Quite a bit, it turns out.
After a year’s hiatus, Ian Kennedy is back in the show with a series of prints that riff on the theme of water and showcase a new technique for him. He explains: “The monoprints came about because I was looking for a technique that allowed me a greater degree of spontaneity and freedom in the creation of the plates, and to achieve a multicolour print with only one pass through the press … I painted with watercolours onto 8”X10” plexiglass plates and let them dry, then ran them through the press allowing the moistened paper to reactivate the watercolour medium.” The result maintains the feel of a watercolour. In Black Sea Rising, Ian has touched on two contemporary issues--the pandemic and the Black Lives Matter protests—albeit with an unexpected twist, as a masked woman of colour wearing an evening gown with a cinched waist raises her arm while coming out of a black roiling sea. Dare I suggest he has reconfigured Botticelli’s Venus?
This group show is a first for Izabella Cresswell-Jones. A relatively recent transplant from Toronto, and now retired, Izabella is a new member of the printmakers’ Friday Open Studio, where she has embraced relief printing, which she first discovered during an Art Safari class at the KSOA. Izabella was attracted by the straightforwardness of lino cutting, but admits that “you’ve had it if you make a mistake.” The physicality of carving is also appealing, she says. As is the diversity of lines she can create with her cutting tool. Leaves, a small work in an earthy light brown, resembles a jigsaw of organic lines, while Cardinal focuses on the red bird’s mass, embellished by a black mask and bib and juxtaposed against a network of gouges that suggest foliage and tree limbs.
This year Barb Carr has included new work in the form of linocut prints using the reduction method, colloquially called “suicide printmaking.” With this technique she gradually removes parts of her images as more colours are added. Traditional linocuts make use of separate plates for each colour. Dockside, after a sketch Barb made while visiting the harbour in Gloucester, Mass., involves three colour passes to which she has added small hand-painted areas. Barb also makes monotypes, which are produced more intuitively, but the first mark determines the rest, she tells me. And so Barb sees reduction printmaking and making monotypes as two different ways of solving an aesthetic puzzle.
Also working with a new technique is Wendy Cain, a veteran of the printmakers’ exhibition. Her recent Smoky Still Life Series relies on the chance outcome of relief printing on freshly made handmade paper, on a vacuum table, which draws water from the paper in linear directions while the work is being pressed. Rather than carving blocks to achieve her relief images, Wendy uses shapes cut from Japanese papers that are inked with soy-based environmentally friendly inks. In the resulting black and white prints, the hard-edged shapes have been transformed into hazy graphic objects characterized by unique textures and surrounded by interesting negative space. “Allowing for ‘chance’, I feel I am in partnership with this studio practice,” writes Wendy in her artist’s statement.
Rebecca Cowan is not new to the printmakers’ annual exhibition, but this year she has combined three printmaking techniques—drypoint, stencil and chine collé—to create a series of ingenious “books” containing four interiors on a street called Balsam Crescent. Each, when folded, forms a small house. The house works, Rebecca explains, because she has used double accordion folds, a technique she devised after she took part in the World Washi Summit in Toronto in 2008. The summit celebrated the vast array of handmade Japanese papers available to artists, and Rebecca had been called upon to contribute an artwork using one of them. She still works with Japanese paper, and in this intriguing series of interiors explores family dynamics in 1950s suburban bungalows.
Kingston Printmakers are Margaret Bignell, Wendy Cain, Barb Carr, Izabella Cresswell-Jones, Rebecca Cowan, Kym Fenlon-Spazuk, Ian Kennedy, Jane Hamilton-Khaan and Hannah Roth.
Kingston Printmakers continues until Sunday, November 29, with health protocols in place for in-gallery visits.
Three curators, 25 artists working in diverse mediums: The current exhibition by the Organization of Kingston Women Artists (OKWA) presented a challenge in terms of cohesiveness during yesterday’s hanging. In response to last year’s show entitled “Restricted,” OKWA members were asked this year for submissions unrestricted by neither size nor medium.
When I arrived at the gallery, I was greeted by an air of busyness. Curators Lise Melhorn-Boe, Hanna Back and Jane Derby--along with show co-ordinator Diane Black—were considering colour balance among the artworks on the floor, while photographer Mieke Van Geest was up on a ladder, hammer in hand, suspending a series of her colour prints from the ceiling on bright turquoise netting, which she had filched from a farmer’s field, she confided to me.
Now the show is up, along with artists’ statements that expound on the theme of “Unrestricted.” Mieke, for example, whose signature style is evident in her prints, writes, “The restrictions of photography are loosened through play—blurred focus, intentional camera movement, over-exposure.” In contrast, Sue Lyon has little to work with when trying to restrict the manipulation of clay on her potter’s wheel. She produced her clay vessel Off Kilter with the accompanying comment: “minimally restricted may be intriguingly unique.”
Jane Derby bent copper, hammered nails and gouged plywood to create her abstract 3-D piece. She writes, “… mid-century feminists broke down barriers … it is because of these women that artists like me have permission to use materials as humble as the tin can to make art, unrestricted in the way they want to represent the world.” Diane Black’s 3-D piece called Bitches on Couches shows three clay sculptures of dogs standing in for female figures in an unusual and humorous way. “I suddenly felt free to be ‘unrestricted’ in my depiction of over-the-top expressiveness,” she writes.
