Beautiful review of Krawecka's work at the Bugera Matheson Gallery: http://www.edmontonjournal.com/This+week+ARTpic+Elzbieta+Krawecka/10281770/story.html
Lisa Lebofsky is featured in this art-book: http://www.amazon.com/The-Figure-Painting-Drawing-Sculpture/dp/0847843750 Abstract: This book is a celebration of figurative art, essential to those interested in both traditional techniques and the latest developments in the art of the figure. An expansive survey of contemporary figurative art, The Figure showcases work by acclaimed artists including Jenny Saville, Eric Fischl, and Will Cotton alongside emerging talents. Artists’ texts and essays by distinguished critics, writers, and thinkers chart the evolution of figurative techniques, from the atelier to the use of photography, Photoshop, and 3D-modeling programs. Centered on the renowned New York Academy of Art—where many of the featured artists are alumni or instructors—this collection reflects the institution’s mission to instill the rigorous training of past generations within the lively dialogue of the present day. Championed by artists, scholars, and patrons of the arts, including Andy Warhol, since its founding in 1982, the Academy continues to serve as a creative and intellectual center at the vanguard of representational art. With a wealth of imagery displaying some of the finest examples of the genre in all mediums, this richly illustrated volume attests to the enduring appeal of the art of the human figure.
Thrush Holmes is a self-taught Toronto-based artist, who at 29, has exhibited throughout Canada and the US, and has been placed among Canada’s top-selling living artists. His work has been accessioned into numerous celebrity and high-profile collections, including the Government of Ontario Art Collection, and Department of Foreign Affairs and International Trade Art Collection (Canada), and has garnered considerable national and international critical acclaim. Thrush Holmes creates diverse compositions in several disciplines and under multiple names (THRUSH HOLMES, C. CHANGE), ranging from abstract painting to photographic-based mixed-media compositions, both intimate and tremendous in scale. The scope of his current work is wide, tackling notions of art, myth, introspection, and biography, while maneuvering a wide range of iconography, visual vocabulary, and mediums. Thrush Holmes: artist, singer, songwriter, photographer. Which one do you enjoy the most? I would say "artist" represents the integrated whole. As I get older it becomes increasingly difficult to separate such things. The level of enjoyment and disdain is the same throughout. What does your art work mean to you? Communication. What is your favorite media and surface? I navigate through media in waves. Certain pieces necessitate a particular approach. I can't be satisfied with the regimented use of one medium or surface. Can't say that I really have a preference. What is your source of inspiration? OUTPUT. What are your favorite themes? Still life, Romanticism, Idealism, Mythology. Do you have an overall style and aesthetic for your art? My work is wildly varied. I don't know if I'm the best person to address this question as I have such difficulty when generalizing what I do. What message do you wish to communicate with your art? Don't know if there is a central message. I try not to assert any lessons. Each piece has its own set of communicative characteristics. Are you seeking for a particular reaction from the viewer? I try to make the work seductive enough to be universal. When a particular piece achieves an audience, it needs to have the ability to sustain it. It should perform on a variety of emotional planes. I try to avoid indifference in the viewer - I much prefer a love or hate response. When do you consider an art piece is finished? They usually let me know when they're through tormenting me. At a certain point the piece succumbs and there is a marked shift in our relationship. The room becomes brighter. How long does it typically take you to complete a finished work? Somewhere between 10 minutes and 10 months. How has your art evolved in the past years? Radically. I'm always in the act of becoming. I think the most considerable change is in responsibility. When I was younger I would release everything, and now I edit in an effort to have a leaner catalogue of work. What is the greatest challenge or obstacle you face when making your art? Dealing with the associated chemicals. I've developed a sensitivity due to prolonged exposure. It's a drag - I have to be more cautious and take breaks, which becomes challenging given my inherent impetuousness. I'm a demon worker and have a reputation for working around the clock. I suppose overarching is also a problem. What do you consider your biggest achievement as an artist? I don't think in these terms. I'm never really satisfied with achievements. I reconcile myself with the universe. What or who made you what you are today? Fate and perseverance. You achieved a global audience for your work that includes customers in Dubai, Japan, Korea and Germany, amongst others, and famous names like Halle Berry and Elton John. How does this make you feel? The celebration of these things is fleeting for me. I'm constantly reevaluating my situation and am too curious about things to come to linger in the history of my successes. Do you do commissioned artwork? I don't. I stopped agreeing to this a few years ago. I found it too compromising and I would invariably be trying with some desperation to please the unknown desires of the lone patron. I don't have the constitution for it anymore. What does Thrush Holmes Empire mean to you? I don't know anymore. Like anything, I think I'll understand it with more clarity when in retrospect. I'm shutting it down to pursue other opportunities at the end of December after 5 years. What would you ask yourself that we haven’t asked you in this interview? Perhaps I would ask what happens next - to which I would respond: I'm writing a screen play, doing a few shows, producing miscellaneous collaborative projects, setting up another studio, etc., etc....
