Distinguished Professor. (Distinguished faculty titles are awarded

to

qualifying

faculty

in

recognition

of

distinguished excellence in research, teaching, and service).

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"Mixed-media gives Blood an unlimited opportunity to explore textile texture on a two-dimensional surface."

b) Blood developed and coordinated a two semester Web Ct global course taught in partnership on-line by a professor from Saint Petersburg State Polytechnic University, Saint Petersburg, Russia, Kwame Nkrumah University, Ghana, West Africa and Shanghai Teachers University, Shanghai, China. c) Blood was selected by the US Art Embassies State Ambassadors program to tour, lecture and give workshops in West Africa to encourage women to pursue Fine Arts. Blood was also hosted by the US Ambassador on Embassy grounds.

If you had to pick the Top 3 artworks you have created (for whatever reasons), which would they be and why? a) Saturday Night Bath has always been a favorite of Blood's entire family. It is owned by Akus Gallery, Eastern Connecticut University. The painting is of a black mom giving her son his weekly Saturday Bath next to a black kettle of hot water. This was typical in southern rural areas before running hot water was in homes. The painting brings back sights seen as a child. It recalls early life observations by Blood as she rode her bike in her neighborhood in Arkansas. (It is a painting that the Secretary of State Hilary Clinton selected to stand next to while giving a speech at the US Embassy in Liberia, Africa.) b) Lushan series. Blood did a series of paintings of/ and at Fushun National Park, China. The paintings show a tall forest,

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the beautiful high-peaked mountains tipped with fog and snow and townships. It was one of many trips to China in the last 20 years but memorable because it was the only time art was created. The paintings are owned by Jiujiang University, Jiujiang, China. c) Gypsy Woman, a painting of a beautiful gypsy woman clothed in flowing multi-colored fabrics. Her neck, arms, ankles and toes adorned in gold and silver bangles and rings as she strolled on the Asiatic Sea sand. Most days for five months Blood visited the beach to watch fishermen and in the hope of getting a glance of Gypsy Woman. The painting is owned by Ray Artilier Gallery, Colva, India.

You studied under John Howard, a protégé of the great Hale Woodruff (a legendary artist during the US Negro Renaissance Period). Tell us about these artists and how they paved the way for you.

John Miller Howard founded the art department at UAPB in Pine Bluff Arkansas. He studied under Hale Woodruff a muralist who himself studied under Diego Rivera. Woodruff was born in 1900 and Howard in 1908, they became close friends through the years; both died in 1980. Each was heavily influenced by their teacher: Woodruff by Rivera, and Howard by Woodruff, like them Blood uses bright colors and impasto texture in her painting.

Some of the artists selected by Blood were at one time employed by The Works Project Administration (WPA). The WPA (created by President Franklin D. Roosevelt) began during the Great Depression, the Federal Project Number One initiative employed artists. The program was the beginning of art careers for many artists including: Jacob Lawrence, Charles White, and Hale Woodruff. The Office Of Economic Opportunity (OEO) was similar to the WPA program.

OEO was part of the War on Poverty programs started under the President Lyndon B. Johnson administration. Blood’s first employment was under OEO as the Director of an art program in Altheimer, Arkansas. The summer program taught over 90 lowincome children with a staff of four.

A few noted artists among many during the Woodruff generation were: a. Jacob Lawrence, worked for many years at the University of Washington. He is best known for his 401

work The Great Migration Series. Lawrence married the

e) Aaron Douglas a professor at Fisk University, graphic

artist Gwendolyn Knight. He was the first African-

artist and muralist known for his work God’s Trombone

American to join Edith Halpert's Downtown Gallery.

based on James Weldon Johnson's poetic work.

Jacob Lawrence was a friend and neighbor of Blood’s

f) Elizabeth Catlett is known as a graphic and sculptor

sister and Blood’s niece was a recipient of the Jacob

artist. She taught art at Dillard University as well as other

Lawrence scholarships at UW.

institutions. She was married briefly to the artist Charles

b) Charles Wilbert White, professor at Otis art Institute ,

White, and later married the artist Francisco Mora. One

Los Angeles, CA, was known for his WPA murals. His most

of her noted works is Lovely Twice.

famous mural The Contribution of the Negro to American

g) Lois Mailou Jones, married fellow Hattian artist Louis

Democracy is located on the wall at Hampton University

Vergniaud Pierre-Noël. She was a professor at Howard

library. Married twice , one wife was the legendary artist

university and other institutions. She taught David

Elizabeth Catlett.

Driskell, a known contemporary educator, artist, curator,

c) John Thomas Biggers was a professor and chair of the

and author. One of her most famous works Les Fétiches,

art department at Texas Southern University. He is

is a painting of an image of five African masks, the work is

primarily known for art depicting social injustice, culture

symbolic of Black American identity.

and the life of African-Americans. One of his notable murals is The Contribution of Negro Women to American

All of the artists mentioned above created paintings,

Life and Education.

prints, and murals that depicted the historic struggle and

(Three legendary men, Lawrence, White, and Biggers who

perseverance of their culture. Each in their own unique

mentored Blood, while she was in graduate school).

expressionistic style used bright colors to communicate

d) Romare Bearden is best known for his collages and

their story. The artists worked in a time that repeatedly

photomontage compositions that depict the African

denied them opportunities due to their race.

American culture and life. He was the founder of “The

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Spiral” a group that addressed the struggles of artists and

You have seen everything from segregation to BLM.

common aesthetics shared by member artists. Hale

How has this affected you and your art?

Woodruff (a member) named the group “The Spiral”. One

Growing up in the segregated south without a doubt has

of Bearden’s most famous works is: Three Musicians.

had an impact on how Blood thinks, lives and approaches

In recent years black artists have gained prominence.