A diptych of large expressionist abstracts by Susanne Langlois, who usually paints florals and landscapes, exemplifies her interpretation of unrestricted. Barb Carr, for her part, addresses the OKWA theme in her monotype by pointing out the unrestricted space in the landscape. Linda Williams’ approach to unrestricted is evident in the rhythmic form she has created with a series of thin clay slabs reminiscent of botanical growth.
This year, the year of COVID, ten artists, not surprisingly, included the pandemic in their statements. For example, Vera Donefer refers to the present as “scary times”, which are reflected in her intense but bleak abstract. JT Winik accompanies her painting of a woman on a grey background, entitled Against the Wall, with “I see the reality of this pandemic as a wall with more than one side to its story.” A colourful abstract painting by Maya Jagger indicates her mood: “… in this time of apparent darkness, I feel the need to paint some joy.”
Both Mary O’Brien and Michèle LaRose changed the way they worked during the pandemic. While Michèle moved from painting to colour pencil in a smaller format, which was “easier to pick up and drop quickly in this time of distraction,” Mary challenged herself to work in a new medium, in this case gelli printing, which is inherently unpredictable, like the challenging times we are experiencing.
Spy vs. Spy, a mixed media diorama by Mary Peppard, is a riff on a comic that appeared in MAD magazine in 1961. It was both inspired by and an escape from COVID, writes Mary. “Cartoons are silly. They’re also adept at survival … always bending, stretching, disintegrating, and reassembling in a moment.”
“Unrestricted” continues until October 25 with COVID restrictions in place for in-gallery visits.
On Unity Road in Glenburnie, in a former schoolhouse, the four artists who are currently exhibiting at the WAG share a studio.
Mark Birksted appreciates the roomy, high-ceilinged space—much more accommodating of his large metal sculptures than his garage. In 2010 Mark began working with steel as an antidote to his sedentary computer job formatting manuals. At that time he created sculptures on a smaller scale, but quickly gained recognition, so much so that some of his pieces appeared in a shockingly similar format on someone else’s web site. Affronted and bitterly disappointed, he nevertheless continued working. The three pieces in the current group show, entitled Truth, Veracity and Integrity, were named in reaction to the appropriation of his intellectual property. Integrity—one of the “stolen” pieces—consists of flat black interwoven bands like a giant ribbon of rigid scribbles. As interesting as the shapes are the negative spaces defined by the bent steel and the shadows it casts. Mark told me that he intentionally makes his job manipulating the steel difficult. He uses no heat. Only with the aid of a home-made jig (a metal tool), does he shape his sculptures, pushing his whole body to make the steel bend, twisting and contorting as much as the shapes themselves.
Ann Clarke is the senior member of the group of four artists. Radical Invention, her abstract triptych, occupies the far corner of the gallery. She hung the three irregular polygons with great care, she told me, to emphasize the shape of the wall between them as much as their own presence. A life-long artist and retired Professor Emerita, Ann is interested in formal elements, especially composition. In her triptych, energetic lines flow over a magnificently coloured background while a series of opaque medallions and thick gold lines lead the viewer from one piece to the next. Ann told me she starts her work with a shape or a colour, and in this instance she also wanted to break the habit of making rectangles. Not oblivious to the world around her, she has collaged unusually shaped paper to her work—a reference to the boxes commercial products come in, and the interesting designs they reveal when they are flattened for recycling.
Ben Darrah works with found imagery of a different kind. His two paintings depict authoritarian brutality in in the form of stencilled police officers in visors and flak jackets attacking figures on the ground--stencils made after online newspaper images. Peripherally, the larger of the two paintings, refers to a scene from a Black Lives Matter protest in Buffalo. Ben has placed his figures on a graffitied industrial-looking wall. The lusciousness of the background was achieved by adding multiple layers like a silkscreen artist, Ben told me. What I found a bit discordant about the painting was the inclusion of a blue and pink stencilled cooler in the foreground. Ben explained that the cooler is a mnemonic device he used to remind us of ourselves in this scene, the cooler being quintessentially Canadian, since it evokes camping and the outdoors. We are there as witnesses to a scene that could get lost in the news cycle.
On the dark grey wall at the back of the WAG hangs a large arrangement of multiple panels by Mark Laundry. In an earlier blog post during the COVID lockdown, when I called on artists to explain how they were coping, Mark told me about his approach to abstraction. Each panel in the grids he creates is identical but positioned differently to create a secondary overall design. During the lockdown he was unable to work in his studio or buy materials and so turned to sketching potential grids. Manifested Sketch is the epilogue to his COVID experience. In order to capture the expressive “sketchiness” of one of his drawings, Mark decided to rely on materials he had in the studio. He collaged crinkled paper and corrugated cardboard on wood panels to produce a textured surface, which meant he moved away from his usual method of painting on canvas. COVID ultimately impacted Mark’s work in a positive way. “This piece might encourage me to use different techniques,” he said.
(photograph of Manifested Sketch by Mark Laundry)
Unity Road Four continues until September 26th. Although COVID restrictions are in place, we are still open for in-gallery visits, with a max of 10 visitors at a time.
Before speaking to artists exhibiting at the WAG, I like to look closely at the works they have chosen to show. Sometimes I’m present during the hanging and can watch (or help) as the art is positioned on the bare walls. Other times I’m greeted by a gallery space that is resplendent with images, pattern or colour.
