Graham Fowler

GRAHAM FOWLER

MOVEMENT AND THE TRANSIENT ILLUSION OF LIGHT MOUVEMENT ET ILLUSION ÉPHÉMÈRE DE LA LUMIÉRE

GRAHAM FOWLER MOVEMENT AND THE TRANSIENT ILLUSION OF LIGHT MOUVEMENT ET ILLUSION ÉPHÉMÈRE DE LA LUMIÉRE PAINTINGS / TABLEAUX

essays by / textes par

Graham Fowler Ray Stephanson

This catalogue is published for the exhibition of Graham Fowler’s artworks at Han Art Gallery, Montreal, Canada.

Ce catalogue est publié pour l’exposition des oeuvres de Graham Fowler à la Galerie Han Art, Montréal, Canada.

HAN

ART

WATER AND LANDSCAPE AS A SUBJECT MATTER GRAHAM FOWLER My paintings are derived from my photographs of landscape sites to which I have a strong aesthetic response. Using detailed geological maps, I go to great lengths to obtain my subject matter, hiking deep into the wilderness following rivers and streams. My focus is on painting representations of the fragmented surface of water and the surrounding rocks and foliage for their formal and aesthetic qualities. I am particularly interested in the play of light and colour, the tension created by the compression of near and far space, and the use of an overall picture plane where no one area is pictorially more important than another. In these paintings I am finding ways of linking representational landscape paintings to formal aesthetic strategies, in particular non-hierarchal conceptions of overall space and tone that are present in non-objective painters such as Mark Toby and the rhythmic sound patterns of musicians like Steve Reich and Terry Riley.

Initially, I saw landscape as a subject matter that could, for its formal qualities and less obvious, storytelling character, rest outside the narrative traditions of figurative painting. However, it became apparent that how we perceive landscape, both natural and constructed, is shaped by culture, conditioned by history, and entangled with the times in which we live. Overtime, I have chosen to look at how landscape paintings are not autonomous but represent something outside themselves, something in the world tied to both culture and subjective experience. It is this conception of form and site, in combination with the ambiguous content of landscape that has shaped the thematic exploration of

MOTION AND STASIS 2018 46” x 69” Oil on canvas / Huile sur toile

my work. Landscape in its pure untouched form is not man made but is interpreted and understood through the culture. It has, for much of its history, been seen as the background for the subject matter of a painting and not the subject itself. It lacks the narrative interpretive possibilities of the figurative tradition that informs much of Western painting, and therefore its subject is more difficult and elusive to identify. While many painters have incorporated landscape as an important element in their art, it has often remained a vehicle to create mood and inform the symbolic narrative of figurative drama. It was only in the early nineteenth century that landscape became the subject and not the backdrop in the popular imagination.

It is landscape, and above all, water as subject matter, with all its complexities, that is the subject matter of my painting. They depict nature thematically through a rigorous analysis of light, space, and colour. My artworks address the optical sensation of nature as subject matter in its own right and the aesthetic possibilities that can be realized in pictorial space. In particular, I have been painting the surface of water and what we see through the water’s surface for its formal, aesthetic, abstract relationships and for its ineffable character. Water as subject matter fascinates me as visual phenomena. My paintings are a representation of how water reveals what is beneath it, reflects what is above it, defines its own surface, and is in constant flux and movement. In the water paintings, I analyze the succession of moments perceived through the senses, that stream of sensation that becomes a stream of consciousness.

In order for me to paint nature, I have to witness it myself, to experience and be surrounded by it. It is this tension between near and far, observed and mediated, abstract and representational, reconciled through photography and the act of painting that creates the psychic space of my paintings.

