OCTOBER 2010
This month’s cover:
VOLUME 6 OF 1
KENNA GRAFF
JAMES HAYES MARILYN HARRIS BOB WHITEHEAD
For the love of art: www.lizartstudio.com
communities – they make communities more attractive places to live, they help bring a community to life, they define a community’s unique characteristics, they attract tourists and they help communities compete economically around the world”. The Canada Council for the Arts
The Vision of OKANAGAN ART WORKS online magazine is to nurture, encourage, promote, and showcase the extraordinarily talented artists who have chosen the Okanagan region in beautiful British Columbia, Canada as their home studio for creating original art. We also show appreciation to those who support local artists by collecting their work.
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“Arts and cultural activities are at the heart of
OKANAGAN ART WORKS October 2010 Publisher, E.I.C.: Liz Burnett and, until the right person walks through the door . . . All content and layout: Liz Burnett Contact info: Okanagan Art Works P O Box 20084 Kelowna, BC, V1Y 9H2 Tel.: 250.215 0929 Website: www.okanaganartworks.com Email / Submissions /Subscriptions: info@s2sartworks.com © All rights reserved.
OKANAGAN ART WORKS is published monthly on-line. Reproduction in whole or in part is strictly prohibited. OKANAGAN ART WORKS makes every effort to ensure the accuracy of the information it publishes, but cannot be held responsible for any consequences arising from errors or omissions. Artists published in this issue of OKANAGAN ART WORKS are granting us permission to publish their work and images on the cover and throughout this issue via the internet as needed, to help bring attention to this publication and their work. Copyright of all the artworks in this issue belong to the respective artists.
This month’s cover: ‘Champagne Doe by Kenna Graff See page 14
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Liz Burnett: Editor/Publisher info@s2sartworks.com www.okanaganartworks.com Tel.: 1.250.215 0929 Welcome to the October 2010 issue of OKANAGAN ART WORKS. The December 2010 Gift Edition is just around the corner and the Cover Art contest is generating quite a bit of interest. Soon you will find out who won and whose work will be on the cover. This is so exciting! There has been many requests for the names of the artists whose work you have voted on. For those of you who still do not know, the artwork is listed anonymously so that the voting can be done purely on the quality and appeal of artwork and not be influenced by the possible popularity of an artist. This evens out the field somewhat. Once the voting has closed and the winner is announced, the names will appear below each artwork. So stay in touch. In the meantime, the October 2010 issue is filled with the amazingly diverse artwork from five highly talented and skilled artists. The cover artist, Kenna Graff is hosting the annual Ars Longa show this month and some of her exciting new work for this show can be viewed on page 14. Bob Whitehead is internationally known for his amazing woodcarving. See his work on page 22. Marilyn Harris creates powerful abstract art and talks about her evolution from being a scientist to becoming an artist on page 36. James Hayes is the popular Artwalk People’s Choice award winner. View his art on page 28 and read how his art helped him cope with the recent life changing crisis in his life. Visit www.okanaganartworks.com and let me know what you think. Enjoy! Liz
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OKANAGAN ART WORKS INDEX ON THE COVER 6
KENNA GRAFF art is forever, life is short
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BOB WHITEHEAD nature lover, wood carver
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JAMES HAYES honouring life and nature
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MARILYN HARRIS having fun throwing paint around
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ARTISTS NEWS
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Kenna Graff art is forever - life is short Every October you will find a group of local artists exhibiting their work at a gathering called Ars Longa. Kenna Graff is a founding member of this group and will be showing her new work created this past summer on the banks of the West Kettle River.