How do you view the way the "mainstream" art stakeholders are approaching this segment?

As early as the 1800s black artists have sought to be recognized as legitimate creative artists worthy of being recognized and accepted equally. Artists such as Scipio Morehead, Robert M. Douglas, Patrick Reason, Joshua Johnson, Edmonia Lewis and Edward Bannister had to succumb to the realization that their art would never be viewed in their lifetime on an equal footing with those from white artists. Although there seemed to have been slim improvements during the Negro Renaissance Period and another surge of interest during the Civil life. Blood paints her experiences. Perhaps her early works (mostly genre type paintings) demonstrated how her environment impacted her psychologically, such as: walking past a white school only blocks near her home to attend a black school that was over five miles away.

Using marked-up and torn second-hand text books handed down to the black school from the white school; shopping and buying goods but not able to stop and buy a soda in the store if thirsty or hungry; parents not able to rent a hotel room when traveling across the country by car; seating in the back of the bus; threatened with a bat for drinking out of the white people’s fountain, seating in the balcony at the movie theater, marching with SNCC (The Student Nonviolent Coordinating Committee); and attending the University of Arkansas, Fayetteville Ark where a professor refused to teach her in the classroom.

In contrast… (For every action, there is an equal and opposite reaction) after the incident at the the University of Arkansas, other faculty members opened their arms of acceptance to assure Blood received a great university experience. Faculty and students would greet her, Blood was given a weekly noon half hour segment on a Fayetteville TV station to speak about Black art, the University’s President’s secretary typed her MFA thesis, a huge turn-out for Blood’s thesis exhibition, faculty and community purchased her art.

As society gradually accepted people of color, Blood too changed. Her art gradually changed in style to more universal themes that emphasized Blood’s experiences within and outside of her culture.

Rights movement, for the most part, the museum establishment and the white populace have not opened wide their gates to black artists in comparison to white artists. Twenty years ago, few black artists were known, now more black artists are known and people are buying their works of art.

The surge in the purchase of black art is mainly driven by black professionals buying art as they acquire property and better jobs. Of course black art is also being purchased by white people but for the most part it is bought by blacks. There is currently a great surge of interest with the Black Lives Matter Movement. Each surge increases the general awareness of black artists.

In a book authored by Dr. Blood, “Below the Surface: Ethnic Echoes in America's Modern and Contemporary Art” she speaks about the disparity between minority art and the white mainstream art. The BLM art has not just been noticed in America but also in other countries.

India, with similar culture issues, has taken an interest in Black Art. A traveling exhibition curated by Dr. Blood (and she is also one of the featured artists), has been extremely popular as it moves from one part of the country to another. Most recently it was at Kolkata Creative Center. Is the interest genuine? for the black community, it is. For others, considering that we live in a capitalistic society… if it sells then there is a genuine interest in it as an active commodity.

"As society gradually accepted people of color, Blood too changed.

Her art gradually changed in style."

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What are you working on at the moment, what can we

c. Rome Italy. Touring the Vatican as part of a special

look forward to from you in the near future?

group on a Sunday (a day when it is normally closed) was a

The USA is such a beautiful country and Georgia has it

special highlight. The group was able to linger and easily

own unique special landscapes for inspiration. Bloods will

view the art collections without any obstructions.

look towards Georgia’s vast marshlands, mountains,

d. Costa Rica; Grecia, Turrialba, Zacero and small regional

canyons and lakes.

towns built on rolling hilly landscapes, rain forests and gardens. Small towns in any country makes the flavor of

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What are the top 5 places you have visited?

the culture. Grecia, for example, has a beautiful small

Although Blood has toured at least forty-five states, she is

iconic Cathedral de la Mercedes that seats in the middle

passionate about meeting and learning about different

of the town surrounded by a fairy tale type park. Colorful

cultures... it is a difficult to narrow it down to five.

tiles invite guests to homes starting at the property line

Her selection is based on a combination of art and culture:

entrance and spreading throughout their houses. It all

a. Savannah, Georgia is known as the hostess city, but

speaks to their culture and traditional religions.

China has to be the hostess country. Blood has visited

e. West Africa, Nigeria, Lagos, Accra, Kumasi, Ghana and

many cities in China (west, east, north, south, central and

other neighboring cities; being part of academia has an

in rural areas). In every case the people are friendly and

advantage in that your foreign colleagues introduce you

accommodating, they are always anxious to share their

to their scholars, students and chiefs. You also benefit

culture. It is most overwhelming to see the vast changes

from formal and informal presentations about their

that have taken place in the last twenty years in China’s

history and culture. Accra stands out emotionally because

infrastructure and improved living conditions.

of the waiting quarters at the slave fort.

b. Moscow/St. Petersburg Russia. The people are eager to

f. India; Kochi, Varanasi, Goya, Kolkata, and other cities:

direct foreigners to events and activities. Most interesting

In many ways India is a step back to an appreciation of

are Greek Orthodox churches and the plethora of grand

family, culture, traditions, symbolism, beliefs, and religion

monuments, castles and expensive up-scale department

(Buddhists, Hindus and Jains), cremation rituals and

stores. All of this is contrasted against the picturesque

evening worships attended by hundreds of people. Blood

rural landscapes and impecunious living conditions.

has a wonderful photo of a bull entering a china shop.

www.peggy-blood.pixels.com 405

UNIQUE WINES COME FROM BRITISH COLUMBIA

YES, CANADA MAKES WINE. GREAT WINE.

indeed very chilly places to grow grapes. The

Internationally, it surprises many people that British

Okanagan Valley and Similkameen Valley, where most

Columbia even produces wine. Being so far north,

of British Columbia’s grapes are grown, belie their

above 49° latitude, the logical thought is that it must

location and instead of being cool have a unique

be too cold. Even those who accept that wine is made

climate best described as a short, hot growing season

here expect it to be a marginal cool climate region, but

with desert-like conditions.