Article by Wendy Rose of the Newfoundland Herald discussing the art of Lisa Lebofsky and Steve Driscoll for their exhibition with our gallery over the past summer. Rose and the artists discuss how they are inspired by nature and by Newfoundland and how that translates into the dynamic work they leave on the canvas.
Visiting Artist Sarah Hatton at the James Baird Gallery By Martin Poole Sarah Hatton, an exciting visual artist, will be exhibiting a series of paintings titled Wake at the James Baird Gallery in Pouch Cove from May 31 to June 20. The reception for the event will be on May 31 from 2-6pm. I will discuss Hattons work in two stages, first her Wake series, and second, her earlierBee Works. Wake is a series of oil paintings that uses water as the central motif, in both subject matter and process. All paintings share a sense of fluidity; a deliberate flow and balance of colour and composition that makes these depictions appear as unified elements. Water pervades these paintings in great illustrative detail and appears as a central motivator. Water gives life, and in many ways it has given us a means of employment. Hattons work evokes water as a vessel which encounters everything that is within reach; a suspended human figure that is in itself diminished for it is becoming something else. Likewise, its a phoenix that is extinguished, appearing in a nullified state, yet it is verging on another rebirth of alteration. Water is also revealed in other dimensions; as reflecting the sky, or drippings which cascade across the images leaving a coloured trail, and seem to appear outside of the subject matter as layered atop the image, yet it further illustrates the omniscience of water as the sole purveyor of nature and life. Orders and geometric patterns occur constantly in nature, as a murmuration of starlings, or the geometric perfection of honeycombs, flowers, orbits and planets. Hattons Bee Works which were created in 2013, are large sized mathematical patterns composed of deceased honey bees on resin and panel. These works command the attention of the viewer for it is impossible not to notice that a deep message is being evoked through its sheer simplicity. Of course, Hattons Bee Works can be considered didactic or activist-art when judged explicitly by the bee carcasses which were used as the primary media. However, when considering the media and the patterns, one can find a more disinterested and pure element of artistic communicability; a certain structure that represents a fabricated order. This order was constructed by Hatton, which exemplifies an imposition by an other, a mimicry of our constant alterations of nature to suit our own purposes. The infamous neonicotinoid insecticide was created to reduce toxicity in mammals, and to increase toxicity in insects. Since then, millions of honey bees died as a result of this formula. Through the lens of Hattons work, the insecticide becomes the pattern; a fabrication that we have imposed on nature, and has produced devastating results. When one views Hattons work the pattern is seen first, and it is not until one looks closely that the complexity of her art is revealed. And there lies the the point: our desire to control nature through imposed systems which change the order of nature at a foundational level, takes for granted many unknowns which may arise, and these unknowns arise after we see the complete picture. Hatton is an evocative artist with immense talent. She will be visiting the James Baird gallery on May 31 for the reception. Come and join in on an exploration of her work.
Interesting article on Papatheodorou as an architect: http://www.theglobeandmail.com/life/home-and-garden/real-estate/yorkville-condo-goes-from-1980s-boxiness-to-glass-filled-haven/article7465385/?cmpid=rss1&utm_source=dlvr.it&utm_medium=twitter
http://www.we-heart.com/2013/03/11/thrush-holmes/ "It’s theatre, it’s a symphony – I need different acts, different movements. I began with painting, then shifted to collage, then integrated painting to collage, then added neon to painting..."
Painting between two worlds: Artist Rimi Yang captures duality on canvas
BY MICHAEL GRAUPMANN
12.05.11 | 02:44 pm
Rimi Yang is an artist and philosopher, bravely documenting life's unknowns.
East and West, classic and modern, familiar and abstract—the liminal spaces in between are where Yang finds the inspiration for her complex, emotional paintings that are finding homes in the collections of galleries in New York, New Mexico, California, Florida and Georgia, and with collectors like actress Halle Berry.
As the only gallery in Texas to feature Yang's work in 2011, The Russell Collection Fine Art Gallery welcomed the humble artist to their gallery Saturday for an exhibition that is sure to get Texans talking. Prior to the show, Yang was even visiting with Texas winemaker, Lewis Dickson, who includes Yang's artwork on several of his La Cruz de Comal bottle labels.