Kenna Graff has known her whole life that she is just like a seedling that changes with every season that comes. Even the daily weather is something that affects her and therefore affects her artwork. With so many changes in her style of work she knows that she will never have the artistic continuity of a master. What she does have though is evolution and her latest series is another remarkable example of her incredible growth and diversity. This year her whole show for Ars Longa was created outdoors at the West Kettle River. To Kenna it was a remarkable summer of magic, like when you are young and carefree and every morning when you wake up everything is just awesome. “My new work is all about what I saw this past summer, the deer, the beavers, a kilometer of river trails,” she said. “It was like paradise. I would look out my tipi door and see gorgeous meadows stretching all around me. All of this and the fact that I had set up my studio outdoors, had a wonderful influence on my work. I would put my paint on loose, or I would throw it on, then leave it to dry, then puddle and pool the paint, and build up layer after layer. “At first I did not know what I was doing, but five paintings later I started realizing I was using the method of Tachisme, or action painting. This style is characterized by impromptu brushwork, drips and blobs of paint. This form of artwork became popular after WWII and during the 50s and 60s. Being outdoors, this messy, but normal action for me, encouraged loose, fresh, natural paintings, like that lovely moment when animals in the wild suddenly make their appearance. I wanted to capture those spontaneous instances. Previous Page: ‘Champagne Field’, 36” x 36”, acrylic on canvas Right: ‘Beaver in the Dell’, 36” x 12”, acrylic on canvas All artwork © Kenna Graff
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“My watery brushwork was splashed and pooled and allowed to run. Through the application of transparent paints in many layers it may seem that it was not carefully applied, but it really was most thoughtfully applied becoming a dialogue between myself and my liquid medium. Many days of sunny breezes were essential for drying the paintings and portraits of my daily sights during a summer the likes of days gone by. “These summer paintings were all about keeping it spontaneous, loose and organic. As I have a huge connection with nature, the paintings just resulted out of the perfect conditions, the direct inspiration from the environment, and the outdoor studio. It all just came together. For instance, that moment when the deer just looked up, saw me, then bolted (see image on opposite page), that was a wonderful moment to capture. It was all just so effortless. “The painting called ‘Spring Time’ (see image on left) was really where this series started. It was late spring when I first went out there, and experienced the thawing. That is such a serene time in nature.” It is interesting too that most of Kenna’s canvases are long stretchy ones, like the 48 x 12, or the 36 x 48 size, almost as if a reflection of the natural up-right growth found in nature. Art lovers seem to like this size too as buyers often comment how this long size would easily fill a long vertical stretch of wall. Left: ‘Spring’, 36” x 18”, acrylic on canvas Opposite Page: ‘Champagne Doe’, 15” x 30”, acrylic on canvas All artwork © Kenna Graff
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Kenna is a productive artist and constantly creating a new series of artwork. Each series is totally different from the one before, showing the interesting layers of her artistic styles. For instance, she did a whole series of totem style paintings of the bison (see image on following page). In North America the bison is a revered animal regarded as a spiritual icon with strong powers, a true reminder of the greater whole. It represents many things in First Nations culture. Even though Kenna is not of First Nations decent, she has always been fascinated by their life. As a child she grew up in the desert around Osoyoos and as a result has a huge background in wild life, nature and hunting. She can totally relate to the spirituality of a First Nations life and this is what she attempted to show in her colourful and decorative work on the bison.
on all of those things.
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Her last series before the Summer paintings was all about the period of her life from January to June this year when she was seeking balance, harmony and peace. This was called the Silver Lining series (see images at end of article). These paintings show a silver leaf line that runs mostly along the middle of the canvas representing perfect balance and symmetry, and therefore peace. These pieces are very linear yet reflect an atmosphere of tranquility along with that. It was shortly after she completed the Silver Lining series that she went up to the river to do her summer paintings. She feels this year was the year of contemplating, realizing, wondering and confirming who and where she was in her life. She strives to be an artist that operates from these levels and the intuitive style of her latest work is a good reflection of that.