British Columbia is like no other place on earth when it comes to growing wine grapes. BC has the unique

IT’S A DESERT

combination of extreme heat and cold that results in

While grapes are grown in many parts of southern

intense fruit-driven, fresh and structured wines.

British Columbia, 90% of all vineyards are in the Okanagan Valley and Similkameen Valley, a four-hour

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NOT A COOL CLIMATE

drive east from the city of Vancouver. Between

With the vineyards north of 49° latitude, you would

Vancouver and wine country is the Coastal Mountain

expect a very cool climate similar to other wine

Range. These impressive mountains strip the moisture

producing areas at this latitude, like the Champagne

from the weather that comes from the Pacific Ocean

region of France and much of Germany, that are both

and, while Vancouver is a coastal city, the Okanagan

THE TEMPERATURE GOES TO EXTREMES

A SHORT, HOT GROWING SEASON

It gets very hot and yet it can get very cold in British

The combination of dry conditions, hot days and long

Columbia vineyards, and often on the same day. The

daylight hours with lots of sunlight means the

diurnal temperature swing (between day and night) can

Okanagan Valley and Similkameen Valley have a

be as much as 30°C (86°F), something very rare

condensed, hot and intense growing season. Budbreak

anywhere else in the world. Temperatures in the winter

can start weeks after places like Bordeaux in France

can dip below -20°C (-4°F) and then hit +40°C (104°F)

but harvest will often take place around the same time

in the summer. Grape growing in British Columbia is

between September and October. This short, hot

about extremes. The cool nights have a big impact on

growing season is unique to British Columbia; there

wine quality. While the sun and heat create intense

isn’t anything else like it in the world.

fruit flavours in the wines, the cool nights preserve natural acidity keeping the wines fresh and lively – a

BRITISH COLUMBIA IN A BOTTLE

signature trait of the Wines of British Columbia.

This unique climate makes unique wines. The Wines of British Columbia have bright natural acidity along with

LET THE SUN SHINE

ripe fruit with pure and intense flavours. There is also

The northern latitude also has a big advantage when it

natural tannin structure in the red wines that gives

comes to sunlight. During the peak of the growing

great ability to age. Our wines offer great acid, tannin,

season, British Columbia vineyards will see as much as

fruit and concentrated flavours - naturally.

two hours more sunlight per day than famed regions such as Napa Valley in California. This is like the vines

FROM COAST TO DESERT

enjoying an extra day of sunshine every week and,

Even

because of this, the vines rarely have trouble producing

concentrated

ripe, intensely flavoured fruit, and are able to do it over

Similkameen Valley regions, there is a diverse group of

a shorter number of days.

other terroirs making interesting wine in the BC region.

though

much

of

within

the

the

grape

Okanagan

growing Valley

is and

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THE AIR UP HERE An often-forgotten fact about British Columbia wine regions is that significant altitude is involved.

'Grape growing in British

Vineyards range from around 300 metres altitude

Columbia is about extremes.

near Osoyoos up to around 600 metres for some

The cool nights have a big

hillside vineyards near the town of Oliver. The

impact on wine quality.

Similkameen vineyards range from about 400 to 480

While the sun and heat

be

create intense fruit flavours

considered high-altitude vineyards, yet another

in the wines, the cool nights

extreme in the diversity of British Columbia’s terroir.

preserve natural acidity

metres.

In

many

countries,

these

would

keeping the wines fresh and

DIGGING DEEP The vineyards of British Columbia have an interesting geological history. The Okanagan Valley and Similkameen Valley have a diverse range of soils formed by everything from volcanic to glacial action.

The result is a complex mix of soil formations, structures and types. Soils can also vary considerably even within a small area. Driving through the Okanagan or Similkameen and looking at the steep rocky cliffs, you get an idea of the diversity of soils that underlie the vineyards, which have been shaped

the Wines of British Columbia.'

'This unique climate makes unique wines. The Wines of British Columbia have bright natural acidity along with ripe fruit with pure and intense flavours. There is

by years of sedimentation, stream and meltwater

also natural tannin structure

deposits, glacial till, windblown deposits and colluvial

in the red wines that gives

action.

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lively – a signature trait of

great ability to age.'

WINE IN BC WINE REGIONS Okanagan Valley Similkameen Valley Fraser Valley Vancouver Island Gulf Islands Thompson Valley Shuswap Lillooet Kootenays SUB REGIONS Golden Mile Bench Okanagan Falls Naramata Bench Skaha Bench Cowichan Valley TOP 10 WHITE VARIETIES Pinot Gris Chardonnay Gewürztraminer Riesling Sauvignon Blanc Pinot Blanc Viognier Ortega Ehrenfelser Blattner Whites TOP 10 RED VARIETIES Merlot Pinot Noir Cabernet Sauvignon Cabernet Franc

The Wines of British Columbia truly are a reflection of the land where the grapes are grown and the exceptional people who craft them.

The BC wine industry contributes $2.8 billion annually to British Columbia’s economy.

Syrah (Shiraz)

Pre-COVID 19, BC’s wineries welcomed

Gamay Noir

more than 1,000,000 visitors every year.

Maréchal Foch Malbec

There are 284 licensed grape wineries

Petit Verdot

in British Columbia (total 370 licensed

Zweigelt

wineries).