The current show by Alan Craggs, called “Blue Surreal,” does indeed offer many blue vistas of sky and water, often punctuated by trees. I focus on these realistic paintings first. When I look at them, the word “pristine” comes to mind, but then I see a piece in which the pure blue hues are shattered by what appears to be refuse—large chunks of jagged multi-coloured plastic lining the shore and floating on the water. A statement about environmental degradation? An interpretation that Alan accepts but, in fact, the scene depicts the rocks at Triton Falls, possible features of a Martian landscape. Well!
Some of Alan’s oil paintings are inspired by actual places while others are invented. “Surreal” is how Alan describes them. The fantastical outer space scenes appear in many works in the exhibition. Embryo, for example, a rich swirling mass of colours, takes place in a black hole overpowering a space city of spires. This piece is Alan’s favourite, for its aesthetic appeal, its popularity (hundreds of copies in print form have been sold on Facebook), and for its theme of good and evil.
“Where does your interest in the other-worldly come from?” I ask Alan. A story follows. One day, when he was four, during an assembly at his school in England, he noticed that the headmistress, who was on stage, had a double head. He mentioned this to his parents. Very concerned, his mother took him to the optometrist who diagnosed a lazy left eye. In order to strengthen the muscles of that eye, Alan had to spend a lot of time focussing on projected images—of fantastical landscapes. “I realize those images have always been in the back of my mind,” he says, his accent, though slight, unmistakeably British. He came to Canada at the age of 14.
Some of the paintings in this show have stories within them. Alan explains how he conceived Dragon, an icy blue “surrealist” landscape expressing his emotional response to an incident that left him angry and traumatized. He was in a parking lot when a huge forklift hit him and dragged him across the lot. “I felt raped,” he tells me, pointing out a small scene in the bottom left.
Alan has been painting in his spare time for 43 years and is mostly self-taught. He’s now retired after working for more than two decades as shipping manager for Northern Cable in Brockville. A year ago he began painting his realistic scenes, but he tells me he will also continue to invent surrealistic landscapes and space scenes. He averages one painting every three months. His goals as an artist? On a technical level, to create depth in his paintings by working on layers and, more generally, to tell a story or develop a theme.
Blue Surreal, an exhibition of original oil paintings as well as prints made of a selection of these, continues until August 30.
Interested in purchasing a piece of art from the Window Art Gallery? See the details here.
The dots say it all. An artwork with three dots has caught the attention of all three judges, two dots mean further consideration and discussion, one dot means chances of being included in the show are limited, and no dots indicate a work hasn’t met the juried exhibition standards.
What are the judges looking for?
Nancy Steele, an alla prima painter and KSOA instructor, considers impact, colour relationships, composition, technical expertise, genre, staying power and storytelling. If a composition is unbalanced, for example, the work produces a level of discomfort that can be detrimental. Her goal is to give each piece equal weight. Listening to other judges’ comments allows her to discover new aspects of an artwork. She is looking for “a little gem,” which may hit her right away, or can take a while as discussion among the judges teases out elements that make a piece worth considering further.
Dan Hughes concurs. “Sometimes, the longer I sit with a work, the more I like it,” he tells me. Dan is a figurative painter who stresses the importance of anatomical correctness in a representational piece. But sometimes colour, composition and content take precedence over accuracy. “You have to consider all aspects of the artwork,” he maintains. Dan is attracted to certain artists in particular, veterans whose experience shows in their work. He admires risk-takers and abstract artists. Perhaps, similar to Nancy, the appeal of abstraction lies in its evocation of freedom and excitement.
This year’s third judge, Bruce St. Clair—KSOA instructor and realist painter who has several times judged Paint the Town—comments on the variety and skill among the submitted works, pointing out that there are more exploratory pieces in a show such as this, which, unlike Paint the Town, is not limited by the parameters of plein air. Bruce is particularly interested in artists whose skill is evolving and who demonstrate potential. He feels his job is not only to critique, but also to encourage, which will manifest in his choice of runners-up. Sometimes choosing runners-up is more difficult than choosing winners.
“Having three judges is vitally important,” says Nancy. She feels there is a nice balance among the three, who must engage in a “lovely process of back and forthing, pushing and probing, until a consensus is reached.” The judges are looking at 126 pieces, which they will whittle down to 59 with the help of exhibition volunteers Nancy Ball, Barb Carr and Jacqueline Prenevost, who hold up the artworks under consideration as the judging proceeds.
According to Nancy Ball, co-ordinator of the 2020 Juried Exhibition & Sale, the 59 artists who submitted work are particularly happy to see the show go ahead after experiencing so many cancellations in previous months. Although the number of submissions is slightly lower this year, Nancy, for her part, is thrilled that so many artists are still working. Notably different about this year is, of course, the fact that we are all wearing masks, which are not only a bit cumbersome but also muffle speech. They do not, however, impair vision and, says Nancy, “Judges’ eyes can be quite telling.”
The Juried Exhibition & Sale in the Window Art Gallery runs from July 7-28, with a virtual show running simultaneously. A virtual reception will also take place.
Visually interesting, strikingly beautiful, cleverly assembled—these are not usually how we describe books. But if we consider them as art objects as well as text, their aesthetic qualities and their craftsmanship become manifest. Think of the uniformity of a library shelf of book spines. Then think of the colours, shapes and textures of different-sized hand-made books: sewn, glued, stitched, cut out or folded; hand written, rubber stamped or hand set.