Below: ‘Buffalo Rose’, 24” x 24”, acrylic on canvas “The bison paintings come from our trip to Montana Colorado where we went through herds of bison. They were so amazing. The bison is often seen in my work.” Opposite Page: ‘Silver Linings Pillars’, range from 5' to 6’, mixed media “The pillars had me revisiting favorite themes, but adding a 3-d twist to my painted expressions. These free standing paintings with their upright sensibility relate well to trees in a forest but have taken on a new dimension literally when applying coloured atmosphere. The wood pillars are painted with acrylic
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How did this wonderful creative life start for Kenna? “My mom is an incredible textile artist who has mastered highly skilled two-sided quilts. My father is an amazing woodworker. With both of them being creative, they always encouraged me with what I was doing. “Even though, as a child I always brought home walls of art books to read, it never entered my mind to go to art college. I was the last child of the family and growing up on the farm I just wanted to be in the desert and orchards. So I never had any formal art training until I had all my children. I found wonderful mentors here in Kelowna and many of the established artists have been very kind to me. The artists here are very approachable to share knowledge and skills and it has been amazing to learn from them.
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“I just want to make art every day. I am bursting up here with so many ideas. It is over lapping and sometimes stuff is getting mixed up. I love that experience of putting something together from nothing and to make something visually pleasing. I am not a big statement person, but down to earth instead. I like keeping it simple and easy to look at. I really am just a product of my environment and a reaction to everything around me. “So is my art.”
Kenna Graff can be contacted by email at kennagraff@me.com More images of her work can be viewed on her website at www.kennagraff.com All images in this article supplied by Kenna Graff
Below: ‘Silver Linings’, 30” x 72”, acrylic with silver leaf “The sparkling vanishing points and atmospheric gestures suggest the superb harmony and elegance in landscape. The horizon, the tranquil silver is the ‘tween time, where opposites meet and deep hazes sink into a molten ore. The series Silver Linings is all about balance, promoting the senses with peace and tranquility.”
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Bob Whitehead nature lover, wood carver Even when you were born as a gifted artist, it may not be the career you choose later in life. However, if it is meant to be that you live your life as an artist, it is meant to be, and it will happen, as it did with Bob Whitehead from Salmon Arms. Art has always come naturally to Bob. He worked in different mediums, for instance, as a child he did many pencil and charcoal sketches, pastel paintings, and of course 3-D carvings. His first woodcarving was done at the age of twelve. This was of a mountain cabin and is still in his mother’s possession. He has always been very interested in wild life and this has been his subject of choice for most of his projects over the years. Other sources of inspiration are people and ships. “As an artist I did everything pretty well,” he said, “but I ended up doing metal working, like welding and fabricating, and operating heavy duty equipment as a job. It was only after I married
that I took on wood carving as a full time job. This was about 15 years ago. “It started when I worked in construction building log homes. I did some woodcarvings for log home clients and eventually it became my full time job. At first I did an art line that I consigned to galleries and took to art shows. These were the cutaways and straight wall hangings. Then, almost immediately after that I started working with door companies and that is how I moved onto commercial art. “Most of the door carvings are for international clients, mostly in the States. In fact, about 80% of my stuff go down to the States, but with the economy the way it is lately, I am beginning to do more work in Canada.” Some
of Bob’s work has been fairly high profile. There were the carvings he did for Canada House in Torino, Italy where the Winter Olympics were held. There has been the odd job for clients from Europe or Asia and a recent job for a Russian client. They saw the work he did for Canada House in Torino and insisted that he did the work for their house. Then there was the Heritage Park work he did for the City of Calgary two years ago. All worthy of the awards he has won at juried art shows.