WINTER WATER, THE TORRENT 2018 46” x 69” Oil on canvas / Huile sur toile

L’EAU ET LE PAYSAGE COMME SUJETS GRAHAM FOWLER Mes tableaux sont issus des photographies que j’ai prises de paysages qui exercent sur moi un fort pouvoir d’attraction esthétique. Me servant de cartes géologiques détaillées, je mets beaucoup de soin à cerner mon sujet, m’enfonçant profondément dans les espaces sauvages, suivant des rivières et des ruisseaux. Je peins des représentations de la surface fragmentée de l’eau, ainsi que de la végétation et des pierres environnantes, pour leurs qualités formelles et esthétiques. Je porte une attention particulière au jeu de la lumière et de la couleur, à la tension qui s’établit de la compression de l’espace proche et lointain, et à la création d’un plan pictural d’ensemble où chaque élément est d’égale importance. Dans ces tableaux, je trouve des façons d’allier des stratégies esthétiques formelles à des peintures représentatives de paysages, particulièrement des conceptions non hiérarchiques de l’espace et du ton global présents chez des peintres abstraits comme Mark Toby, et des configurations sonores rythmiques de musiciens tels que Steve Reich et Terry Riley. À l’origine, je voyais le paysage comme un sujet qui pouvait, par ses qualités formelles et sa capacité, moins évidente, à raconter une histoire, se situer à l’extérieur des traditions narratives de la peinture figurative. Néanmoins, il est devenu manifeste que notre perception du paysage, naturel et construit, subit l’influence de la culture et de l’histoire, et est indissociable de l’époque à laquelle nous vivons. Au fil du temps, j’ai choisi d’étudier ce qui fait que les paysages dans la peinture ne sont pas indépendants,

CASCADE IN BLUE AND GOLD 2014 48” x 72” Oil on canvas / Huile sur toile

mais qu’ils s’y ajoute quelque chose qui leur est extérieur, quelque chose dans le monde, à la fois lié à la culture et à l’expérience subjective. C’est cette conception de la forme et du lieu, combinée au contenu énigmatique du paysage, qui a structuré l’exploration thématique dans mes tableaux.

Le paysage dans sa forme pure inaltérée n’est pas le produit de l’activité humaine, mais il est interprété et compris par le biais de la culture. Il a été, pour la majeure partie de son histoire, perçu comme la toile de fond du sujet d’un tableau, et non comme le sujet lui-même. Il n’offre pas les possibilités d’interprétation narrative de la tradition figurative dans laquelle s’inscrit une grande partie de la peinture occidentale et, par conséquent, il acquiert un caractère insaisissable qui résiste à la définition.

Plus d’un peintre a incorporé le paysage comme élément important dans son art, mais en le réduisant souvent au rôle de vecteur pour créer une atmosphère et élucider le discours symbolique de la scène figurative. Ce n’est qu’au début du XIXe siècle que le paysage est devenu non plus la toile de fond, mais le sujet, dans l’imagination populaire.

C’est le paysage, mais surtout l’eau dans toute sa complexité, qui est le sujet de mes tableaux. Mes toiles décrivent l’aspect thématique de la nature par le prisme d’une rigoureuse analyse de la lumière, de l’espace et de la couleur. Elles abordent la perception optique de la nature comme sujet en soi, de même que les possibilités esthétiques qui peuvent prendre forme dans l’espace pictural. Plus particulièrement, j’ai peint la surface de l’eau et ce que nous percevons au travers de cet élément pour leurs rapports formels, esthétiques et abstraits, et pour leur caractère indéfinissable. L’eau en tant que phénomène visuel est un sujet qui me fascine. Mes toiles sont une représentation de la façon dont l’eau révèle ce qu’elle

STILL WATER, REFLECTED COLOUR 2007-16 46” x 68” Oil on canvas / Huile sur toile

recouvre, reflète ce qui s’y mire, définit sa propre surface, perpétuellement en mouvement et mutation.

Dans les tableaux où figure l’eau, j’analyse la succession de moments perçus par les sens, ce flot de sensations qui se transforme en flux de la conscience. Pour peindre la nature, je dois m’en entourer, en être le témoin et en faire l’expérience. C’est cette tension entre la proximité et la distance, l’observation directe et la vision au moyen d’un intermédiaire, l’abstrait et le représentatif, conciliée par la photographie et la peinture, qui crée l’espace psychique dans mes tableaux.

