One Hundred Flowers

Georgia O'Keeffe. One Hundred Flowers. Knopf, 1990.

Dali by Dali

Dali by Dali. Abrams, 1970. Eleanor R. Morse, Translator.

Modern/Post-Modern I - Eclectic Passion

Tribute to John Handy
Ella














Modern/Post-Modern I

Eclectic Passion: A Memorial Exhibit

We all know certain individuals from whom art seems simply to ooze. They have to do it, for their own reasons. Not necessarily to sell or make a living. Not necessarily to document or narrate or represent the reality around them or to make a statement. Not necessarily to make the world more beautiful. Simply because it is in them and needs to get out. For these artists, the process is what matters. However aesthetically pleasing it may be perceived, the product can become irrelevant. Gary Waddington, 1938 to 2006, was one such artist. He chose never to show his work and indeed threatened to burn it before his untimely death. Saved by his loving wife, who has struggled to prepare and show them, the public can now view some of the paintings in Eclectic Passion: A Memorial Exhibit. A brief biography accompanies the work: born in Oregon; studied architecture and art at university; in the American army in the 1960s; moved to Calgary in 1969; retired to Kettle Valley.

Paintings by Gary Waddington © Phyllis Waddington

Modern/Post-Modern III - Seeing Red

Modern/Post-Modern III

Seeing Red

Big, bold, and beautiful are the first words these paintings evoke in me. Confident compositions in black and white and colour. Big, bold, beautiful, and red. The red dominates; it jumps out at me. From Ella's red lips. From the largest panel, at least four feet square, in all shades of red with black outlines--Escalation. Where all colours flow into one red dot--Red Focus. Studies in black and white with red accents--Miroesque. Fantasyland. A warped lidded jar on a black field, red and gold and purple, with eyes, evoking primitive pottery, Humpty-Dumpty, and Picasso--Face First. I can see the artist playing. Challenging himself with the styles of twentieth-century masters--Miro, Picasso, Mondrian, Braque--with whimsical twists.

A closer look reveals the presence of other colours in the show. A navy blue and white composition evoking Calgary weather--White Invasion. A beautiful sky-blue field with black, white, and green notes--The Blues. Blue and Red Dance. Red Slash. And a lot of gold. Bottles. Journey III. Girl with Dog is a forest of brown, green, and gold, a girl's face, an elusive dog. Journey II is a dream, a mauve pastel drip, with a Mondrian-ish corner. Like the background in the Ella portrait, the saxophone is yellow in Tribute to John Handy. I remember Gary's giant pup of a dog named Mingus. Names, like titles, are clues.

Very twentieth century. Very ''modern art" with a post-modern sensibility that rejects the myth of progress and the belief that art can improve things, that it can make a positive contribution. These paintings are an homage both to one man's life and to life in the last half of the twentieth century. They celebrate the artist's passions--jazz music, art, places of forest and snow. In colour and composition and movement, in a variety of applications of oil to linen and canvas, they communicate emotions and ideas. Red Slash, like a wound; red dot like a bullet hole. Back at the huge black and scarlet square, its shapes morph into deltas, islands, peninsulas, its colour devolving from blood red to agent orange--Escalation.

Eclectic Passion hangs in the Back Room of the Hope Arts Gallery, Hope, British Columbia, for the month of February, 2009.

A Brush with Creation

A Brush With Creation

A Brush With Creation features two friends who have exhibited together in the Hope Arts Gallery Back Room for several years--Jenny Wolpert and Shirley Wotherspoon.

The first impression from the threshold of the room is awe, incredulity. So many pieces, so much work, new work, all completed since last year's show. Almost overwhelming. You tell yourself to focus: on this wall, then this wall, then this, and this, and this.

To your right, Shirley has two jewel-toned crazy-quilt inspired stitched fabric landscapes, "Mountain Lake", "Moons Up", with four large acrylic landscapes. Straight ahead, Jenny's two colourful quilted fabric hangings, "Legends of the West" and "Flight to Freedom" are featured, along with digital collage paintings beside oil paintings and encaustic paintings by Shirley. The end wall features a large mixed media painting of Jenny's, "Dancing to the Exit", its yellows repeating Shirley's fall landscape above it. The fourth wall holds a mixture of acrylic paintings and smaller watercolour landscapes by both artists, and a shelf with small paintings and Jenny's pine needle sculptures and decorated gourds. The gourds are trimmed with stitchery and painted with a mysterious hieroglyphics first seen on the hanging featured behind the front desk. This object, some sort of fabric--is it plastic? is it leather?--attracts first by its uniqueness. It is peach-coloured with a grey shadow pattern, over-stitched, scribed with those same turquoise shapes giving an impression of glyphs, as if the shapes contain/conceal/reveal meaning. "Stelae of a Passing Culture: History detectives speculate about the rise and fall of culture. Why did this civilization fail? Will they identify the lowly pine beetle?" Aha, the subtextual pattern is that of the stains in pine-beetle-destroyed wood.