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Bob does most of his woodcarving from his workshop at his home in Salmon Arms. The tools used, such as air tools and other heavy duty equipment, make it difficult to travel to work on-site. This does not deter his clients in any way. “When people contact me with an idea,” he explains, “they either send an email, or call by phone. It is only sometimes that they drop in. Very rarely do I see the client physically. I am more of a business associated. They place their order and I get the job done. I am happy, they are happy, and unless they become a repeat customer, I never hear from them again. “When the order is for a door design, I would first do a drawing of the design and have this approved by the client. Then I would do the design to scale on a stretch of paper the exact size of the door. I am fortunate that I am a gifted artist, so I have no problem
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with perspective and lay-out. As a matter of fact, that I can easily interpret realism is what allows me to do this business. “After the drawing is done, I would transfer the design with carbon paper directly onto the wood panel. The first carving step is to router out some areas where I need to take out a lot of wood. Other times I would just start carving directly onto the panel to move the wood away. The realism comes from carving deep into wood and the use of a unique staining technique. “I use mostly local domestic wood like red cedar, fir, birch, cedar, spruce, and pine. I collect, dry and mill most of the wood myself. All the wood varieties are easy to work with, but I prefer using fir for doors. This is a heavier wood, very stable, and also with a very pretty colour. It is quite suitable for doors.” Bob is one of those very fortunate artists who has always had work coming to him. He has never had to gloat or ask for work. Having been in the timber industry for so many years, has been good for him. The right kind of people know him as the carver who can get the job done. He also works steadily for three or four different companies and this keeps him fairly busy with about 75% of his work load. Another advantage of being so well connected to different companies is that by the time the work is sent to him, the customer has a firm idea of what he wants. The result is that Bob can easily move from one job to the next without much delay. He can ship out the finished artwork and forget about it.
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Bob’s wife Sue is one of his biggest supporters. “This business had a very slow growth over the first five years,” she said, “but it has become a wonderful career for him. It has been going on for fourteen years now and has afforded Bob to work from home. Of course our children are happy to have dad at home. “When he first started carving, the walls of our house were filled with artwork and people were asked to come to our home to see the art. Those first carvings he did we thought were wonderful but he was never satisfied.
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“He is ambitious and productive by nature and now wants to get back into gallery work. Part of his new gallery line is a set of wall hangings (see images below). These hangings are fairly large and are two in a set. Without the frame a panel measures 16” x 32”. They are really lovely. One is a continuous set where the images of heron flow from one panel to the other. The second one is of grizzlies fishing in a salmon river. He has carved many grizzlies on doors and they have always been very popular. The third set is not a continuous set but can go together. One is of a deer and one is of an elk All these wall hangings are carved out of birch.”
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The new gallery line is not a commission but Bob’s own designs. He plans to make duplicates of the carvings and each copy will be individually carved. The idea is to start a series of artwork, like a painter would. Product lines by Bob Whitehead include doors, signs, mantles, plaques and cutaways, where the negative space between the subject and the frame is cut away to create a see-through look. Bob Whitehead can be contacted by email at info@whiteheadcarvings.com and by telephone at 250.832 3230 More images of his work can be viewed on his website at www.whiteheadcarvings.com All images in this articles supplied by Bob Whitehead.
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James Hayes honouring life and nature There is something so special about walking into a room and immediately knowing you have entered a space of creativity. First there is that distinct smell of oils. Then there are the walls covered in canvases. Then there are captivating scenes of forests that entrance the viewer. Such is the studio of artist James Hayes from Oyama. He spoke about his life as an artist. “For me art started on my mom’s knee at the kitchen table. She is a great drawer and she worked with my late twin brother and I. Other than that and some art classes with very special mentors, I am a selftaught artist. I have always worked in oils as I like the maneuverability and the forgiveness of it. “I am not much of a plein aire painter, but love to get out in the kayak and take photos for reference material. I would never try and duplicate a photo, but rather just use them as launching pads for blended images. “The real focus of my work with trees is to create that sense of humility when standing in the forest. It is giving you a chance to enter and allow the forest to become one with you. “A lady from UBCO said to me once ‘the reason why I am buying this piece is because in all your work, I stand wet in the forest.’ She nailed it for me. This beautiful gift motivated me to go further into what I was doing. People have said to me there is a spirituality about my work that is consistent, that they are humbled by it. I feel honoured by this. Previous page: ‘Inspired Journey’, 24” x 30” Right: ‘Siennas Playing in the Light’, 30” x 60” All artwork © James Hayes
