Tuesday, June 14, 2011

Inspired by Nature



In my home, I recently took on a patio re-new, like my studio re-new of last spring. I purchased new chairs, window boxes, and plants to create an oasis in the city; as a source of inspiration. When purchasing plants for my patio re-new just like painting on canvas, I tried to select different colours, heights, and textures. My favorite planter on the patio is the one made up of succulents. I created visual interest in the pot by layering different sizes and hues of planters together.

While researching plants and container gardening I came across a few interesting websites on how to maximize spaces both great and small.

Wooly Wally Pockets, this company manufactures felt pockets used for vertical container gardening. The way it works is, wool like raw clay pots, wicks away moisture from the soil storing it in its fibers. When the soil is dry, the water held in the pocket's fibres slowing seeps back into the soil. I made my own felt pockets by purchasing industrial weight felt from the fabric store and then grommeted holes for hanging. These pockets are ideal for spaces both great and small and ideal for herbs that like to dry out between waterings.
http://www.woollypocket.com/

An interesting trend in vertical gardening is the living wall. Trailing plants are mounted into vertical grid systems. The creator of a large concept vertical gardens is the French botanist Patrick Blanc. It is seen here on a smaller scale on the exterior of a wine bar.


A colleague of mine was doing some research of her own and turned me on to another interesting way to garden vertically creating "moss graffiti". Moss graffiti uses living moss spores to create words and images, in both indoor and outdoor spaces. By blending a simple recipe of buttermilk, sugar, and live moss; these green works of art can then be painted onto porous surfaces, such as wood, stone, or brick.

Tuesday, May 24, 2011

What is oil paint?



For those of you new to painting there are many different materials or "mediums" to paint with. From acrylics, oils, and watercolors, to gauche and tempera each of these materials have there own unique properties. For the past eight years I have been working with oil paints. Oil paints are slow drying paints composed of pigment suspended in oil; usually linseed oil which is extracted from flax plants. The key distinction from oil paint and those listed above is oils are not water soluble.

Common pigments used in oil paints can be divided onto two categories mineral salts and earth pigments. Mineral salts include titanium, zinc, and cadmium, these salts create whites and the color hues from yellow to red. Earth pigments have been used for thousands of years and were used to create the first known paintings located in the caves of Chauve, France (see above). The earth pigments include umbers and siennas. Unlike the raw pigments, the burnt varieties are extracted from clays by heating and driving off the water from the clay, leaving behind the charred pigment. Hence the name burnt umber and burnt sienna. Many names for the pigments also come from the places where the minerals were first found. Sienna, short for "terra di Siena" was originally extracted in Siena, Italy. While umber from the Italian word "umbra" meaning shadow, was originally was mined in Umbria, a mountainous region of central Italy.

Why use oil paint and what is the advantage of using oils, over the easy to clean water soluble paints mentioned above? The one number reason to use oils is color and luminosity of the medium. Because the pigments are suspended in oil the color maintains an inner light or luminosity when dried. I have also noticed a richness of color with the medium of oil. With acrylics, the more you blend color the "muddier" the color becomes, however with oil color the more you blend color becomes more sophisticated it becomes. Artists also take advantage of oil's slow drying time; because the painting can be wet up to 10 days (depending on levels of humidity) you are able to go back in and rework the piece. Watercolors in contrast to oils, dry very quickly and can be quite unforgiving.

Friday, April 22, 2011

Handmade Here! Artist Collective


Join us Saturday April 30th, for Handmade Here! Spring Art Sale.
Handmade Here! showcases the talents of artists that live and create right here in Calgary! From ceramics and fiber arts to painting and glass there is something for everyone! Just in time for Mother's day!