ROCK POOL 2017 51” x 68” Oil on canvas / Huile sur toile

THE PAINTER AS MUSICIAN: GRAHAM FOWLER’S WATER MUSIC RAY STEPHANSON Ask any musician. They’ll tell you there’s rhythm, movement, and harmonies to be found in most painting. As a jazz and classical musician-composer, what draws me to Graham Fowler’s paintings is the extraordinary musicality of his work. By “musicality” I mean the ways in which small thematic elements of rhythm and sound are repeated in sequences to create a striking development, tension, and release in real time. But how to do this in a static two-dimensional painting without sound requires some real magic from the artist (aka technical skill and vision) and a certain kind of synesthetic imagination from the viewer. Walter Pater’s famous (and pretentious) claim in 1873 that “all art constantly aspires to the condition of music” might contain some truth, but I am not sure what it is. Does he mean that non-choral music captures something that no other art really does? Is it that the evocative melodies and pulses of music capture the non-verbal experiences of pleasure or pain, joy or anguish, amazement or puzzlement without a specific content? Or is it that music gives life to the ineffable, the intensity of raw human responsiveness that vanishes once the music stops? Or does music simply transport us out of ourselves into a different world in time, foreign but still somehow intimate? One can certainly philosophize further, as Arthur Schopenhauer does — “The inexpressible depth of music, so easy to understand and yet so inexplicable, is due to the fact that it reproduces all the emotions of our innermost being, but entirely without reality and remote from its pain… Music expresses only the quintessence of life and its events, never these themselves.” But we need common sense to step

QUICK WATER IN GOLD, EMERALD AND BLUE 2015 48” x 72” Oil on canvas / Huile sur toile

in here: we don’t listen to music to become philosophers. We are there to enter into the experience, to cross thresholds.

And so it is with Fowler’s exhibition here, twelve works whose extraordinary representations of water encourage us to enter the musicality of painting. How does he do it? Part of the answer lies within the viewer, each of whom will be expert in the sounds of water. Of course we all know only too well the mundane sounds of washing dishes, taking a shower, the flow out of taps, drinking water from a cup, the drip-drip of a leak, and so on. Yes, but expert also in other more exotic and emotionallycharged sounds, like the trickles of spring melt, the summer rainfall, lake waves lapping at shorelines, limpid stream-water moving over pebbles or rocks, the rushing hiss or roar of engorged river torrents.

Some of these auditory memories will be powerfully stirred when the eyes encounter something like Quick Water in Gold, Emerald and Blue, a painting so richly endued with water movements — note the multi-directionality of flow, fast versus slow water, the points of turbulence — that it is very easy for the eager mind of a viewer to conjure the musicality of the subject. A simple eye-tracking of the sonic movement of Fowler’s water flow from top left down through to bottom center, and then left and right, will prod the auditory accompaniments. Ask any musician, and they’ll tell you that the audience brings at least half of the performance with them in their willingness to listen. Or in this case, to hear from seeing. But this is only part of it.

One of the challenges for the artist is how to create different qualities of motion from the smallest dabs of paint, allowing the eye to move outward from the subtle color shifts of tiny rectangles and miniscule ovoid forms to a sense of water movement that can evoke sound through the viewer’s see-

HIGH LAND WATER IN A CRESCENT ARC 2015 46” x 67” Oil on canvas / Huile sur toile

ing. Fowler’s repertoire of approaches to these challenges is unique and stunning. Look at splashing water, which he has managed so brilliantly in the resplendent and lush Sweep. There is a storyline here: the dynamic fall of water catching golden sunlight in its arc is the centerpiece, drawing the eye down to impact point and then kinetically outward with the exploding motion; but the eye is then drawn upward to a murky origin and then laterally to a mysteriously crowded ground surface seething with organic vibrations. It is hard not to have a synesthetic experience here, a kind of aural hallucination prompted by visual features. Or look at his superbly executed river movement in High Land Water in a Crescent Arc, where the contrast between vertical and horizontal elements generates the serpentine motion of curved downward flow, and the turbulent whites deftly add to the sense of depth and distance.

Look at his water channels existing on multiple levels, as in Stages on a Descending Stream. The amazing number of tiny forms and color shifts together create the illusion of an almost microscopic water motion, but also — as these tiny elements are made to work together in larger patterns — they guide the slower rhythm of the overall directional flow in this peaceful blue-green world. In this case we might well conjure musical water sounds, but there is also a deeper rhythmical movement in the shifting from stage to stage, from top to bottom.