RATIO OF WHITE TO RED

There are 929 vineyards with more than

49% to 51%

10,260 acres of planted land.

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JASON BEHRENDS

"I find my eyes being drawn to a blade of grass blowing in the wind or watching a duck fly off to the horizon. I imagine the wind swirling through the fields and water flowing down a stream. This planet is amazing and sometimes we fail to see all the beauty it possesses. In that moment, I stop, I watch, and I capture that moment to share with everyone."

0202 FO TSEB GITSED

Jason Behrends lives in Fredericksburg, Texas. He has

curiosity to roam wild – especially with different paints

a doctorate in science. His abstract art reflects his

that could create texture and offer a multi-dimensional

interest in nature, science, and his surroundings. He

experience for the audience. I’ve worked with oils, but

utilizes his interests as inspiration to explore color,

when I discovered latex acrylic paint, it completely

light, and texture with acrylic latex paint on canvas.

changed my esthetic and allowed me to play and see different forms emerge as I created.

Give a summary of your background and history.

Growing up in a rural area outside a small town in

Share with us some insights into your process.

Texas, experiencing the mysteries and beauty of nature

Most of my work starts with a sketch of a concept; one

was a welcomed gift. Inspired at a young age by my

that is always rooted in nature. It may be a shape that I

father Monroe, encouraged me to explore art in all its

am intrigued by or some sort of movement that sparks

forms. I was around 5 or 6 and with my father’s

an idea. I flew a lot before the pandemic and my time

guidance, I began my craft by creating landscapes;

spent in the clouds allowed time to calm my thoughts

where he taught me how to blend colors and the

and sketch. From there, I translate those sketches onto a

intricate techniques of oil paint. Discovering those skills

blank canvas. While I have many sketches that I have yet

early on piqued my interest and allowed my natural

to paint, I look for the right tools to translate them to 411

"Art triggers inspiration and I want to pass that along to my viewers.

I want to create something that makes nostalgic memories come to light and perhaps a feeling of movement."

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canvas. I am beginning to research and

How do you want to impact viewers?

develop techniques that may one day

Art triggers inspiration and I want to pass

allow me to create those works.

that along to my viewers. I want to create something that makes nostalgic memories

How would you describe the unique

come to light and perhaps a feeling of

DNA of your art?

movement. As humans, we’re always on

Nature. My work for the most part- at

the hunt looking for the next spark or ‘ah

least at the moment, does not scream

ha’ moment. The art I create is multi-

nature, but the colors I tend to migrate

dimensional and is more than what

towards are bright, typically in one family

appears on canvas. These creations are of

and may not be necessarily associated

natural harmony and show how it all can

with nature. Close your eyes and imagine

work together to be stunningly beautiful

a leaf. It’s not just a single shade of green,

– if only we can take a break from staying

but depth and perception introduce other

within confined lines and be open to

complimentary

what’s going to happen next.

colors

that

blend

together. There is a natural blending in nature that happens when you look

Share with us some client reactions?

closely, and I try to capture that in all of

I do love working directly with clients

my work.

because you get to be inspired all over

"The art I create is multi-dimensional and is more than what appears on canvas."

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"I want to push the boundaries of how much is too much."

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again. Some times you get to hear what they are

Share with us some of the themes and concepts that

thinking and feeling about a piece that was made

you have explored.

specifically with them in mind. One client had seen my

Discovering abstract did not happen overnight, but with

work and reached out to commission a piece. The client

my roots in landscapes, the foundation just continued

was looking for a statement that would naturally draw

blossoming. I think I fought it at first and I can see it in

people in- a conversation piece, if you will. As long as the

my work. I wanted to maintain the control of one part of

person viewing my work feels some sort of emotion, I

my brain and in another part, I wanted to be free.

consider it a success. Like life, art is unpredictable.

I became intrigued by flora, which allowed me to move

Often, art has the ability to be seen differently by the

away from realism a bit and opened my mind to the

same person because of the lighting, the angle or the

abstract. From there it evolved to where I am today.

way the person is feeling at that particular moment.

I still will get inspired by a flower and just have to paint

it, but I am loving where my art has evolved to and am still continuing that journey in paint and discovery to define new concepts.

What are you currently working on?

I am currently working on a series of color and movement, which all stems from an inspiration I have found in nature.

My current work has allowed me to really play with texture on canvas. I want people to view my work from all angles to see the depth. If I could hang my work horizontally, I might just do that. I want to push the boundaries of how much is too much. One more layer, maybe just one more.

What directions are you interested to explore in

being drawn to a blade of grass blowing in the wind or

future projects?

watching a duck fly off to the horizon. I imagine the

Seasons through motion and texture while exploring

wind swirling through the fields and water flowing

my immediate surroundings more. I am fortunate to

down a stream. This planet is amazing and sometimes

live on a beautiful property with vast open spaces and

we fail to see all the beauty it possesses. In that

wildlife everywhere. The space I work in is completely

moment, I stop, I watch, and I capture that moment to

bonded to nature’s natural wonders. I find my eyes

share with everyone.

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What attracts you to your preferred medium?

I love the way latex acrylic paints flow and give the ability to create layers and layers for texture. The way it disperses on the canvas can be random- yet the ability for it to be controlled intrigues me. It’s that natural struggle between freedom, control and finding the natural balance that appeals to me.

I look for different means to transfer the paint onto canvas… anything besides a brush really, though it does come in handy from time to time.

What do you feel when you are creating?

My art is my feelings, so it depends on my emotions at the time of me creating. I will say I try to only paint when I am in a positive and inspired mood.