In the current retrospective at the WAG, curator Rebecca Korn has chosen a sampling of the staggering variety of art books made by Lise Melhorn-Boe. Visitors will see pop-up books, shuffle books, accordion folds, flag books, buttoned books and zippered books, with pages made of paper created from fabric, pages of fabric itself, pages of literally garbage and, intriguingly, hand-sewn clothing as “pages” for text.
“Connection: Forty Years of Artist’s Books 1979-2019” is organized according to decades and follows Lise’s life trajectory, from her interest in gender politics, to the birth of her son and her interest in the socialization of children, to her breast cancer and concerns surrounding environmental degradation. The connection referred to in the exhibition title also includes Lise’s connection to family, in particular her mother Pauline, a painter, and her father Kurt, an electrical contractor.
Although many of the works on display reference aspects of her parents’ lives, Lise’s most striking “book” about Pauline and Kurt is actually an installation called Ghost Costumes (1996-1997). Made of curtain sheers and hanging in a semi-circle from the ceiling are a child’s blouse, a teenager’s dress from the 20s, various coats and suits, including an air force uniform, day dresses, and a simple wedding dress. They gently turn as viewers pass. Opposite, grounded against a wall of limestone hang a row of men’s muslin work clothes. Whereas the text inside the feather-light transparent pieces talks about Pauline’s unfulfilled aspirations (taken from a taped interview), Kurt’s belted overalls with hats and a linesman’s rope reveal only photo-transferred images of his work environment during a succession of projects. These are work sites that Kurt, proud as he was of his accomplishments, had professional photographers document. An expression of the yin/yang dynamic in Lise’s parents’ relationship, these costumes also reflect the gender norms of the early to mid 20th century.
Lise likes digging into themes, sometimes for years. In 1989 she conceived a shuffle book called Anything Can Happen, which plays with ideas surrounding gender and feminist beliefs. She began by making a series of 26 two-sided 5-1/2 by 8-1/2 cards comprising text collaged onto images, both cut from fashion magazines. These she photocopied in black and white. By rearranging individual sheets, love stories could be created. In 2010 she photocopied the same series in colour. With a multitude of verbs, conjunctions and phrases such as “It’s hard for him to resist”, “sexual dead spots”, “& the political woman”, the love stories have endless potential for today’s gallery goers. In Sleeping Beauty (2000), a clever and funny pop-up composed again of fashion images, Lise explores the role of the sexes through the well-known Grimm’s fairy tale.
Early in the first decade of this century, Lise overcame breast cancer, which left her wondering about the toxic effect of chemicals in our environment in general and, more specifically, in her own work space 20 years earlier at Wayne State University in Detroit, where she had been producing large editions of hand-set and hand-printed books in a non-ventilated basement room. Body Map (2007) is a revealing and deeply personal work in poster format, but a book when folded. In it we see a full frontal of Lise in what could be interpreted as a victory pose. Every inch of her body and the background is covered in hand-printed, different-coloured text, laid down in patterns that define the body’s shape and outlines. Perhaps shocking to some, but certainly visually pleasing, and not without humour (the white moustache), the piece chronicles the experiences of Lise’s body parts over time, health-wise and in an environmental context.
An accordion book called Homeless (2008) sits open along a shelf spanning the gallery’s dark grey wall. Lise took photographs of the houses on her block when she lived in North Bay, cut them into pieces from a template of shapes for a Little House quilt pattern, and then, using a blanket stitch, created a graphic representation of a row of similar-looking houses. The inspiration for this book and the contents of the text came from statistics citing the high number of people with chemical sensitivities who have been homeless at some point in their lives. In its cozy simplicity the book emits a sense of both security and lurking danger. Lise herself had to leave her home because it was making her sick. And she stitched this piece while she was in hospital with her son, who had sustained a traumatic brain injury in a car accident.
Diffuse Axonal Injury (2008), a piece I call “the egg book”, expresses Lise’s attempt to come to terms with her son’s injury, coma and five months in hospital and rehabilitation. The egg shape is, in fact, a mould of a brain that has been cracked open to reveal its inner workings—which were not working. The web of multi-coloured strings inside could symbolize confused neurons, while the pink silk ribbons used to pull the two sides together are a reminder of the brain’s fragility and preciousness, and perhaps Lise’s wish to make it whole again.
“What’s your favourite book in the show?” I asked Lise as we circumnavigated the gallery, me in green cotton mask following two metres behind Lise in pink seersucker mask. She pointed to a piece set along the gallery windowsill. Made in 2002, it comprises photos and cut-outs of clothing reminiscent of paper dolls. And it comes with a story. After her dad died, in his office Lise found a brown envelope marked “girls I have Known”, which became the title of the book. The envelope contained photographs of at least 15 women, singly and in groups, mostly not identified. One, living in Munich after the war, let Kurt know she was interested in marriage. Kurt was, apparently, a charmer and didn’t marry until he was 50. Lise knew he had had many girlfriends. In choosing to make this piece a flag book, she succeeds in creating a parade of women and fashion throughout the decades, from the 20s through the 40s, when shorter skirts and pants made an appearance, and ending in the Dior dresses of the 50s. The last woman is Lise’s mother, Pauline.
(Photo of Lise by Chris Miner)
“Connections: Forty Years of Artist’s Books 1979-2019” continues until June 24. There will be no reception, but Lise will be present every Sunday afternoon from 12 to 4 while the show is up.
