I’m learning something new about the Calgary art scene every week and I’m so excited about the seeming expansion of visual arts events the city-over.  Given that I’m living in the south, I like it that this includes the Manchester Industrial Park.  One such gem is the Christine Klassen Gallery.  This afternoon I was the beneficiary of fantastic light, scrumptious munchies, a glass of nicely chilled champagne and over-the-moon art works…today, featuring the works of artists Teresa Posyniak, Lisa Matthias and Carl White.

I found the work uplifting, predominantly textural in nature, with a dominance of pattern.  On a warm Calgary day, seeing such works could only lend itself to a sense of optimism.  I had a lovely chat with Lisa and was, given a body of work that I’m exploring, intrigued with her  interest in ecology, natural history and environmentalism.

Since studying the Private Eye for an integrated educational program based on observations of natural and found objects with jeweler’s loupes, I’ve been collecting samples on my pond study and analysis of atmosphere around a single bush located at the site.  I was immediately drawn to Lisa’s works.  Described in part, on her website…

Her work frequently draws from her experiences as a biologist, and she often captures microscopic images and videos in her creative practice. The idea that everything is part of a larger assemblage, emphasized by the recognition of patterns and relatedness across species and scales of life, is a central theme in her work.

I’ve consistently enjoyed Carl White’s paintings as expressions of a very absorbing and melodic sensibility.  I was happy to reconnect with that feeling today.  It was a beautiful thing that as the huge doors were left open because of the warmth, Carl’s paintings seemed to mirror back to me the spring air, light and sound.  It was truly beautiful.

Teresa’s work was fascinating for its layers of media and texture.  Surfaces were dripping with colour and intensity.  While reflecting upon ‘Eating the Sun’, I am salivating.  Some art just creates that response in me.    Again, I enjoy Teresa’s link with science.  The following, a summary from the CKG website.

My childhood fascination with “things microscopic” resurfaced about ten years ago when my friend and science journalist Alanna Mitchell shared her research and images of plankton with me while working on her international bestseller SEASICK: the Global Ocean in Crisis. I was struck by the fact that plankton produce more than half the earth’s oxygen through photosynthesis (the conversion of sunlight to carbon-based food) putting oxygen into the air as waste from the chemical reaction. Although these “sun-eaters” keep us breathing, their well-being is being threatened by human activity.

It wasn’t just the science that intrigued me. As an artist, I am fascinated by these beautiful creatures ranging from microscopic marine viruses and bacteria to single-celled plants with stunningly ornate shells, and plant-eating animals.

As I embarked on this ten year journey to create this series of paintings and sculpture, I thought about the myriad ways that pattern is enmeshed in our existence and how the tapestry-like qualities in these almost invisible creatures and plants are echoed in the macroscopic world – architecture, decoration, lace, flowers, trees, skin, clouds, stars – the comparisons are limitless.

Both artists and scientists are keen observers of life.  Science has inspired me to expand my artistic vision to another realm, a world that I yearned to see as a child.  

This stop was a delightful way to begin my afternoon art walk here in Calgary.  I’ll continue by writing about my ‘second stop’ tomorrow morning, a tour led by Naomi Potter (Curator for Esker Foundation), Jim Hill (owner of Pason Systems and along with his wife, Sue Hill, an enthusiastic collector and visual arts advocate) and Dr. Shepherd Steiner ( Assistant Professor, University of Manitoba School of Art, who has recently completed a manuscript looking at Modernist painting, sculpture, and criticism from 1945–1968) of a portion of the extensive collection of works on view at Pason Systems.  What magic!

I’ll be seeing you again, Christine.