Bruce demonstrated how to do an image transfer some months back and my cousin, Margy, has been using these techniques successfully out in the studio for several of her amazing collage pieces. Last night, I really wanted to deal with the Trans Canada Highway in some subtle way. Since coming home from Ontario, I’ve been thinking about the extent of the highway that has become so familiar to me. An asphalt thread, it is all that separates me from these important family members. I decided, before even driving to the Gorilla House, to adhere my mirrored image of the map onto my board…that, along with the colour test sheet that popped out at the beginning of my print job.
One of the concepts of the night was Cruelty and Beauty. I was thinking about the painful experience of separation and the cruel reality of physical distance (This might be an emotional distance in the case of not being able to reach into the heart of someone you love. It might be the seeming impossibility of attaining a career goal.) ; on the flip side, the awesome experience of knowing love for those who are not physically present…how beautiful is that love…how powerful.
Ravens are dealt with in art works right across Canada. They are icons of a changing culture across regions. I was introduced to Prince Edward Island artist, Karen Gallant, on my ancestral search in North Rustico two summers ago. The raven appears both as a central subject and as a supporting detail in much of her work.
Amy Switzer, North Bay, Ontario artist, exhibits with my grade nine art teacher, David Carlin and masterfully creates mixed media sculpture, often with the raven and other birds as her subjects.
And while I am whizzing across Canada, it’s imperative that I represent an image from the west coast, known for the historical reference of the raven used in First Nations masks, totems and art for generations.
Traditional and so absolutely beautiful…
“An elegant hand-carved and painted bass wood West Coast Native Canadian “raven rattle” by Gerry Dudoward, a Native Canadian artist known for his West-Coast style carvings. The body, painted in greed, red, white, and black, is carved in the shape of a wingless raven, with West Coast geometric motifs painted along the body, with a small carved man sitting backwards on the raven’s back.
1.6″ x 1.4″ — 4 x 3.5 cm” SIC
Emily Carr’s observations of the lush coast and her observation of totems had a profound impact on the conversation about Canadian art and Appropriation. “Canadian Expressionist Painter, 1871-1945 Canadian painter and writer. She studied art from 1891 to 1894 at the California School of Design in San Francisco. She lived in England from 1899 to 1904, studying at the Westminster School of Art in 1899, and settled in Vancouver on her return. Her stay in Paris in 1910-11, during which she had a painting shown at the Salon d’Automne in 1911, proved far more influential on her art, familiarizing her with Impressionism, with Post-Impressionism and with Fauvism.”
Big Raven 1931 Oil on canvas 87.3×114.4cm Vancouver Art Gallery
Here, W. Allan Hancock’s wildlife paintings represent the contemporary approach to ooooober realism.
This is my own two-hour painting resulting from last nights Art Battle. I am grateful to Emily, Grace and Alex for purchasing the piece at auction and to all my friends for their warm welcome home.