COLLECTOR'S ITEM: "Three Black Cats" by Maud Lewis

Maud Lewis, Three Black Cats, 1960s, Oil on pulpboard, 30.0 x 30.8 cm. Currently on display at the Art Gallery of Nova Scotia is Maud Lewis' 1960's painting Three Black Cats. Nova Scotian treasure Maud Lewis depicted her world through her paintings with a childlike wonder. She painted scenes familiar to her, such as a horse and carriage, a sea coast, and an oxen drinking from a river. Lewis was drawn again and again to the same subjects, perhaps because they were all she knew. Her works depicted an eternal spring, an optimism that was apparent even in her winter scenes. As cheerful and carefree these paintings appear, the life of the artist who created them was quite the opposite. "While her

An off week in the studio.

Every couple of months, I have an off week in my studio. Each step forward feels like two steps backward. The brushstrokes and compositions appear wrong, eventually adding up to a bad painting without a chance for recovery. This past week was an off week. I knew I should've left the studio and focused on something else. Laundry, washing the dishes, organizing my closet, something other than painting. I pushed myself too far and needed to paint over a few pieces. At that point, I put the brush down and left my studio for three days. Major disaster avoided. #AIRS19 #artblog

Claire Scherzinger

Victoria based artist Claire Scherzinger creates otherworldly paintings that explore an alternate reality. Rooted in a colour palette that is dark and chilling, her paintings pulsate with a teal, nuclear glow. Their ambiguous atmosphere creates mystery, leaving their locations unmarked and unfamiliar; the unexplored universe sets the stage for this body of work. Through thin washes of built up paint, landscapes and surreal figures, plants, and animals emerge. Diverse life forms are supported by this unearthly planet and we are mirrored back in their civilization, an imminent foreshadowing of the vast destruction of our world and the survival strategies required to adapt to an unknowable futu

Working in my studio.

It's been a busy and productive week in my studio. When my creative energy is flowing time seems to stand still. I spent four day's producing small studies, vigorously getting the ideas down on paper. My next step was to sit and analyze theses small works, taking time to connect with them and determine what was working and what needed development. After narrowing down my work, I felt confident to move forward and start some large paintings. Studies from this past week Notes that I give myself: Confidence to move onto large paintings: #artblog #AIRS19

Brubey Hu

Brubey Hu is a painter currently based in Waterloo exploring the boundaries of colour and composition. Matte colour fields and crisp edges fill one canvas and spill over onto the next. Brubey incorporates the edges of her works into their composition, allowing the negative space between the diptychs to complete the shapes on their surfaces; the divisions connect a horizon or extend a rectangle. Pushing the materiality of the paintings further, forms flow from the front to the side to be completed on the perpendicular planes. The paintings connote concrete structures, light filled windows, or cleanly laid tile. Their muted colour palette softens the hard edges of her abstractions, washing the

Inspiration

Inspiration can transpire while riding the bus, waiting for coffee or, at your desk on a Monday morning. When a well-formed thought presents itself, find a way to record it. How you choose to document your thoughts and ideas is up to you, what’s important is recording the information so you can draw from it later. Years have passed before I draw from my idea bank, but when I do, I'm happy I took the time to organize myself. Below Image: This is an inspiration board made from photos I took on a recent trip to Montreal. How or when I will use this information is not clear. I'm ok with not knowing. #artblog #AIRS19

Fiona Moes Pel

Vancouver based artist Fiona Moes Pel creates small, geometric stained glass works. Their unique compositions and pleasing palette of clear and coloured glass offer a new perspective of this impressive medium. Each piece of precariously assembled, with triangles and trapezoids stacked against each other at all angles. They appear to be filled with the incredible strength of something that's been shattered and lovingly made whole again. Added illusion is given to these structures through their use of negative space, linework is created in the presence of glass as well as the absence of it. They playfully remind us of sugar candy and shiny wrappers, we can almost hear them crack and crinkle. F

Process

Prior to developing a body of work, a series of small studies are produced. This process provides space for experimentation and is foundational to my practice. My interest resides in the act of doing, translating thought to paper. This free-flowing energy gestures to my passion of process where inspiration is drawn. Images of past processes that I'm currently working from. It is important to find new and informative ways to advance each project. My objective is to expand on my current material approach by using current woodblock plates. I will incorporate watercolor, acrylic, gouache, ink, pencil crayons, and collage techniques. On completing this residency I intend to produce 20 - 30 small

Stanzie Tooth

Toronto based artist Stanzie Tooth creates captivating work exploring themes of home and finding your place in this world. Tooth's body of work for her show Coming Home explores how place and identity are intimately connected, making the viewer question what is home. Plaster, pigment and felt are used to create illusive yet familiar compositions that remind us of our grandmother's quilts and old faded, family photos. The soft edges and colours contrast with the hard lines scraped into the plaster and crisp patterns, acting almost as moments of a remembered past. Stanzie Tooth's work for Coming Home pushes us to considerer our relationship to home and how much of our past is remembered or con

Introduction: Rebekah Andrade

My name is Rebekah Andrade. I am an abstract painter from Canada. Currently, I live and work in the United States. The work produced during this digital residency will support an upcoming show taking place this September at Gallery 1515, Vancouver BC. My Work: Through re-imagined environments and composed structures, my work explores the many definitions of the ideal form. My interest lies in our ways of shifting and manipulating concrete and ambiguous elements within our inhabited environments. Inspiration is drawn from a negotiation process within the methods and boundaries of subject and medium. The neutral space that I create in allows the evolution of geometric combinations, application