Hand sanitize, don mask, exit car, maintain distance, hand sanitize, enter car, doff mask. This is my mantra as I cautiously venture into garden centres, hardware stores and pharmacies. Schools remain closed but retail outlets have been allowed to open. The WAG will soon be mounting its first mid-pandemic exhibition. Following is the third and final instalment in a series that asks instructors and artists associated with the gallery to talk about their current art practice.
WILLIAM CARROLL (Solo exhibition, August 2018)
“I am a fine art photographer and am currently working on a few long-term projects, the main one being dedicated to domesticating—or manipulating--the growth patterns of various crystals, such as those formed by borax and magnesium sulfate, among others. It has been quite a challenge to determine the exact amount of precision required to force the crystals into different shapes and patterns, while still allowing them to express naturally.
“My last exhibition at the Window Art Gallery, titled ‘Above & Congealed’, was both my first solo exhibition and my entry into conceptual photography. My last major project involved a series of Rorschach-like images created using liquid dish soap and food dye.
“I usually work from home and am a bit of a recluse, so there isn't much change in my work habits. However, I did have a few places I visited regularly for inspiration, and not being able to access my go-to places has definitely made staying creatively stimulated a bit more difficult. The COVID-19 pandemic has also made acquiring my crystal growing materials more difficult, due to international shipping restrictions and price increases. My biggest challenge has been my inability to connect in person with my peers. I greatly value the conversations I have with other creatives in the city and I find it hard to maintain the same level of relationship now that we are unable to see each other in person on a regular basis.”
FANNY CECCONI (KSOA French instructor; Hot Off the Press group exhibition, November 2019)
« La pandémie m’a permis d’arrêter de courir et de prendre le temps d’être en famille et d’en profiter. Je m’aperçois que mes enfants sont heureux de passer plus de temps avec leurs parents. Leur comportement est plus calme. Nous prenons le temps de faire des projets divers dans la maison, mais aussi des promenades en famille pour découvrir des endroits magnifiques de notre quartier. Ces moments en famille me permettent de relaxer et de recharger mon imagination.
« Je dois avouer par contre, qu’être à la maison à temps plein avec deux enfants au primaire change toute une routine. Enseigner les arts n’est pas aussi complexe qu’enseigner le français, les mathématiques ou d’autres matières à ses propres enfants. Je respecte encore plus le travail des professeurs qui enseignent tous les jours à mes moussaillons. Je suis contente que mes enfants aient eu la chance d’établir un lien de confiance à l’école avant la pandémie, car je ne suis pas certaine qu’ils seraient aussi contents de faire leurs cours en ligne.
« Ces moments durant les cours en ligne où je devais rester disponible et silencieuse, m’a permis de reprendre contact avec ma tablette à dessin et mes crayons. Je dessine de tout, des bandes (Strip) pour le Centre Culturel Frontenac, des paysages, des personnages, des animaux, des expressions des mouvements. Mon but est de faire une bande dessinée avec ma sœur et de la publiée éventuellement. Pour le moment j’encourage mes enfants à s’exprimer sur papier et à faire, eux aussi, des dessins pour se détendre et s’amuser.
« Mon cœur est en paix et mes idées débordent autant pour mes dessins que pour mes projets futurs qui n’attendent que mon retour après le déconfinement. »
ALAN CRAGGS (Upcoming exhibition)
“I am scheduled to have my first show at the Window Art Gallery in August, but that is now tentative. My work is a mix of surrealist scenes and realistic landscapes. The pictured works are recent oil paintings on canvas . None are yet completed or named.
“We are isolated in apartments housed in community shelters on two acres of forest outside Brockville. We are faring well and helping each other, which allows me and other artists here to continue our art practice. In order to exhibit our work I am considering drive-by shows put up in the woods. We can social distance in nature and show as a group. This will take work.”
LAYNE LARSEN (TIFAA group exhibition, March 2018)
“I just finished an experimental piece--fairly small, only 19 cm square. This work was done using the Flemish technique, which involves painting the image in six layers: imprimatura, two umber layers, a grey layer and two colour layers, so you are effectively painting the same piece five times. Each layer is supposed to look like a finished work. I used acrylic instead of oil, which makes the process much more difficult.
“I am primarily a watercolorist (specialty: birds) but do aviation work for museums in acrylic and airbrush. I also run a full-service framing business, which shut down, as did our gallery in Gananoque. Having delivered my last commission, I had time to experiment with a technique that I had always wanted to try.
“I started with a wooden panel and made my own gesso for the ground, using a mixture of gypsum powder, transparent acrylic primer, some polyvinyl acetate glue, and titanium white paint: three coats, each sanded to get the eggshell surface required. I plan on doing another one, this time a life study, which will require a lot more variation in skin tones. COVID has given me the opportunity to try these techniques. I am 79, so I don't have a lot of time left to experiment!“
“I have had no difficulty at all staying home, although my wife and I do miss our weekly ‘date night’ outing.”
DEBBIE OTTMAN-SMITH (KSOA instructor)
“I’m currently working on two commissions, which have subject matter I am truly interested in. The first is for a new client who wants a special wedding gift inspired by stars and galaxies. The second is a portrait for a person who loves my artistic magic (as she calls it). What really excites me is that I’ll be using my all-time favourite style: montage. I’ll be creating a collage of small candid action images surrounding a larger traditional close-up of the subject’s face. Although challenging, I think this approach truly captures all aspects of a personality.