Sometimes I turn on the music and just paint. The emotions fill the canvas, which can be calmness and serenity, happiness and excitement, or sometimes tension and fear.

What are your views on the role of art today?

Art has very few boundaries if any. One person can see art in something, while another does not.

However, art should speak to you and make you feel something. It doesn’t matter what anyone else thinks, it matters only what you think. If you like it and you are inspired by it, that is what matters.

Art can be a statement, but it also can just be beautiful to look at. I try to make art that is beautiful in someone’s eyes. Something someone can appreciate and enjoy.

How does your location influence your art?

I live in a small town and am fortunate to have nature all around me. The nature inspires me and has really focused my current work. My home is light and bright, allowing me to discover nature’s happenings and become inspired. Our small town has many artists and galleries that I enjoy visiting.

"I try to make art that is beautiful in someone’s eyes.

Something someone can appreciate and enjoy."

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"I look for positivity and I hope that shows in the art I am creating."

How has your art practice evolved over your career?

I am exploring the next chapter other than being a private artist creating custom pieces for my clients. The process is different for me because I get to know the client and ask many questions before I start. I also work with them as I create. In this next chapter I am opening myself up to the public more, which is a bit more challenging. At the same time, it is giving me more freedom to create and explore where I want to head next. I am really excited about this next chapter and how my work will evolve.

How has the COVID-19 pandemic affected your creative expression?

It has forced me to look at what I am passionate about.

It has given me time to think and discover what is possible. It has forced me to put myself out there, which is ironic because we have had to close ourselves off from the world at the same time. I look for positivity more and I really hope that shows in the art I am creating in this moment. Art has become more and more of an outlet for me during this pandemic.

Website: www.behrendsgallery.artspan.com 417

FONG FAI

"Abstract art, it is a reality that does not exist, a product of thought, momentary feelings, and music melody.... all that could be my inspiration to create. Artists' works are often inseparable from their cultural background. I'm no different. Eastern influence constantly guides my path.

I use the rhythm of calligraphy, color strokes, to create my work."

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Fong Fai studied art at the Hong Kong Academy of Art

I use the brushstrokes of calligraphy to create my works.

in Hong Kong. He was selected as one of the six leading

My grandfather is a calligraphy and ink painter.

artists in Hong Kong. He owned an art gallery (Fong's

Influenced by his inheritance, calligraphy brushstrokes

Art Gallery ) and also taught at the Oriental Arts

are the soul in my works. I am a professional painter, no

Institute in Hong Kong.

matter what, I am still creating, and my thoughts change as I move forward , It can be experienced in my art work.

His artworks were exhibited in Asia, Australia and

The feature of my work is that I use the rhythmic

North America. Later, Fong Fai was invited to exhibit

brushstrokes of calligraphy to create my work.

his paintings in San Francisco And Hawaii, where he fell in love with the USA and decided to stay. Today his

My work involves fonts, the four seasons of nature, the

works continues to appear in the States.

sense of music, and the exploration of the inner world emotions, etc. I don't try to influence others, I just want

He is an abstract artist. He uses the brushwork of

to give others a moment to forget about the troubles of

calligraphy to create his artworks, his works take on a

the world. The Covid-19 that began last year caused

wider and freer soul view, possess a dense oriental

countless deaths in the world. Compared with nature,

feeling, and try to integrate the concept of Eastern and

life is very small, let alone the universe. I hope that art

Western art. Fong now lives in San Francisco.

can give injured humans a moment of spiritual comfort.

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MOC.IAFGNOF.WWW

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PERFECTION AWAITS YOU ON PORTUGAL'S ALGARVE COAST Algarve was voted Best Beach Destination in the World in 2020 at the prestigious World Travel Awards.

The Algarve coast is Europe’s most famous secret.

Dance the corridinho. Swim with dolphins. Taste a goose barnacle. Climb to the top of a lighthouse. Learn to say “móce deb” with the locals. Practise your golf swing on an award-winning course. Sunbathe on a deserted beach. Do all this (and much more) on a relaxing or invigorating Algarve holiday.

Beaches Some of the best and most beautiful beaches in the entire world are to be found in the Algarve. Hardly surprising then that the region is a favourite for sunseekers from all over. They come in search of the natural heritage that is now managed in a sustainable fashion, in order to provide quality recreational facilities able to meet all kinds of requirements. There are beaches to suit every taste with the majority having gained due recognition in the form of the EU "Blue Flag" for quality standards. Along its 200-kilometre coastline, the Algarve features all types of coves, cliffs and caves, its rocky beaches contrasting with broad expanses of sand.

Different types of beach, but all bathed in the calm, warm seawaters of this coastline.

Golf Golfing days on Portugal's Algarve are sheer bliss and remain in the memory long after the holiday is over.

Atlantic washed coastline running from Sagres in the

Generations of golfers have headed for Portugal's

west to Vila Real de Santo António in the east.

southern coast, lured by 300 days of sunshine, high

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quality accommodation, a friendly laid back atmosphere,