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“The series of the three red paintings (see images on opposite page) is about the loss of our daughter two years ago. There was so much turmoil, soul searching and deep grieving in our lives. This for me was the attempt to find release from all of that. It really goes to where that grieving is and you can see the progression. The first two are part of working with that pain. The piece called ‘The White Side of Crimson’ is just the start of coming out of the pain, but then not having come all the way out. I honestly don’t think that we do, but we find a way to manage it, like in the third painting. I may be wrong but this is the attempt to maybe manage it, maybe come into myself again. “Now we have our two grandchildren, London and Indica living with us and our focus is to keep them happy. “So, this was a very good series for me to get into and work through. It was both physical and tactile. “This is art though, isn’t it? Art meets life. It is a gift in life to be an artist, just to feel it this way, to try to make sense of it and honour rather than dishonour. “The painting ‘How the light gets through’ (see image on following double page) is another example of honour. “The inspiration came from hearing Leonard Cohen in the background. He was singing his song ‘The Anthem’, where he talks about the fact that
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in all things there is a crack and that is how the light gets through. Leonard Cohen writes from a wounded heart. So his writing is not dissimilar from what these paintings mean to me. “When I heard that song I thought, ‘what did you just say to me?’ I was in awe. I dropped everything I was doing and just started sketching a piece. I knew at that point I just had to paint that and went out and bought the biggest canvas I could find. “I felt really charged as an artist to visualize what Cohen was talking about. It was so profound. I am really a positive person, even throughout this crisis we went through, someone had to be positive, and that is why Cohen really spoke to me. You have a chance in life to be really dark, but you choose the light. You have no excuses to be anything but the light for others. The dark times in your life is to be used to refocus and regenerate and be positive and bring forward the light for others. Life was not meant to be dark and this song just lit me up. “I spent almost two hundred hours doing this painting and many of those hours were spent working through the dark and light issues in my own life. “Art to me is listening to little wisdoms, and it is all about honouring those wisdoms.” Left: ‘Dancing with Reds’, 9” x 12” Opposite page top: ‘A Soft Welcome’, 8” x 24” Opposite page middle: ‘The White Side of Crimson’, 8” x 24” Opposite page bottom: ‘Alizarins Grove’, 8” x 24” Following page double spread: ‘How the light gets through’, 48” x 96” All artwork © James Hayes
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“I am absolutely surrounded by brilliant magicians in my life, but I am not a musician myself. I did grow up playing the bagpipes being an Irish kid though, but that was dad’s deal not mine. I just don’t have a talent for music, but I do have a talent for appreciation. ‘Resounding Sound’, (see image below) is one of my attempts to bridge the gap between art and music. I have done something similar with a trumpet and a guitar. “I know that these paintings upset a lot of people. They would say to me ‘how could you have done that to the instrument, it is killing me!’ Just to let everyone know, the instruments I use are all dead. They come to me ready to be discarded. What I want to do is really push the arts and music together and honour the music rather than dishonor it. I have even put a sign on the corner of the paintings saying ‘no live instrument has been harmed in the making of this piece.’ This seems to ease the purists out there a bit. “The painting ‘Majesty Unleashed’ (see image on opposite page) was my first attempt to do a horse painting. I know there are probably 50,000 horse painters in the world and I don’t need to be another one, but I really wanted to capture the spirit of these horses. The majesty of that animal to me is breathtaking. “The inspiration for this painting came when I was standing in the middle of a field in a big pasture with horses in the distance. I whistled and seven or eight of them came running. I am not a horse person and definitely not skilled with all the tools you need to make them stop. It was dry and dusty on the pasture and I could hear them from several 100 yards away. The sound they made on the earth was deafening. I was petrified but I just stayed there as they came straight at me. It was very humbling. ”Horses are so majestic, so big, bigger than life almost. “This experience certainly put my life into perspective. By doing this painting I was attempting to capture that spirit of awe and the humility of standing there in front of them. Left: ‘Resounding Sound’ Artwork © James Hayes
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“There are two things that I hold to as an artist and I believe both from the depth of my being. One is that, as we are all created equal, we are all artists. We all have it. Whatever art is for you, everyone has it. It is just a matter of tapping in. I believe this from the bottom of my heart. “The other profound thing is that art does change people’s lives. The ones most adamant about ‘can’t’, become the most amazing artists. You learn to see things differently when you realize you are not painting to show and sell, but rather what is inside of you. “I do encourage people to do art all the time and just paint and paint. Find someone to mentor you and just paint. “My goal is to get everyone to do at least one painting in their life. The whole world will be a better place for it. I know and believe this. Just one painting each and it will change the world. With this, life as we know it will become about honouring rather than ownership and entitlement.” Below: ‘Majesty Unleashed’, 48” x 72” All artwork @ James Hayes
James Hayes can be contacted by email at birdhousestudio@gmail.com More information about James Hayes can be found at www.jameshayesgallery.blogspot.com All images in this article supplied by James Hayes Above: The artist James Hayes
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Marilyn Harris and the fun of throwing paint around When you have a scientific mind, your experiments are cut and dried. Abstract art is the total antithesis of that, according to Marilyn Harris, who has first-hand knowledge of both. With a background in science, Marilyn’s career in Medical Technology kept her busy for many years. Yet, she always wanted to paint. Part of her inspiration was her great uncle who was an oil painter.