Gracious and serene, Yang was kind enough to provide us with a walking tour of the exciting exhibition of her new work. She opened up about her evolution as an artist and the importance of remaining receptive to life's possibilities.
Believe it or not, before she was an international jetsetting artist on the rise, Yang was a quiet librarian working in Japan. As a third generation Korean woman raised in Osaka, Yang learned how to live around the duality of a home life and a school life that did not always agree.
Discouraged by her parents to pursue her love of drawing, Yang pursued a liberal arts education instead. After receiving her graduate degree, Yang worked at the Japan Foundation for many years as a librarian. "I was alone a lot at the office, and I didn't want that for myself," recalls Yang. "So one day, I just quit. I thought, maybe I should give myself a break."
Yang decided to make her career change official and gave herself two years to experience life as a full-fledged artist. She moved to the United States, rented studio space in Santa Monica, California, and started painting.
"I got [to the U.S.] and I was so scared," she admits. "I had so much freedom and I didn't know what to do with it. I was so honest and vulnerable. But that's when I decided I had to just jump in."
Accepting the challenge, Yang began with the hardest and least rule-bound art form she could conceive: abstract painting. While scaling the peaks of this personal Everest, Yang discovered a personal connection to this form of painting.
"In Asian paintings, everything is about energy," explains Yang. "Abstract expressionism was influenced by Chinese and Japanese painting, Sumi-e drawings, where everything is contained in one brushstroke. I was brought up that way; I knew about it. And somehow, in the process of learning in my head, I forgot. Now I see the importance of it all. Slowly through the painting process, I'm learning it again."
Once she overcame her intimidation of abstract painting, Yang began infusing her paintings with masterfully detailed figures as well. Yang had studied figure drawing for years, so these images were a comfortable return to familiar methods. "I feel more settled with the figures," she says. "And this is what I think I'm more known for, these figures."
Most of the images she uses are old photographs she finds, but occasionally the images are borrowed from other painters like Caravaggio and Botticelli. Looking around the exhibit at the Russell Collection, you'll find Yang's interpretation of the Great Masters hanging next to distinctly Eastern images of women in traditional Japanese and Korean costume.
To the artist's credit, the effect is never disorienting, as all of the paintings share a similar unifying abstract treatment. "I want to feel what the other artists felt when they were painting their version, but I do it my way," says Yang. "However I'm feeling when I see the original image is what I want to include in my paintings."
One historical figure Yang vividly recalls painting is Minnie Vautrin, an American missionary and schoolteacher that spent her life defending thousands of Chinese women during Japanese invasion during the 1930s. "I remember an extreme sadness coming over me from her photograph," she says. "And as I worked on this painting, I could not help but be overwhelmed by that sadness. You can see that energy in the painting."
The deliberate foreground abstractions act as a deconstructed veil over the precisely drawn female figures in each of Yang's paintings, establishing an exciting conflict that keeps the eye constantly engaged. The haunted, often unfinished women in Yang's paintings appear trapped in the background, waiting for something more to happen.
"Art really helped my life," says Yang while looking at one of her most recent works. "I didn't want to call myself an artist. I'm just a painter. But while I'm painting, I feel comfortable. And it took a long time to find that."
Yang, the wise philosopher-artist, is correct in asserting that painting can express the things we mean when words fail. Whether you know about the artist's journey of self-discovery or not, it's difficult not to be emotionally moved by the figures looking out from her canvases, women caught in the spaces between worlds.
Take time with these paintings and admire the layering and precision required to capture the intensity of the subject's focus or the vibrancy of the palette. Yang is making bold declarations, in the manner in which she is uniquely qualified. No longer a lonely librarian, Yang is now a painter with a clear, deliberate voice.
"In the paintings of Federico Villarino (Buenos Aires, 1978), a seductive and intriguing tension between geometry and landscape is created. The artist superimposed structured, calculated and tight geometric figure sensuality, organicity and volatile character quasi-romantic landscapes. The mystery emerges from this friction between figurative and linear." The original text is in Spanish, you can read the English translation here: http://translate.google.ca/translate?hl=en&sl=es&u=http://www.artishock.cl/2011/08/federico-villarino/&prev=/search%3Fq%3DEl%2Bartista%2Bsuperpone%2Bel%2Bcar%25C3%25A1cter%2Bestructurado,%26es_sm%3D93
Dimitri Papatheodorou is a Toronto-based architect and painter (and composer), whose exhibition at 1313, Encounters, has apparently inspired by the architecturally scaled works (the Torqued Ellipses, in particular) of American sculptor Richard Serra. It's not easy, especially at first, to see the links between Papatheodorou's delicate, ethereally painted pictures (you'd swear they were photographs) and the huge, sweaty Serra sculptures -- big Faustian bendings of heavy Cor-Ten steel. But, as Papatheodorou points out in his gallery statement, Serra's work is "all about the close encounter between artifact and viewer" and notes that Serra "does with sculpture what I want to do with painting." This is quite impossible, of course, and Papatheodorou's extremely deft and delicate works could not be more removed from the spirit of Serra's strenuous, Paul-Bunyan-esque, space-bending energies. What they do well, however, is to depict a lovely, veiled light falling softly into the picture space. For me, they make a better tribute to Le Corbusier's famous Chapel of Notre Dame du Haut at Ronchamps, France, than they do to any Tilted Arc or Torqued Ellipse you can imagine.