Nature and Landscape

superb scenery and 40 of the best golf courses to be

Idyllic sceneries to enjoy! The Algarve’s natural diversity

found anywhere in the world. It was the noted golfer Sir

is undoubtedly one of its greatest riches. Visitors can

Henry Cotton who established the Algarve as a world

easily pass through different environments within the

class golf destination and he also designed a number of

same landscape. From coastal regions to the Algarvian

the classic courses along this 150 mile long stretch of

Mountains, there is a whole world of diversity to be

explored and just as many different ways to do so. On

region that is not only the perfect destination for a

the coastline, an ecological system of awe-inspiring

beach holiday, but also an excellent choice for nature

biodiversity – from native birds with proudly built nests,

tourism enthusiasts. Without doubt, one of the best

to molluscs and crustaceans which are the main source

ways to get to know the region is by cycling or walking,

of revenue for seafood producers in the South – invites

since this lets you enjoy its natural beauty, discover its

visitors to observe fauna and flora closely on pleasant

biodiversity, admire its heritage and learn about its

trail walks. Far from the wide beaches and steep cliffs,

culture. In the Algarve, cycle tourism and walking

bright green mixes with shades of brown in the vast

enthusiasts will find a vast array of well-signposted

plains of the Barrocal region that invites the visitor to

itineraries and routes, as well as equipment hire and

experience a different Algarve, one that is covered with

organised programmes. Whether you do your own thing

orange trees and orchards of fig, carob and almond

or use one of the specialised operators, take us up on our

trees. Here too, there are nature trails to follow. Miles

suggestions and explore the Algarve from one end to the

and miles of landscape with special geological features –

other.

schist and granite-like rock – are here to be enjoyed in the tranquillity of the mountains among friends and

Gastronomy and Wines

family.

The Algarve has many surprises in store for you. Among its greatest treasures are its culinary specialities, the

Cycling and Walking

wines, desserts and the famous medronho brandy. Set

The Algarve's diverse landscapes, beautiful beaches,

off on a culinary journey that will delight your taste buds

abundant nature and agreeable climate make this a

with flavours and wild sensations you have likely never 427

experienced before. Try both traditional and contemporary dishes. Your palate will always remember your visit .

Culture and Tradition A unique way to do, feel and celebrate! More than just magnificent beaches and a blessed climate, the Algarve offers a rich folk heritage which is worth appreciating along with the pleasures of the sun and the sea. Devote some time to discovering it because there are old customs, living traditions and heritage buildings which can be enjoyed throughout the year. Algarvians across the centuries have left such a rich heritage which deserves to be explored: from the unique celebrations of festive occasions to the historical buildings of ancient and recent times; to the irresistible delicacies making up the cuisine.

Arts and Crafts All across the region, you will find artisans who make blankets, table runners, tablecloths, fine linen and rugs, using traditional materials and techniques. Palm weaving was once an important activity for many families’ budgets, as it was connected to the need to work in the fields. Today, while it may have lost some of its utilitarian importance, it has acquired ornamental qualities so that items made in this way have become not only charmingly attractive but also much sought-after. The same is true of pottery and ceramics, tiles, wooden, copper and wrought iron pieces, and magnificent decorative lace items, all of which once served merely utilitarian purposes and are now highly prized for their decorative value. The Algarve’s artisans produce unique pieces, based on deeply-rooted and longstanding traditions.

Handicrafts are like a common thread connecting us to our beginnings and which we hand down to the generations that follow us. When you discover the handicrafts of the Algarve, you discover its past, you feel its traditions and customs, and you can connect with its age-old values that embrace many different peoples and influences.

Typical Houses The most obvious symbol of traditional architecture in the Algarve is undoubtedly the chimney, which translated house owners’ individuality and displayed their wealth. No two chimneys were alike and the more intricate their design, the more expensive they were to make. Fine examples of these symbols of popular art and creative skill can be seen on wealthier rural dwellings in the inland Algarve.

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Health and Wellness

Climate - We saved the best for last!

The Algarve is an excellent choice for all those who like

The Algarve has one of the best climates in Europe, all

taking the opportunity on holiday not only to rest, but

year round. With little rainfall, generally occurring

also to take care of themselves in a peaceful

between the months of November and March, and

environment. Immerse yourself in the water, let it

plenty of sunshine, the Algarve offers outstanding

relieve stress, treat skin problems, rejuvenate you, and

weather

restore general wellbeing and health. These are

Temperatures are high in summer, which is one reason

tempting propositions which are ever more sought

why the Algarve is a top “sun and sea” destination and

after. You have a choice between fresh water

an authentic paradise for beachgoers. The region’s

treatments in the Monchique Thermal Spa, and salt

beaches, stretching for many kilometres along the coast,

water treatments in thalassotherapy centres. For those

consist of fine, golden sand, and the sea is calm, with

who prefer a more rustic setting with a more intense

temperatures of around 22ºC in the summer.

conditions

for

year-round

tourism.

relationship with nature and more intimate treatment, there are relaxation farms where you can savour typical

Due to its terrain and geographical location, the Algarve

Algarvian dishes and enjoy outdoor pursuits. In the

is influenced by various climates: from the continent of

Algarve, there are options for healthy holidays

Europe to the north of Africa, and from the Atlantic

combined with relaxation.

Ocean

to

the

Mediterranean

Sea.

Maximum

temperatures vary between 15ºC and 31ºC over the Nautical

course of the year. In winter, temperatures do not drop

Make the most of the sea in the Algarve. Activities and

below zero and the sunny days draw many tourists from

water sports, from surfing to canoeing, are some of the

the colder countries in northern Europe at this time of

region’s leisure attractions. If your idea of leisure

year.

includes water sports, such as surfing or canoeing, then the Algarve is right up your street.

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ART SHOWCASE

JANET ECHELMAN

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Janet Echelman sculpts at the scale of buildings and city blocks. Echelman’s work defies categorization, as it intersects Sculpture, Architecture, Urban Design, Material

Science,

Structural

&

Aeronautical

Engineering, and Computer Science. Echelman’s art transforms with wind and light, shifting from “an object you look at, into an experience you get lost in.”

Using unlikely materials from atomized water particles to engineered fiber fifteen times stronger than steel, Echelman combines ancient craft with computational design software to create artworks that have become focal points for urban life on five continents, from Singapore, Sydney, Shanghai, and Santiago, to Beijing, Boston, New York and London.