Triwood Community Center and Arena
2244 Chicoutimi Drive Northwest
Calgary, AB
10-5pm

Featured Artisans include:
Jill Nuckles- Needle Felting
Rachel Collins- Fused Glass Pendants
Barbara Rumberger- Blown Glass
Jeff Yee- Photography
Lisa Tornack- Paintings
Joan Irvin- Jewellery
Cindy Plomp- Cynderella Bags
Tracy Franks- Paintings
Lisa Cerny- Blown Glass
Nicole Tremblay- Blown Glass
Kelly Hicks- Heritage House Toffee
Linda Cote- Wood Cut Prints
Dawn Saunders-Dahl- Paintings
Janice McDonald- Felt
Aldo Marchese- Ceramic Artist
Anna Bilek- Glass Bead Jewellery
Julia Schumacher- Ceramic Artist
Jackie Morton – Drawing & Painting

Tuesday, April 12, 2011

Food + Art


I am pleased to announce a display of my artwork at one of Calgary's fine vegetarian restaurants. The Coup, located at 924 17 Ave SW. The show is currently on display and will be up until May 8th, 2011. If you have never been to The Coup it is definitely worth a visit. Try my dinner favorite the "Beachfront Hot Pot".
www.thecoup.ca

Monday, March 28, 2011

Roads to Abstraction


Salvador DalĂ­
1944

As my practice continues to expand and grow, my work is becoming more and more abstract. Abstraction is defined as the process of taking away or removing characteristics from something in order to reduce it to a set of essential characteristics. In art abstraction can mean a few things, one the moving away from depicting objects from life (as they actually are) reducing them to shapes, colors, or marks. For example turning an object upside down or zooming so that the whole can longer be seen. Another device of abstraction made famous by Salvador Dali, is the placement of real life objects in usual places. The above image titled "Dream caused by the Flight of a Bee around a Pomegranate a Second before Waking up" with an extraordinarily long title, is one of my favorites of Dali.

Often times because abstraction is not very well understood, uninformed viewers see it as simple or easy. But the reality is moving towards abstraction is far more difficult. More often than not, artists slowly move in that direction by employing some abstract elements into their pieces. Although my work is firmly rooted in nature, there has been a move towards the abstract, as my earlier paintings are far more representational. For example the inspiration for the below piece "Blue Abstraction" came from a series of photographs. I photographed plant matter in the autumn; depicting fallen and slumped foliage. Working from these photographs I painted layers of the forms over one another, giving the plants an almost anthropomorphic quality.

As of late, there has been a even bigger move towards the abstract in my work. I have been experimenting with my palette knife applying fresh swashes of paint, in vibrant colour to depict the falling leaf. This development is the abstract device of reduction; reducing the leaf to colours and shapes. The result has lead to a new approach to my work.


"Blue Abstraction", oil on canvas, 2005


detail work in progress


This work in progress, illustrates the use of palette knife and abstraction by "reduction"

Wednesday, March 2, 2011

Opening at Studio C


You are invited to experience Mediating Perceptions. The exhibition features the mental rumination and visual disseminations by Prospect & Studio C instructors.

Studio C is a unique integrated Community Art and Resource Centre – a venue where artists with and without disabilities achieve collaboration, inspiration and immersion within Calgary’s art community.

Join us for the opening March 3, 2011 5-8pm
Studio C, Art Central #9 100 7th Ave SW, Calgary, AB
Exhibition continues through to from March 26th, 2011.

www.prospectnow.ca

Thursday, February 10, 2011

Happenstance


A few years age I made a mistake, while at the art supply store. I was looking for linseed oil and grabbed stand oil instead. After I got home and realized my mistake and the next day I went back to the art store to return the item. Since I had broken the seal the cashier said she couldn’t take it back. I took the stand oil back to my studio frustrated thinking, what am I going to do with this?

Stand oil is a thick additive for oil paint. Unlike regular linseed oil which extends and improves the flow of oils, stand oil (a by product of linseed oil) works in the opposite way. Stand oil looks and acts like honey, it pours slowly and is thick and gooey. Stand oil acts to thicken paint and when dry, adds a high gloss to surfaces. I began using stand oil on my canvases pouring it directly on to my paintings. The medium works best when the painting is laying flat. Stand oil can be spread with a large brush or better yet a palette knife. The best quality of this medium is the ability to suspend pigment within and through out the thick layers. I often use stand oil in the “skies” of my landscapes to add a brilliant sheen to the surfaces. The downside to this medium is it adds to the drying time of paintings (up to 10 days depending on the thickness). It also can tend to sag and shrivel when applied too thick.

The moral of this story is my mistake lead to new ways of working. There are many different mediums that can be added to enhance the paints properties and open doors to new ways of working your canvases.