“I’ve also managed to squeeze in time to finish a drawing that I’ve been working on in dribs and drabs each term for a few years now, as I teach my students about creating textures. The reference image (from ‘Rangefinder,’ a photography magazine, February 2008) is a portrait of a young girl playing dress-up, a favourite subject of mine. She is wearing an unbelievable array of textures that I have been challenging myself with. I’m in heaven, even if it isn’t my own creation.
“My art practice hasn’t really changed since the restrictions. The extra time at home has allowed me to create an online portfolio. But the longer the situation takes to resolve, the more difficult it is to concentrate, which is a vital aspect of what I do. Another difficulty is the availability of supplies. The mail has slowed to a snail’s pace due to social distancing. I much prefer to shop for brushes and paper in person anyway. An online image doesn’t convey the quality or true colour of an item. Tactility and optics are important when it comes to shopping for art supplies.
“I can honestly say that not being able to be in the studio space with my students has been by far the most difficult aspect of this isolation. I feed off their energy and I inspire them. How I miss those symbiotic relationships.”
LORI PARISH (Juried Exhibition, July 2019)
“I paint intuitively and noticed some new work emerging in November 2019. I had no explanation for the changes at that time. I now see that many of these works feel predictive of the pandemic that we became aware of in February 2020.
“I had started to create with acrylic ink on heavy watercolour paper. An abstract series emerged, with images that, oddly enough, could be interpreted as virus-like in their appearance. Also, I am not one to paint figures, yet, within an abstract painting, a young child appeared. My inner child, I suspect. She is holding compassion for the world in her big heart. This painting has now been named Little Did I Know.
“Without gallery shows to look forward to, and because of a general malaise that can be felt by us empaths, motivation has been challenging during the pandemic. Yet, I continue to paint and feel good about offering some sales proceeds and my time to local charities.”
MARTA SCYTHES (KSOA instructor)
“At the moment I am not making any "art for art's sake". Instead, my focus is on my much neglected house and garden; I am sewing masks for family, friends and Napanee hospital staff and patients; and I have created a couple of step-by-step spring flower watercolour demos for the KSOA site.
“I love being home with my husband, eating delicious meals, sleeping a lot, walking and biking in our beautiful village of Newburgh . . . and getting to know neighbours (at a distance)!
“The most difficult aspect of the COVID pandemic is the restrictions placed on me as an instructor. Teaching is my passion. The Haliburton School of Art and Design: Fleming College, where I have taught since 1981, has cancelled all summer programs. Likewise my last KSOA classes were cancelled. In addition to teaching, I do stroke rehab research at Providence Care Hospital. This too is, of course, on hold.”
Parks are open and there is talk of slowly lifting lockdowns in certain sectors. Will the WAG continue to function as before? We don’t know, but artists and gallery administrators are getting creative online and at home. Following is the second in a series that allows instructors and artists associated with the gallery to shed light, in their own words, on how they are adapting.
GARY BARNETT (Solo exhibition, August 2018; Honourable Mention, Juried Exhibition, July 2018)
“I’ve been staying true to my concept of using chemistry and energy, as opposed to traditional painting tools, to control the application of acrylic paint. I still add paint thinner, silicone and Floetrol, which determine how the paint will move. But I’ve been experimenting with different ways to physically move the paint around a surface using chains, strings, forced air and balloons. I’m also exploring new ways of pouring, as well as continuing my traditional style of dragging the paint with strips of plastic and paper.
“For many years I’ve been focussed on pure abstract expressionism, using basic principles of nature and aesthetics as the foundation of my compositions. In my work I believe the paint is the subject. Now I’m transitioning to figurative subjects--plants, flowers and landscapes--using the new pouring and dragging techniques. My paintings are moving in new directions while staying true to my concept of creating art the way nature does (Day at the Beach, Poppies in the Wind).
“I don't believe that my work habits have changed much due to the situation we are now in. I think I have always been very isolated while working. If anything, I find I have more creative energy and now have more time to create. I am, however, having a hard time getting certain art supplies. Luckily I was well stocked with paint and canvas before this all started.
“I'm actually a website developer, so I've just set up a new online store where I can sell my paintings and also canvas prints of my floral paintings. I had a store before but didn't sell much. I think, given the situation now, the time might be right.”
CATHARINA BREEDYK LAW (TIFAA group exhibition, March 2018)
“I had been teaching drawing to a senior’s group that was part of 50 Plus, which offers activities in this area. With the help of one of my students I set up a Facebook group called Art Play. It allows me to share drawing worksheets with anyone who would like to play with art materials. Everyone is welcome, we share and encourage each other, and we hone our skills. I post twice a week, which keeps my head in the game, gives me purpose and helps me develop new ideas for my own work. We now have 85 members. The whole idea is that we are Alone Together.”
“I had also been teaching children every couple of weeks. Now, twice a week for about an hour, using FaceTime, I demonstrate simple activities, we chat, and the kids practice their skills. They are on an iPad and I am on an iPhone. Lots of fun. I am not able to visit my little grandson, as he is in Toronto, but having some kids in my life is great.
“Once a week I join other members of my TIFAA group to have a paint-in from 10 a.m. to 3 p.m. We work and share what we are doing on Messenger.
“These ways of connecting through art have really helped to get my creative juices flowing again. I am painting pretty much every day--Time, Summer Tree (in progress). Projects that were started months ago are now nearing completion. For me, a daily routine, which also includes self care, is essential.