Permanent works in Porto, Vancouver, San Francisco, West

Hollywood,

Phoenix,

Eugene,

Greensboro,

Philadelphia, and Seattle transform daily with colored light. Curiosity defines Janet Echelman’s nonlinear educational path. After graduating from Harvard College, she lived in a Balinese village for 5 years, then completed separate graduate programs in Painting and in Psychology. A recipient of an honorary Doctorate from Tufts University, Echelman has taught at MIT,

house in Bali to a fire, Echelman returned to the United States and began teaching at Harvard. After seven years as an Artist-in-Residence, she returned to Asia, embarking on a Fulbright lectureship in India.

Promising to give painting exhibitions around the

Harvard and Princeton Universities.

country on behalf of the US Embassy, Echelman shipped

Her TED talk "Taking Imagination Seriously" has been

fishing village famous for sculpture. The deadline for the

translated into 35 languages with more than two

shows arrived - but her paints did not. Echelman, inspired

million views. Recipient of the Guggenheim Fellowship,

by the local materials and culture, began working with

Harvard Loeb Fellowship, Aspen Institute Henry Crown

bronze casters in the village but soon found the material

Fellowship, and Fulbright Sr. Lectureship, Echelman

too heavy and expensive. Echelman walked along the

received the Smithsonian American Ingenuity Award in

beach daily, watching the fishermen bundling their nets

Visual Arts, honoring “the greatest innovators in

into mounds on the sand. She'd seen it every day, but this

America today.” In popular culture, Oprah ranked

time saw it differently - a new approach to sculpture, a

Echelman’s work #1 on her List of 50 Things That Make

way to make volumetric form without heavy, solid

You Say Wow!, and Echelman was named an

materials. Her first satisfying sculptures were hand-

Architectural Digest Innovator for "changing the very

crafted in collaboration with those fishermen. Hoisting

essence of urban spaces."

them onto poles, she discovered that their delicate

her special paints and equipment to Mahabalipuram, a

surfaces revealed every ripple of wind in constantly

Echelman first set out to be an artist after graduating

changing patterns and she was mesmerized.

from college. She travelled to Hong Kong in 1987 to study Chinese calligraphy and brush-painting. Later she

Today Echelman constructs net sculpture environments

moved to Bali, Indonesia, where she collaborated with

in cities around the world. Echelman’s studio is based in

artisans to combine traditional textile methods with

Boston, where she lives with her husband David Feldman

contemporary painting. When she lost her bamboo

and their two children.

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DREAM CATCHER

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THE

URUGUAY ART EXPERIENCE www.turismo.gub.uy

MADRID EUROPE'S ART CAPITAL WWW.ESMADRID.COM

Keisha Manijean - Spreading Love Through Art Keisha Manijean began creating at the age of 5, drawing recreations of Disney Video Covers. This inspired her fascination with the world of illustration and fantasy.

Surrealism as a medium became her focus. Naturally gifted, Keisha explored many facets and genres of art before attending the Savannah College of Art & Design in Georgia.

Her travels have taken her all over the U.S., London, the island of St. Martin, and Paris, France. Each experience profoundly shaped her world and view of people on a universal level. Keisha’s art mediums are oil, inks, charcoal, and color pastels.

A defining element of her work is her quirky use of layering.

Keisha also makes fine jewelry and specializes in prayer beads centered with healing crystals. Keisha’s most recent works were spawned from timely meditations on the Black Lives Movement as well as the fallout of the COVID-19 pandemic. Examples include “Harmony Through Conflict” in 440

"THE VIEWER IS ALWAYS FREE TO INTERPRET MY WORK AS THEY SEE IT, BUT I WILL ALWAYS DEFINE MY STATE OF MIND WHEN I CREATED IT." - KEISHA MANIJEAN

which an African American boy and a Jewish boy discover and befriend each other on the frontlines of a BLM protest.

Running parallel and kindred to Keisha’s artwork is her non-profit “Just Love Movement”: a trinity of programs designed to uplift and activate people across three generations to become the most vital contributors to society and themselves that they can be. www.kmanijean.artspan.com

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TIM WILSON 442

The New Zealand art scene lost a legend in 2020

the Dutch Masters and embraced the NZ landscape

with the passing of Tim Wilson (2019 DESTIG Artist

with them. He then developed those techniques to

of the Year).

create his own unique interpretation of that specific light and landscape he was so captivated by.

After a courageous battle with cancer and having

Regardless of where the landscape was that he drew

been told he had one year to live, he continued to

inspiration from, he was able to capture the spirit of

successfully paint for another eight and a half years.

place with his work in such a way that people who

He has left a lasting legacy as one of his country’s

connected with those places recognised them

most treasured and inspired landscape painters.

immediately. Tim took not only NZ landscape

Tim’s life, as with his paintings, was extraordinary in

painting but the entire genre to a whole new level.

every way. Generous of heart, he was loved by so

He used the landscape to express his emotional and

many, encouraged so many, inspired and awed so

spiritual response to it and like the nature spirit he

many with his love of life and his passion for painting.

was himself, became a conduit for the viewer’s

To his final day, as always, he was dreaming of new

connection with his experience.

paintings to paint to take us on those soulful journeys that his paintings made possible. We are forever

In the art world it is said, that when an artist achieves

grateful for the incredible body of work he produced

their objective, that is then they have achieved

in his 59 years as a painter and we will ensure the

mastery. As a 16 year old boy on a school bus trip,

soulfulness and beauty both of this extraordinary

Tim was deeply moved by seeing the isthmus

Master of Light and his works will never be

between Lakes Hawea and Wanaka. His deepest

forgotten.

desire was to bring to the attention of his school mates what he was both seeing and experiencing so

Incredibly generous of spirit, Tim’s contribution to

that they could share his epiphany. Observing the

the NZ art scene was vast and far reaching. He has

response of the thousands of people who have

been an inspiration and mentor for many artists,

become fans there is no doubt he achieved that

encouraging them to always follow their heart and

mastery. His work speaks for itself.

always, always to paint. He took the oil painting techniques of the Italian Renaissance painters and

www.timwilson.com

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"The miracle of the universe intrigues me. It is what drives me outside into the landscape and on starry nights to wonder; it is what drives me to paint."