“I did a series of paintings called ‘Travel Fragments’ (see image on previous page) and they are all about things I have collected while travelling. Things like coins, tickets, letters, or just things that bring back memories.
“About 20 years ago I decided I was going to paint,” she said. “I took painting courses and painted like a fiend and it just kept on going from there. I started with oils, but switched fairly quickly to watercolors. I even taught watercolor painting for five years to various art groups in town. Eventually I changed over to oils, but I am a very messy painter and the oils just seem to get into everything. I hate cleaning brushes too so I started with acrylics. I still paint in oils. I still hate cleaning brushes and I still get paint all over everything.
“I also did a series called ‘Ancient Symbols’ (see image on right) and this was inspired by those countries where they have other types of alphabets. Sometimes the paintings will show letters I just made up in my head, or the signs are from scripts I have seen in those countries. We were just in India and they have sixteen different alphabets on their money. Every state we were in had a different language and a different alphabet. This was quite fascinating and fun to paint.”
“The other part of my life instead of painting is travelling. My husband and I forego other things so that we can travel every year. There are some good things about aging. You have all this time and we us it this way. This past winter we spent three months in South India, for instance. The previous winter we spent three months in Bolivia and Peru. Our travels certainly have an influence on my art. Previous page: ‘Travel Fragments’, 16” x 20” mixed media Right: ‘Ancient Symbol’, 24” x 18”, acrylic All artwork © Marilyn Harris
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Marilyn has many different artistic styles, but has become well known for her abstract painting. “When I started painting twenty years ago, I painted what I saw,” she explained. “I painted from photos and everything was very realistic. I never did things out of my head. Then I took a couple courses on abstract art and Donna Baspaly, a semi-abstract artist, really got me into this. She taught me that with experimental work, the sky is the limit. You should never be afraid to try anything. After all, it is only a piece of paper. I found this very exciting. “Today, much of what I paint comes out of my head. My nature scenes are so different to the abstracts I do. When I paint the mountains I am in my left brain because you have to think of the shapes and colours, but when I do this abstract stuff, you have to be in your right brain and this is very different. Your mind has to go blank and this is actually quite difficult to do as all these thoughts and images are in there. You have to develop an inner eye. I never ever thought in a hundred years that I could, would do this kind of art. I just wanted to paint nice pretty pictures.
