artists in conversation

Yesterday afternoon we went to see an exhibition at the Seymour Art Gallery called Odd Occurrences: Narrative in the Art of Kristin Bjornerud, Tamara Bond, Tomoyo Ihaya, and Carrie Walker.

Here is the exhibition statement:
The artists in Odd Occurrences build on centuries-old traditions of oral and visual storytelling to create images that are wildly imaginative and intriguingly strange, mysteriously disturbing or oddly funny. In days gone by people were familiar with stories told through the spoken and written word and pictures because they usually depicted events from religious life, history, and traditions or communicated prevailing myths and legends. Today, however, in our pluralistic, postmodern society, we cannot simply assume commonalities of experience-there is no single narrative. Instead, the artists in Odd Occurrences offer a rich mixture of fabricated narratives derived from personal experience, cultural origins, current events, dreams, myths, and folk-tales. Telling their tales with human figures, animals, and objects, the four artists use formats that range from symbolic descriptions of occurrences to odd juxtapositions of found and newly invented imagery. These open-ended, nonlinear narratives, often stories suggested but not fully realized, allow for multiple levels of viewer interpretation.

Beautiful, exquisitely created work by all, using various drawing and painting media.

We timed it to also take in the Conversation with Guest Curator Rachel Rosenfield Lafo and three of the artists and the audience. It centered and elaborated on the above themes and was very accessible and enjoyable for the audience and added to the appreciation of the work. I found it most interesting to learn that the curator had seen these artists’ works in separate exhibitions and had noted certain similarities between them. And as curators sometimes do, she came up with an exhibition theme and proposal, invited the artists to take part, and arranged this exhibition venue.

On a more personal note, I want to mention that Tomoyo Ihaya is a long time friend whose work I’ve written about here many times (search here if you like). I was sorry to miss the opening night when she gave a talk, for she was unable to join the others at this later date because by then she had already returned to northern India where she spends much of each year. In addition I have met Tamara, a friend and fellow art school graduate of our daughter Elisa.

The exhibition continues to October 14th, so if you are in the Vancouver area, I highly recommend a visit to see this wonderful art, in this lovely location in Deep Cove.

Regarding the images below, these are quick photos of some of the work in the gallery taken just as the chairs were being set up for the talk, and with permission and a promise not to take closeups. I hope these give a slight idea of each artist’s work and that you may be intrigued enough to visit their websites or other links.

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by Kristin Bjornerud

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by Tamara Bond

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by Tomoyo Ihaya

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by Carrie Walker

autumn equinox

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One day last week when I was leaving the studio and walking back to my car, the changing colours on the trees and shrubs along the path made me slow down to enjoy them. Feeling as if I were five years old, I picked a bunch to take home and have fun with the scanner.

Along the south side of the road home are many tall trees. The sun was low even in the early afternoon so there was a lovely flickering of light and shadow through the trees as I passed. It’s something I love and have noticed many filmmakers do as well.

The last day of summer was cloudy, such a change from the bright sunny and sometimes hot weather we’ve had so far this month, though the shadows have been lengthening increasingly every day. This morning is cloudy/foggy and today is the first day of fall for those of us in the northern hemisphere. The coming of spring seems to be celebrated more because of winter’s end but autumn is a favourite of mine as well. To me all the four seasons make a wonderful cycle and marker of time’s passing with its variety in light, weather and changes in the gardens and woods.

signs of autumn

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– when a grandchild brings you a couple of leaves in the colours of fall
– when going back to the print studio feels like going back to school
– when dear artist friends gather together again after a summer break
– when Indian summer comes with hot afternoons and cool nights with heavy dews
– when the last of the tomatoes are almost all ripe
– when the bell peppers are finally turning red
– when juggling new schedules and fitting in visitors too

a test piece

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Untitled
torn etchings, mylar and cotton string
14.5cm x 24.5 cm. (5.5″ x 10″) plus string

I recently found this in an old sketchbook. It was a little test I once made to experiment with a way of mounting art work on paper. The prints are tucked inside a fold of mylar (plastic) with holes punched all through and held up by string. This made me remember a series of pressed paper pieces that I had made and had mounted in this way. I must look for them and see if I have any slides of them. Another inspiring revisit of past works! I rather like this piece and am toying with the idea of doing this with some new pieces sometime.

Amazing how this connects with my jute and twine, torn drawings and paper tears.

enervation

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still hot and humid, even last night
wilting, dripping, headachy, cranky

Fading like these flowers (the name** has escaped me – anyone?).

I did manage to register for a space this fall in the printmaking studio, swallowing a huge gulp in the jump in cost. I dearly hope by September the weather moderates so that I can have energy, both mental and physical, to get back into my artmaking. Summertime just kills that for me, every year, it must be my northern blood.