- Tim Wilson DESTIG Interview 2019 444

"I go out into the landscape - every day I look. I am an observer. I learn by doing, something my father always told me - learn by doing."

- Tim Wilson DESTIG Interview 2019 445

"The techniques have developed over the years. I had the greatest teachers in the world, the old masters and some of the modern masters" - Tim Wilson DESTIG Interview 2019 446

"There is only one backstory to all my creative endeavours - I’m absolutely obsessed and obsessive‌I paint, therefore I am."

- Tim Wilson DESTIG Interview 2019 447

"I believe my role is to portray my environment in a perfect sense - pristine, life giving, healing, spiritually uplifting and pure, free of the disruptions of man."

- Tim Wilson DESTIG Interview 2019 448

WWW.TIMWILSONGALLERY.COM 449

KATHLEEN COLLINS - A FILM PIONEER Born in 1942, raised in Jersey City, and educated at

At the time of her death in 1988, Collins left behind

Skidmore and the Sorbonne, Kathy Collins was an

many

activist with the Student Nonviolent Coordinating

“Conversations with Julie;” a film musical she wrote

Committee during the Civil Rights Movement. She

with Michael D. Minard entitled “A Summer Diary;” her

went on to carve out a career for herself as a

sixth stage play, “Waiting for Jane;” and an unfinished

playwright and filmmaker during a time when black

draft of her first novel, Lollie: A Suburban Tale.

projects

including

the

screenplay,

women were rarely seen in those roles.

One of the first black American women to produce a She was married twice, and had two children who she

feature-length film, she is considered to have “changed

raised in Piermont, New York. She died young, at age

the face and content of the black womanist film.”

46, from breast cancer. Her most known work is the film Losing Ground, followed perhaps by two plays, In

Collins’s work is significant in that it conveys images of

the Midnight Hour, and The Brothers. A never-before

people of color, particularly women, in ways that even

released

Whatever

now are rarely seen in popular culture. She challenged

Happened to Interracial Love?, was published by Ecco

stereotypes and explored the interlocking oppressions

Press in Fall, 2016.

of gender, race, and class.

collection

of

short

fiction,

COLLINS DIRECTING 'LOSING GROUND' 450

SERET SCOTT IN 'LOSING GROUND'

A SCENE FROM 'CRUZ BROS' 451

STORY COLLECTION

A SCENE FROM 'LOSING GROUND' 452

KATHLEEN COLLINS

SERET SCOTT PROOFS FOR 'LOSING GROUND'

Collins's first film, The Cruz Brothers and Miss Malloy was

Themes frequently explored in Collins’s work are issues of

a 50-minute film based on the work of Henry H. Roth.

marital malaise, male dominance and impotence, and

Although the spritely comedy was a charming and

freedom of expression and intellectual pursuit. Her

beautifully crafted first-time effort from an indie

protagonists are cited as “typically self-reflective women

filmmaker, she was accused of deserting her African-

who move from a state of subjugation to empowerment.”

American roots to tell the story of three Puerto Rican brothers scraping by while contending with the ghost of

Collins, who was the recipient of writing fellowships from

their dead father.

the National Endowment for the Arts, and in 1982 and 1983 a finalist for the Susan Blackburn International Prize

Kathleen Collins made the movie 'The Cruz Brothers and

for Playwriting, always considered herself a writer first.

Miss Malloy' with an initial investment of a mere $5,000 from friends plus a line of credit from DuArt Labs. The film

“I have a dream” the phrase made famous by Reverend

was shot in 1979 in Rockland County, NY. It won the First

Martin Luther King — historians cite three possible

Prize at the prestigious Sinking Creek Film Festival.

sources, one of them is Kathleen Collins.

Her brilliant second film, the 1982 comic drama Losing

Kathleen Collins had a powerful intellect and was a firm

Ground, which she both wrote and directed, centers on

believer in justice. She was deeply passionate about

the experiences of Sara (Seret Scott), a university

writing, directing and sharing her knowledge with the next

professor whose artist husband Victor (Bill Gunn) rents a

generation. It's worth watching this video of her lecture at

country house for a month to celebrate a recent museum

Howard University. She shares gems to benefit creators,

sale. The couple’s summer idyll becomes complicated as

regardless of background or their political perspectives:

Sara struggles to research the philosophical and religious

www.vimeo.com/203379245

meaning of ecstatic experience... and to discover it for herself.

Website: www.kathleencollins.org 453

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MYKONOS YOUR PERFECT PARADISE Welcome to Greece's most famous cosmopolitan island, a whitewashed paradise in the heart of the Cyclades. Set out on a journey to discover a fascinating world where glamour meets simplicity. On Mykonos celebrities, college students and families mingle together to celebrate the Greek summer. Whether you are an entertainment junkie out for a real good time, or a visitor who wishes to explore the island’s history and tradition, Mykonos will certainly meet your expectations.

W W W . V I S I T G R E E C E . G R

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