“First there is hope and then you see a future. It may be different from the one you first thought it would be, but there is a future out there for all of us.”
MARY LOU JAANSALU (Solo exhibition, February 2019)
“I’ve been living in Brussels since July 2019. The COVID lockdown started here in mid-March, and once my family settled into a routine, the time came for me to focus on my studio practice. I decided to build momentum by experimenting with some materials I want to use more. And I decided to explore subject matter I don't usually work with, so that I would have no expectations. Inspired by the blossoms that were emerging, especially the Star Magnolias, I created multiple renditions of these flowers in a few different media. My next set will be in acrylic, but I must wait for the delivery of a paint order. I was unhappy to discover that many of my paints had dried up since the move.
“Being restricted in my trips to the art supply store is a small annoyance. More importantly, I very much miss my visits to galleries and museums, as well as other outings, which were becoming part of my routine. Last fall I started a life drawing class with an instructor educated at the Beaux-Arts in Paris. He had me working in a way I was not used to—small, about letter size, with an emphasis on close observation and getting the entire figure on one small page. Of course, that class has stopped too.
“I know that the move, along with all my experiences in Belgium, are propelling me toward my next big project. I haven’t quite formulated it yet. I’m hopeful that the momentum of the COVID-19 studio practice will keep me moving in a positive artistic direction once we are allowed to get out more. I also foresee myself establishing a web presence some time in the future.”
MARK WILLIAM LAUNDRY (Solo exhibition, October 2017)
“This February I completed what I call “the purple one.” I haven’t given it a clever name yet. It’s the first work with curved panels. Just before I stopped going to my shared studio space this March I was working on another curved-panel piece. It’s patiently awaiting my return to the studio to be completed.
“The works in my show from 2017 were based on the idea of arranging multiple panels, all with the same design, in a grid to generate a secondary design. This secondary, or overall, design was not preconceived. It could change depending on the arrangement. The only thing I planned was the design of an individual panel. I made sketches to see if a panel design worked. Some didn’t.
“My new works continue the same idea, but the grid has become less rigid, and the panels have changed shape, both in two and three dimensions. Because it’s hard to sketch a three-dimensional panel, I’ve had to rely on experience to decide if a panel design will work when repeated in a grid.
“The multi-panel works I’ve been doing for the past several years require the use of power tools and many visits to stores to buy supplies. Recent self-isolating has put an end to both these activities. No longer constructing, I’ve been reduced to sketching. I’ve returned to the fixed grid with rectangular panels . What I can do is play more with colour.
“The upside to the current situation is that I get a break from going compulsively to the studio every day. Another upside is that I get the chance to reset my ‘inner gestalt’ as it pertains to my recent works. When I do return to the studio, I’m sure I’ll see them in a new way and hopefully see more possibilities for new works.”
ANDRÉE LÉVESQUE (Solo exhibition January 2018 and September 2019)
“I am making more art now because, apart from my daily drawings, I often make paintings of these drawings. It is easy working at home because I am accustomed to being housebound—I have no car and few friends. I watch the birds a lot. They are my life-line.
“I post my daily drawings on Facebook and get some feedback. Sometimes I sell a couple of pieces.
(KSOA instructor; Honourable Mention, Juried Exhibitions, July 2018, July 2019; Winner, Paint the Town, December 2018)
“A painting that I am working on now is called Porch Party. It’s a collection of musicians playing at Chris Brown’s Wolfe Island Records studio in Marysville on Wolfe Island. These are musicians that I have sketched many times and people that I know and whose work I greatly admire. What is different for me, because of isolation, is that I am using visual references from recorded videos that I have been able to find on the Internet. What I am finding fun is that I can paint from these recordings and at the same time listen to the musicians on my CD player. I am being drawn to work on portraits of people that I am missing now in my life because of COVID-19. I am also intrigued by the play of several opposing perspectives in one painting. The canvas size, 12” x 36”, allows me to explore this.
“As always, getting my work completed and out to people interested in viewing it, seems to be my constant mantra, especially during the time of COVID restrictions.”
Although the Window Art Gallery is closed, Kingston and area artists are still busy. Theirs is a solo effort at the best of times, but I wondered how the present stay-at-home/physical distancing situation is affecting their art practice. Following is the first in a series of responses by a few of the artists associated with the gallery and the Kingston School of Art.
(Winner, Paint the Town, December 2017, December 2018, January 2020)
“I have been hunkered down on Singleton Lake since mid-January. My hermit, Thoreau-like lifestyle is now in vogue. Our rural satellite internet is slow to start with and now it just barely crawls as people stream movies. This encourages more painting. So I am working on a Georgian Bay series (Pine Flags on Georgian Bay) based on photos I took from the water last September. Working on this series comprising almost forty 8”x10” paintings is a great studio experience when staying at home is the safe and secure thing to do for everyone.
“I have also done some plein air work. The weather is delivered to my doorstep and I always find the sky inspirational (Singleton Winter Contrails). In fact, I have started blogging a series that explains the weather without any mathematics. The weekly ‘Weather Explained’ blog series will likely run for a long, long time.
“My work has become a bit looser, possibly triggered by the rocky music which I play in the studio, but not en plein air.
“COVID-19 has restricted some painting trips that I typically do in support of CPAWS and other nature-oriented organizations. My dream is that, when this is over, we will regain a deep connection with the simple things in life and in nature, replacing our lifestyle of consumption with one of sustainability for all creatures.”