Equally challenging is creating senses of depth, showing the surface of water but also what lies beneath and what is reflected by it. As Fowler puts it, “A lot of my paintings are about the surface of the water as there is a complexity of feeling derived from it; it’s a flat surface that reveals that which is above it and that which is below it, while defining its own surface. The complexity of that kind of articulated space fascinated me for formal reasons, on a personal metaphysical level, and as a mantra or

STAGES OF DESCENDING STREAM 2017 46” x 68” Oil on canvas / Huile sur toile

a repetitive note in music in which you could lose yourself.” One of the most striking instances of this is rendered in the sophisticated beauty of Still Water, Reflected Colour, which dramatically reveals these multi-dimensions. The viewer’s gaze connects with the water’s surface but simultaneously sees the under-water dimension and the sumptuous reflection of foliage and tree-trunks from above, offering the eye both density of texture and shimmering colors to shift our focus from one plane to another.

For me, this exhibition is a joyful expression of “water music.” (If he were alive, George Frideric Handel would likely approve.) With unerring artistic judgment and the sure hand of experience, Fowler uses his remarkably varied water movements to establish the underlying pulse of the paintings. This brings us back to painting as music, and to the inspirational space that blossoms when the painter engages with the musician. In a moment of reflection, Fowler remarks that “Another big influence on my work, when I was young and painting abstractly, but also later when I moved into representational work, was the minimalist music of composers like Terry Riley and early Philip Glass. They would take one chord and repeat it over and over again creating a transcendent meditative quality. I’ve always associated my painting with music that doesn’t have to refer to things outside itself so much as its own repetitive patterns and rhythms, and that can lead you into a meditative state.” My own experience as a musician is to interpret the visual elements in a painting as structures and sequences of sound and rhythm. I have been fortunate to collaborate with Graham Fowler in this way, using his art as the basis of musical composition. I first identify those elements that my musical imagination responds to most energetically, and then devise several audio tracks that somehow represent the sounds and rhythms I am seeing. Fowler then narrows it down by choosing those tracks that best suit the element he has

SWEEP 2017 48” x 60” Oil on canvas / Huile sur toile

painted, and by suggesting other musical possibilities. Using this slow process for all the elements I have foregrounded, we then put selected tracks into a sequence, we layer tracks for density and dramatic power, we create loop effects from tiny audio bits, we use repeated musical phrases to call attention to thematic features, and we try to capture in sound and rhythm the underlying sonic movements and tensions in the painting. It has been richly rewarding.

I conclude with two brief examples, the first being the extraordinary movements and colors of Cascade in Blue and Gold. Musically the most dominant features here are the vertical drop or the cascade itself, the horizontal frenzy of light and, nearing the bottom, the larger and more stable undulations. The cascade: these many tiny elements together create a tumbling motion of luminosity, something that could be captured by the repetition of vibrating notes from higher frequency instruments like violins, woodwinds, and flutes. The horizontal waves of light frenzy: what my eyes hear are rolling arpeggios starting in lower registers and ending in the higher end of the instrument’s frequency reach (a piano could accomplish this, but so could a combination of organ, trombone, and trumpet). Larger undulations: this requires a more stable sound such as multi-instrument block chords that move through a three-step sequence and then repeat. The two dominant colors also imply something about choices of tone, which in this case might well need both a major and minor key such as B major and F minor for dramatic tension. Underneath it all is a percussive phrase that is repeated but also altered as it progresses. A solo instrument over top of these pulses is optional, but an airy synthesizer sound would be perfect.

CASCADE IN BLUE AND SILVER 2014 32” x 48” Oil on canvas / Huile sur toile

In Rock Pool the dark water of imminent turbulence is set against the immovable rock face and surrounding plant life. Musically the painting is about potential motion versus stasis, brooding pulses of darkness framed by solidity. One way to present this tension is to sonify the dark pool with slow drum patterns and deep bass sounds from several instruments (acoustic bass, bassoon, lower end of piano), using a repeated minor key riff to create a drama of “something about to happen.” The immovables can be rendered by several different sequences of sharp, loud, jagged chords altered to catch a dissonance. The painting cries out for a higher-pitched solo instrument that interacts with the intricacies of the top right portion.