--Gary Michael Dault
Slow burn: Harold Klunders paintings arent Julia Dault, National Post Published: Thursday, July 20, 2006 An overnight success in 40 years. That's how art dealer James Baird describes Harold Klunder, the veteran painter currently experiencing unprecedented commercial success with his large, colourful abstractions. "Careful, that one's still wet," says Baird jokingly, pointing to a smaller work called Atlantic Light, 2006, a perfect oil on wood board, where colourful forms almost settle into recognizable objects -- like a sun over an ocean shore, say -- but then never quite resolve, as no upstanding abstraction should. The piece is the most recent painting of Four Decades, the retrospective-like exhibition of Klunder's work currently on view by appointment only at James Baird>Pouch Cove, Baird's solution to the recent forced closures of the Pouch Cove Foundation, which would normally have hosted the exhibition. I like the tension of in-between spaces, says Klunder, a soft-spoken man who has just flown in to Pouch Cove, Nfld., from his home in Flesherton, Ont. A painter since graduating in 1964 from the Central Technical School in Toronto, Klunder's love for in-betweens has played out in various ways over the years, ranging from pure abstraction to expressionism to experiments nearing figuration. Like any established artist, Klunder exhibits his work at various galleries across the country, including the TrepanierBaer Gallery (Calgary), the Michael Gibson Gallery (London, Ont.) and the Clint Roenisch Gallery (Toronto). And while he has steadily produced and sold work over the years, interest has never been higher. Last fall, a show at the Clint Roenisch Gallery completely sold out, a testament to his renaissance. Klunder isn't the kind of artist who waits for inspiration, explains Michael Gibson, who has represented the artist for nearly six years, He spends 12-hour days in the studio and has for many years. And you see it, he says, citing the way a Klunder painting has a way of slowly unfolding and changing over time, "like a slow burn. Though things like marketing (through catalogues and art fairs) and collectors spatial needs have no doubt contributed to Klunders popularity, in the end, Gibson knows it's all about the painting. Harolds not trendy, he says. He's just doing it and doing it well. He just paints very good paintings. Out in Pouch, the nine works that make up Four Decades are a well-timed look at moments from Klunders stylistic trajectory, starting with works completed in the early 70s, like Stone Bridge (1972), Fender Blues (1973) and Orange Lustre (1973), elongated monochromatic canvases covered in drips of subtly colourful paint. I like to call that my Greenbergian phase, says Klunder, referring to the influential American art critic Clement Greenberg who supported the fevered Abstract Expressionism of the 1950s and helped shepherd Jackson Pollock and his drip paintings to legendary status. But though Klunders early technique is clearly Pollock-inspired, simply echoing the great painter wasn't enough. Skyway Bridge (1973), for example, feels like an exorcism, where Klunder disrupts the drippy, accidental surface by smearing the drops across the canvas in one fell swoop. Big, haunting paintings like Crocodile God (1974) and Flat Out (1974-1976) are when Klunder figures he found his voice. Here, the tension is in the physical surface, where layers of paint are visible but trapped under a powerful cover of black, a deep from which surprising things emerge like a blue line here and a red hiccup there. The remaining two pieces in the exhibit are monumental. Spirit Matter III (Self-Portrait) (1989-1991) is a large, violently colourful composition in four panels where faces peer out from the reds, oranges and pinks. Finally, at more than two metres in length, the apex of the exhibition is Future, Present, Past (1986-1987) a breathtaking masterpiece that is Van Gogh, the Fauves, Munch and De Kooning rolled into one. But then, of course, its none of these; in colour, impasto, form, movement and surety, it is, quite simply, a Klunder. The artist stands between this older, monster painting and Atlantic Light, the still wet work on the adjoining wall, looking back and forth between the two while wearing a studied expression, as if hes looking in the mirror. Funny, he says, seemingly reassured, theyre really not all that different. - Harold Klunders works are on view in Pouch Cove, Nfld., until Aug. 12. For more information, contact James Baird> Pouch Cove