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“When I feel I want to do something weird or unusual, I just play around and this stuff all comes out of my head. I don’t plan it. It just evolves. “When I play around I literally throw paint at the canvas. I don’t stand too far away as it makes a heck of a mess and I will put a cloth down when working on the floor, but I just get a brush, dunk it and throw it over my shoulder. I don’t have a formula at all. It really is totally experimental. “The painting called ‘Twirling’ (see image on opposite page) is a good example. I was experimenting with throwing paint on the canvas and she came out with her arms like that. I covered them up and threw more paint on, and her arms came out again like that. So I started working with that. It sounds phony probably, but paintings do talk to you sometimes. ”There are things in our minds that we don’t know are there and it is quite exciting to explore this way. I mean, when you have a scientific mind, your experiments are cut and dried. Abstract art is the total antithesis of that. There is the freedom in this type of art you don’t find in the sciences. “Selling abstract art in Kelowna is very difficult. I find it is much better in Calgary where, if you are 45, you are old. It is crazy, young people buy stuff. I would also like to pursue getting into a gallery in Quebec. It is a wonderful part of the French culture how they appreciate the arts. They have a real reverence for anything to do with the arts and would rather buy an original painting than a new car.” Left: ‘Red Alert’, 12” x 12”, mixed media Opposite Page: ‘Twirling’, 30” x 40”, mixed media All artwork © Marilyn Harris
Above: ‘Cool Dudes’, 30x40, acrylic
Below: ‘Strings’, 20 x 30, mixed media collage
Opposite Page Below: ‘Prairie Quilt #12’, 14x18, acrylic
Opposite Page Above: Artist Marilyn Harris
All artwork © Marilyn Harris
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Both Marilyn’s grandfather and great grandfather homesteaded their farms in the prairies. This is a large part of her close attachment to this region and the inspiration behind her series called the ‘Prairie Quilt’ paintings. These intricate paintings look as if they are quilts (see image below). The balance between warm and cool colours, light and dark tones, and the line enhancement, are all time consuming elements, irrespective, about seventeen of these paintings were done in this series. They have proved to be especially popular in Alberta. Recently one of the ‘Prairie Quilt’ paintings was chosen as the cover image for the novel ‘Penny Loves Wade, Wade Loves Penny’ by Caroline Woodward (see image below). This book came out on October 19 and Marilyn took part in the author’s book signings at Mosaic Bookstore, Chapters, and an in-studio TV interview. Marilyn Harris can be contacted by email at mjharrisart@shaw.ca More images of her work can be viewed on her website at www.marilynharrisart.com All images in this article supplied by Marilyn Harris.
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Local Artists’ News
UPCOMING EXHIBITIONS AND ART EVENTS Ars Longa Artist Collective I OPENING, SHOW & SALE I OCT 22 - 24 Opening Reception: Friday, October 22nd – 5:00pm- 9:00pm Exhibition Continues: Saturday, October 23rd and Sunday, October 24th – 10:00am – 5:00pm Location: Roadhouse Gallery 355 Cornish Road, Kelowna MAP
Gallery Vertigo, 3001 31 St. #1 upstairs, Vernon Sunday, October 24 · 2:00pm - 4:00pm At Gallery Vertigo we take having fun very seriously! That’s why we have rounded up some highly qualified instructors to lead a variety of exciting art-making activities that the entire family will enjoy. We call it Smarties because it's a fact, art makes you smart!
Fabulous Finds – An Artisan and Collector’s Show Friday, November 5: 4 – 9pm and Saturday, November 6: 10am – 4pm Summerhill Pyramid Winery 4870 Chute Lake Road, Kelowna. Contact: curio_designs@yahoo.com
Gallery Vertigo, 3001 31 St. #1 upstairs, Vernon Tuesday, October 19 to Wednesday, November 10 Reception: Saturday, October 23: 2-4pm Gallery One: 10th Annual North Okanagan Artists Alternative Members Exhibition Gallery Two: Sindri Hans aka "Softy Smooth" The Featured Members Wall: Nhan Duc Nguyen
Gallery Vertigo NOW HAS ROOM FOR CARDS Additional space has been freed up in their shop area and they are now able to accept artist cards on consignment. Only individually packaged original cards produced by artists will be accepted. (Each card should have a matching envelope and be contained in a cellophane packet.) The gallery will retain a 20% commission on sales in the shop. They encourage artists living throughout the Okanagan region to submit their original cards on consignment. Contact: Tel.: 250-503-2297 or email: judithjurica@galleryvertigo.com 3001 31 St. #1 upstairs, Vernon
Okanagan Art Works
where we are passionate about art