Of course it goes without saying that Fowler’s impressive work doesn’t need the addition of musical accompaniment. It already has its own profound musicality, stimulating the eye and the ear in its playful, brooding, and moving treatments of water. But there is something to be said, too, for collaborative and creative engagement with this fine collection, where the painting becomes the quintessence of the musical score, and the music pays aural homage to the pictorial elements. .

HIGH WATER LIGHT MOTION 2018 32” x 48” Oil on canvas / Huile sur toile

GRAHAM FOWLER Professor Emeritus, University of Saskatchewan, Saskatoon, Saskatchewan.

1989-2017 Professor, Department of Art & Art History, University of Saskatchewan, Saskatoon, Saskatchewan.

1982-89 Instructor, University Transfer Department, Keyano College, Fort McMurray, Alberta.

2002

2017

1997 1995 1993

Education / Formation 1981-82 1978-80 1971-75

Diploma in Education, McGill University, Montreal, QC Master of Fine Arts, Concordia University, Montreal, QC Bachelor of Fine Arts, Nova Scotia College of Art and Design, Halifax, NS

1992 1990 1988 1987 1986

Selected Individual exhibitions / Sélection d’expositions individuelles 1985 2017 2016 2014 2009 2007 2003

Movement and the Transient Illusion of Light, Han Art Gallery, Montreal, Quebec Water and the Impermanence of Surface, Gallery Gevik, Toronto, Ontario Over Rocks, Under Trees, Up the Stream a Piece, Douglas Udell Gallery, Edmonton, Alberta Recent Works, Gallery Gevik, Toronto, Ontario Experiences of the Liquid World, Douglas Udell Gallery, Vancouver, British Columbia Graham Fowler, Intaglio Prints, Douglas Udell

1984

1982 1981 1980 1978

Gallery, Vancouver, British Columbia The Water Paintings, Mendel Art Gallery, Saskatoon, Saskatchewan New Work, Douglas Udell Gallery, Edmonton, Alberta New Works, Douglas Udell Galery, Vancouver, British Columbia Graham Fowler, Douglas Udell Gallery, Edmonton, Alberta.

New Work, Douglas Udell Gallery, Vancouver, British Columbia Recent Work, Nancy Poole’s Studio, Toronto, Ontario Recent Work, Woltjen/Udell Gallery, Edmonton, Alberta Recent Paintings, Nancy Poole’s Studio, Toronto, Ontario New Work, Woltjen/Udell Gallery, Vancouver, British Columbia New Work, Woltjen/Udell Gallery, Edmonton, Alberta Recent Paintings and Drawings, Nancy Poole’s Studio, Toronto, Ontario.

Recent Works, The Art Gallery of Nova Scotia, Halifax, Nova Scotia New Paintings, Nancy Poole’s Studio, Toronto, Ontario The I in Landscape, Provincial Building, Fort McMurray, Alberta Paintings, Nancy Poole’s Studio, Toronto, Ontario New Works on Canvas, Nancy Poole’s Studio, Toronto, Ontario Master’s Examination, Bourget Building, Concordia University, Montreal, Quebec.

Organic Life in Fluid Motion, Mount Saint Vincent University, Halifax, Nova Scotia.

Two Person Exhibitions / Expositions à deux artistes 2008 1996 1976

Landscapes: Graham Fowler, Catherine Perehudoff, The Gallery on Cork Street, London, England Canadian Landscapes: Graham Fowler, Catherine Perehudoff, Gruen Gallery, Chicago, Illinois, U.S.A..