(Second Prize, Juried Exhibition, July 2019)
“One would think that being retired and house bound during this pandemic would avail me of more studio time. But alas, I find myself squeezing in time for art between a different set of obligations and pastimes. Not that this is a bad thing; more quality family time is also a welcome use of my time.
“I am fundamentally a textile artist, but over the past six months I have been playing with more conventional mediums like paint, charcoal and pastels.
“I have a limited array of supplies and tools at home. So I have given myself a few challenges: finish stitching a number of previously designed textile pieces; play in my sketch book a few times a week to document my thoughts and feelings during this time; and use my limited supply of acrylic paints to experiment with small abstract works.
“But there was one thing in particular that I wanted to do when I found time, and I have just finished this exercise. In February I had done a pastel on paper entitled Life Lines. It was an experimental abstract using pastels. I had never used pastels prior to this piece. I wanted to duplicate this piece in textiles and stitch. It has just been completed. It remains unframed, awaiting the reopening of Art Noise. It was an interesting exercise that I may choose to repeat again in the future.”
(WAG Gallery Director; Beyond Classrooms volunteer)
“Fortunately, even before our age of contagion and confinement began, I had established a regular daily art routine. I call this practice my art injection. Along with exercise, breakfast, coffee and the morning paper, making art is essential for my well-being and helps form the pillars of my day. Everything I create is small and simple and usually spontaneous. I definitely do not need any more large pieces in my house, or my life! A mere 15 to 20 minutes a day is sufficient to nurture my artistic soul. I feel my vibration being raised as I tune into this creative and meditative state. It resonates with me throughout the day and helps me stay in the light.
“I often find inspiration in magazines and newspaper photos. Recent drawings in my sketchbook include a pastel portrait of Meaghan Markle and a conté drawing of a young man after an ad in ROM Magazine.”
(Honourable Mention, Juried Exhibition, July 2019)
“Before social distancing measures were in place I was working on a few things for a show I was supposed to have with Beth tenHove in May at the Tett Centre. I was working on some large abstract acrylic paintings. Now, with schools closed, I have my teenagers at home. My studio is also in my home, so as a result my work hours—and my attention span—are a lot more choppy. My daughter uses my studio almost as much as I do!
“I have still been working on some of the large—40”x40”--abstracts (Go), but it has been much easier and frankly more therapeutic to focus on small 6”X6” oil-on board still-lifes that, as in the case of Mini Tulips, need to be captured immediately. I have posted and sold a bunch of these pieces on Instagram. I think social media is the perfect venue for these cheery, accessible pieces—signs of Spring and hope.
“Lots has changed for sure...my outlook, the structure (or lack thereof) of my days and my weeks, my subject matter and perhaps most importantly my sales outlets. Beth and I are working on both postponing and re-imagining our art exhibit. The Kingston Glass Studio and Gallery, where I exhibit, has obviously been closed and is also promoting artwork online. I am using social media and word of mouth as sales avenues for the time being.
“I am grateful every day that for now I can continue creating as my occupation, and I welcome the way the world is embracing the arts in general in a whole new way.”
(Upcoming retrospective exhibition)
“I am really enjoying this time at home. I have not made any art, although I did sew 150 face masks. Instead, I am using the time to catch up on all sorts of things I have been meaning to do, from backing up my computer, to updating my website, repairing a couple of damaged artist’s books, updating my mailing list of librarians who have purchased or showed interest in my work in the past, and sending them an email, applying for the OAS, finishing knitting a couple of pairs of socks (both started but set aside,) and spring cleaning, and gardening.
“Here is a photo of one of my first artist’s books, Transformation Book #7, made in 1980. A friend just sent it to me to use in my retrospective entitled ‘Connection: Forty Years of Artist’s Books’. I had totally forgotten making it, so it was a treat to see it again. Had we not been in isolation, this retrospective exhibition would have opened on the May 2 weekend at the Window Art Gallery.”
BRUCE ST. CLAIR
(KSOA instructor; Paint the Town, December 2018, judge; Juried Exhibition, July 2018, judge)
“I'm presently working on a 4'x 5' oil of Glencoe, a picturesque glen of volcanic origin in the Scottish Highlands. But my main reason for painting this scene is to recognize the tragic historical significance of the location. In 1692, during one of the darkest times in Scottish history, 38 members of the MacDonald clan of Glencoe were slaughtered by English soldiers. My ancestry being Scottish, I am deeply moved by this particular story.
“Those who’ve been to my house have seen the painting. It's been waiting a few years for me to have time to finish it. I’ve been trying to 'green it up' from the darker and browner photos taken by my wife, Lori, during her 2007 tour of Scotland with the Ontario Massed Band. And, of course, I’m adding more heather! I’ve also decided to introduce patches of sunlight peeking through a mostly overcast sky (there was a suggestion of that in the photo already), which means I'll have to introduce at least a little blue into the sky.
“My mornings usually begin with the checking of my emails. When this all began and classes were cancelled, I initiated an email exchange with students in my various classes, inviting them to post what they were working on for mutual encouragement and suggestions, as well as my attempt at critiques, as I would do in class. Although I now actually have time for my own work, the most difficult aspect of the present situation for me is, of course, not being able to connect with my people in person!”
Ulrike Bender is a former graphic designer, art director and ESL teacher who, in retirement, has ventured into photography. She is currently a volunteer gallery assistant at the WAG and a docent at Agnes.