** suddenly remembered it: liatris or gay-feather

postcard art fundraiser

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I first wrote about this fundraiser, Wish You Were Here, a few weeks ago. It is an inaugural event put on by CARFAC BC for artists. Everyone is welcome to attend the event on Friday, June 22nd at W2 Community Media Arts Society, #250-111 W. Hastings (the Woodwards Atrium) in downtown Vancouver between 10 am to 7 pm.

An attractive website has been created, so please check out all the work by BC artists. You will find my pieces under ‘printmaking’. Four of them are etchings, one called “Astuvansalmi” is an inkjet print (also shown above). If you can’t make it to the event in person, online purchases are welcomed. All works are $50, with half going to the artist. Payment will be accepted on-line beginning June 22 accompanied with an email to bc@carfac.ca outlining the title of the piece you want and the name of the respective fine artist. We all hope you will find something of interest to add to your collection or to give as gifts, in support of “the creative economy of Fine Artists from your very own ‘hood. Your support can ensure that BC fine artists will not be another industry replaced by technology and disappearing into history.”

UPDATE July 2nd, 2012. Due to popular demand, this fundraiser is extended until July 30th, 2012 to encourage more on-line sales. The website has been updated to reflect artworks that have been sold. I am sorry to note that this is open to Canadian and US residents only, I suppose because of mailing costs.

another batik

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STRATA – batik on cotton, 100 x 147 cm. (39″ x 58″), 1981

In the previous post about batiks and in the conversation with commenters, I recalled a commissioned batik hanging I’d done. Marly’s question about it inspired me to hunt and luckily find the only photo I think I have of it. It is not a good photograph, lacking sharpness and taken hanging in front of a window to utilize some bright backlighting, and thus revealing a shadow from the window frame running down on the right of the tree. Askew too, but straightened thanks to photo-editing software. Fortunately I’d written a wee bit of information (size, date) on the back of the photo… which leads to my next observation.

All this digging out and revisiting of older works this past few weeks has reminded me about how negligent I used to be in my early years regarding documentation of my work with high quality photographs and slides along with written material about the techniques and materials used, sizes, dates, and even ownership if sold. I think I was not taking myself and my work seriously enough. As a serious artist, even as a craftsperson which I felt to be with batiking, I should have been professional enough to keep proper records.

Later, when I joined the Art Institute program at Capilano University, I learned all about this and have been quite meticulous with my record-keeping. In fact, those records are extremely handy when I need to look up information about a piece of work without having to pull it out of storage…. to measure it, for instance. The biggest challenge for me was achieving good slides, then the expense in having duplicates made for submissions to juries. Nowadays I’m very grateful for much improved digital photography and computer technology and that digital files are accepted everywhere (that took a while, too).

batiks

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Needing a break from all the ‘spring projects’ and while waiting for the fumes of varnish to dissipate, I felt the call of my studio. Impulsively I delved into the bottom drawer of my old wooden flat files where I keep a variety of work from other artists, part of my collection, and some small older works of my own. I found these two batiks that I had made in the early 80’s. I have few left from those days when I was really ‘into it’ for a few years. Many were given as gifts or sold. It is kind of interesting, if even a wee bit embarrassing, for me to look back on these pieces, and to show them here. It has me remembering that time in my life when I was an at-home mother before I returned to printmaking. I still have those supplies stored somewhere but have not done any more batiking since then.

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UPDATE, 11:00 am May 29th, 2012: Suddenly remembering some posts I had written on batiking back in 2006, I searched and found three about Annabel Carey’s beautifully made and researched batik art based on the stone circles around the UK. As you know, ancient stones are a favourite subject of mine. (My examples here do not compare!) It is an interesting story if you would like to visit/revisit these links in their order of appearance:
a batik exhibition
update on batik show
more on Annabel Carey’s Spirit of the Stones

Wish You Were Here

This is for artists in British Columbia….

I have just put together my little package of prints to mail to CARFAC BC’s inaugural postcard fundraiser called Wish You Were Here. If you are a member, or wish to join if you are an artist in BC, you are invited to send in up to 5 works in your choice of suitable media on a 5″ x 7″ surface. Deadline is June 8th, 2012. This event is taking place on Friday, June 22 at Woodward’s Atrium, 111 West Hastings Street, Vancouver from 10 AM – 6 PM. Please read more about it at the link, join in and tell your friends to come and purchase small art works.

If you are an artist in Canada, you are likely already familiar with CARFAC, the Canadian Artist’s Representation, with each province having their own provincial chapter. I have long been a member as this is a most worthwhile organization working on artists’ behalf on many issues. Check it out.

torn drawings

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As I go through numerous life drawings from decades ago, the least favourite are being ripped up and put into the paper recycling bin. Today, I decided to rip these into even smaller pieces and feed them to the compost as carbon material to balance the current overload of nitrogen from lawn clippings. A few little pieces attracted me and I thought I’d scan them.

The first ones are reminding me too much of kitchen towels drying on the clothesline, maybe because I do have stuff on the line at present! The second set makes me think of ancient Greek or Roman fresco pieces, which is so much more artistic. What fun!