Two Person Exhibition, Graham Fowler and Ken HouseGo, coordinated by The Art Gallery of Nova Scotia; itinerary: Centennial Gallery, Halifax, Antigonish and Truro, Nova Scotia

Selected collective exhibitions / Sélection d’expositions collectives 2017

2016 Art Fairs / Foires d’art 2015 2017 2000-05 1992 1987

1987

1986

Art Toronto, represented by Han Art Gallery, Toronto, Ontario Toronto International Art Fair, represented by Douglas Udell Gallery, Toronto, Ontario Seattle Art Fair 92, represented by Woltjen/Udell Gallery, Seattle, Washington, U.S.A. The International Contemporary Los Angeles Art Fair, represented by the Woltjen/Udell Gallery, Seattle Trade Center, Seattle, Washington, U.S.A. The Pacific Northwest Art Exposition, represented by the Woltjen/Udell Gallery, Seattle Trade Center, Seattle, Washington, U.S.A. The International Contemporary Los Angeles Art Fair, represented by the Woltjen/Udell Gallery, Los Angeles Convention Center, Los Angeles, California, U.S.A.

2014 2012

2010 2006 2002

Roaming 2 - Bridges, International Faculty Show, May 27 –July.15 Wuhan Zall Art Gallery, Wuhan, China Impressionist Landscapes, June 17 – July 8, Gallery Gevik, Toronto, Ontario Fine Arts Faculty from the University of Saskatchewan, March 25- April 20, Art Placement, Saskatoon, Saskatchewan Landscape Exhibition: Cross Canada Scenes, Sept 17th – October 7, Gallery Gevik, Toronto, Ontario Modern Visions, Sept. 27, 2014 – January 4, 2015, Mendel Art Gallery, Saskatoon, Saskatchewan Curators Choice, Gallery Gevik, Jan 21- Feb 20, 2015, Toronto, Ontario The Shaw Collection, Shaw Communications Inc. Calgary, Alberta Curators Choice, Gallery Gevik, Jan 21- Feb 20, 2015, Toronto, Ontario Seascapes, June 16th – July 26th 2012 Gallery Gevik, Toronto, Ontario Landscapes, Feb 4th- Feb, 22, 2012 Gallery Gevik, Toronto, Ontario Currents, Aug 6 - Oct. 8, 2010, University of Saskatchewan, Saskatoon, Saskatchewan A Visual Journey of the Last Twenty Years, Douglas Udell Gallery, Vancouver, B.C The Claustrophobic Forest, Kenderdine Gallery,

2000 1999 1997 1991

1989 1988 1986 1985 1984 1982 1981 1980

University of Saskatchewan, Saskatoon, Saskatchewan Catalogue Produced Transformation, Imaging Nature, Mendel Art Gallery, Saskatoon, Saskatchewan From Atlantic Canada, Art Gallery of Nova Scotia, Halifax, N.S. Kenderdine Gallery, University of Saskatchewan, Saskatoon, Saskatchewan Marks of Distinction, (circulating exhibit, Alberta Art Foundation), Beaver House, Edmonton, Alberta; Medicine Hat Museum and Art Gallery, Medicine Hat, Alberta; First Red Deer Place, Red Deer, Alberta; Triangle Gallery, Calgary, Alberta.

Big Picture Show, Woltjen/Udell Gallery, Vancouver, British Columbia Nocturne, Woltjen/Udell Gallery, Vancouver, British Columbia Screens, Nancy Poole’s Gallery, Toronto, Ontario Extensions, Nancy Poole’s Studio, Toronto, Ontario American and Canadian Drawing, Woltjen/Udell Gallery, Edmonton, Alberta Art Gallery of Windsor, Public Gallery, Windsor, Ontario Points de Vue, La Chambre Blanche, Quebec, Quebec Art Through Nature, Art Forum Pavilion, Terre des Hommes, Montreal, Quebec. Circulated to: Calgary, Alberta; Toronto, Ontario; and Surrey, British Columbia.

Fine Arts Graduate Exhibition, Wiseman Gallery, Concordia University, Montreal, Quebec.

Paintings, Anna Leonowen Gallery, Nova Scotia College

of Art and Design, Halifax, Nova Scotia Selected Bibiogaphy & Catalogues / Bibliographie sommaire et catalogues 2018 2016

2008

2004

2003

2002

Graham Fowler: Mouvement and the Transient Illusion of Light, Han Art Gallery, Montreal, Quebec Graham Fowler, Aqueous Baroque,: The Water World of Graham Fowler, Gary Michael Dault, Gallery Gevik, 2016, Toronto, Ontario A triptych, ‘The Current That Flows Through the Source,’ page 147, was reproduced full page and included in the text, page 15, in the book; Carte Blanche, Volume 2: Painting, Clint Roenisch (essay), The Magenta Foundation, 1010 Printing International (China) A Painting, ‘Floating Lilies,’ page 87, Paintings of Nova Scotia from the Collection of the Art Gallery of Nova Scotia, Mora Dianne O’Neill, Nimbus Publishing Limited, A colour reproduction of a print, ‘Sparkle Koi,’ was included in the book The Contemporary Printmaker, Intaglio – Type Acrylic Resist Etching, Keith Howard.

Graham Fowler, Aqueous Baroque,: The Water World of Graham Fowler, Garu Michael Dault, Gallery Gevik, Toronto, Ontario Graham Fowler, The Water Paintings, George Moppett, Mendel Art Gallery, 2002, Saskatoon, Saskatchewan The Claustrophobic Forest, Helen Marzolf, group exhibition catalogue, Kenderdine Gallery, University of Saskatchewan, Saskatoon, Saskatchewan

LKING UP STREAM 2011 30” x 40” Oil on canvas / Huile sur toile

2000

1995 1985 1978

Transformation: Imaging Nature, group exhibition catalogue, George Moppett, Mendel Art Gallery, Saskatoon, Saskatchewan Graham Fowler, Peter Purdue, Douglas Udell Gallery, Edmonton, Alberta, Vancouver, B.C. Recent Works Graham Fowler, Paul Duval, solo exhibition catalogue, The Gallery of Nova Scotia Organic Life in Fluid Motion, Graham Metson, solo exhibition catalogue, The Art Gallery, Mount Saint Vincent University.

Collections Mendal Art Gallery, Saskatoon Saskatchewan Alberta Art Foundation, Edmonton, Alberta Kamloops Art Gallery, Kamloops, B.C. Museum London, London, Ontario Art Gallery of Nova Scotia, Halifax, Nova Scotia Foreign Affairs, Global Affairs Canada, Paris, France Government of ON, Social Development, Whitney Block, TO, ON Nova Scotia Art Bank, Halifax, Nova Scotia University of Saskatchewan, Saskatchewan University College of Cape Breton, Nova Scotia University of Lethbridge, Lethbridge, Alberta Keyano College, Fort McMurray, Alberta Graceland University, Idaho, U.S.A. The Shaw Collection, Shaw Communications Inc., Calgary, Alberta Pan Pacific Corp., Vancouver, British Columbia Investors Group, Winnipeg, Manitoba

Bental Corporation, Vancouver, B.C. Hurtig Publishing, Edmonton, Alberta Texaco Canada, Calgary, Alberta Paul Desmerais, Power Corp., Quebec Dominion Securities, Toronto, Ontario York Downs, Unionville, Ontario Kellner Jordan Ltd., Toronto, Ontario Maclean Hunter, Toronto, Ontario Bish Corp., Toronto, Ontario Pitfield, MacKay and Ross, Toronto, Ontario Hudson Bay Corporation Collection, Toronto, Ontario Center 200, Sydney, Nova Scotia

Production HAN ART (6440622 CANADA INC.) Essays / Textes Graham Fowler Ray Stephason Biographies / Notes biographiques Ray Stephason is a retired English Professor (University of Saskatchewan) and musician/composer, who works with classical and jazz traditions, as well with electro-acoustic projects. His musical collaborations extends to the theatre, dance, and the visual arts.

Translation / Traduction Marie Lenkiewicz, Cert. Tr. Organisers and Curators / Organisateurs et conservateurs Andrew Lui & Chloe Ng, Han Art Gallery Photography / Photographie Catherine Perehudoff & Graham Fowler Graphic Design & Editing / Graphisme et révision Chloe Ng & Bruno Bertilotti Barreto, Han Art Gallery Legal Deposit / Dépôt légal Bibliothèque et Archives nationales du Québec, 2018 Library and Archives / Bibliothèque et Archives Canada, 2018 ISBN 978-2-924657-02-7 All rights reserved / Tous droits réservés © Graham Fowler, Han Art Printed in Hong Kong / Imprimé à Hong Kong

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