Although their work is very different, there are always surprising connections between these two artists. Exuberant colours. Nature. Explorations of several different media each. Shirley uses acrylic, oil, and watercolour paints as well as encaustic and fabric to portray natural objects, scenes, and settings. One painting shows a cabin on Mt. Ogilvie, another a bear popping out of a bush. The other nineteen pieces show no signs of human habitation beyond a footpath which could just as easily be a deer trail. It is as if she has chosen to focus upon Beauty and Peace, and to explore that beauty in several different media.

Jenny's work--fabric art, acrylic and watercolour paintings, photography, digital collage, pine needle weaving, decorated gourds--tends to feature symbolic and mythic creatures such as coyote, salmon, and eagle in the fabric art, or swans, bears, and butterflies in the collages, dead trucks, and humans moving through a landscape. There are men in meaningful pursuits (walking with briefcase on highway, exploding) or girls (in adolescent glory, rising from a sea shell, dancing with trailing ribbons) in allusive and symbolic poses. Jenny also engages viewers with the written commentary to each work, explaining some of her own observation, inspiration, or interpretation. The comments in many of these captions suggest that Jenny works to transform anger into art, pain into beauty.

Two different artists. One great show, in the Back Room at the Hope Arts Gallery, Hope, British Columbia, until September 28, 2008.

Four Corners

Four Corners

The Back Room Show for August (2008) features four artists in at least as many different media. They have not exactly each claimed a corner, but each artist has definitely staked out her own territory. The beauty of the world, the "richness of our surroundings" inspires each artist.

Lona Munck's gentle watercolour, oil, and acrylic landscapes set a serene mood in the natural world. The delicate touch and calm muted colours are very appealing. The local, upper Fraser Valley, Agassiz/Harrison Lake scenes, including varied landscapes such as alpine, waterfalls, forest, glacier, river, fireweed, help celebrate the local. "My goal is to share with you, my joy in color, line, form, shape, and design." she says on her website www.freewebs.con/lonasviews

Diane MacKenzie's paintings are, for the most part, larger, which helps them capture viewer attention in an eclectic collection. The feature pastoral of contented dairy cows under a shady tree carries on the celebration of the local. A photograph from the 1950's of two "rebels without a cause", complete with cigarettes, undershirts, blue jeans, and old car, almost presents a lesson in creating art from life. The artist has transformed the photograph into a graphite wash sketch and into an enlarged sepia-toned watercolour, both very effective. Other subjects lean more towards farmyard and garden. Her roses are so convincing you feel as if you can smell them.

Anna Johnstad-Moller's photographs offer another way of looking. Two large iconic images, one of a Swedish thatch-roofed house, another of a white-painted church, emphasize how important is choice of subject to a photographer's goals. And an interesting collection of beach shots, from fly fisherman to close-ups of kelp and bubbles of vegetation, reminds us of how the camera both directs us and helps us to see. AJ-M also displays pine needle baskets and woven sage incense, and some beautiful postcards of her photographs.

Finally, Diane Ferguson's raku is breath-taking. Occupying the corner opposite the entrance, it sucks you right in, down on your knees, to look. Too slow, when I went back to photograph the large Chihuly-inspired bowls, they were already gone. One was dark with royal blue interior; the second was the iridescent copper I associate more with raku. Together they forced the viewer into a dilemma--how can one possibly choose one over the other? The large swimming fish sculptures are also very appealing, colourful, humourous, oozing character, personality. My flash only helped heighten the subtlety of colour and texture.

Any one of these artists could shoulder a show of her own. Together, they offer an almost over-whelming potpourri of beautiful creations which inhabit the Back Room at the Hope Arts Gallery in Hope, BC until August 29, 2008.

Rural Life

Rural Life

As Ian Tyson says of Charlie Russell, "get her all down before she goes . . . you gotta get her all down cause she's bound to go." A similar sense of urgency underlies Linda Bishop's two dozen paintings in the new Back Room Show. The Rural Life--A Collection of Original Oils Depicting Life in the Country focuses on the creatures with which we live--chickens, sheep, cattle, and horses. There are no barns or factory farms for these animals. They live in a green world where you can see the swish of a long graceful tail, hear the bawl of a protesting cow, the scratch of chickens dancing, the jangle of harness. The cattle portraits especially, groups in a pasture or jostling for winter feed, individuals scratching on a favourite tree or resting in the shade, capture "personality", a "knowing" intelligence, curiosity, the uniqueness of individuals, the way in which they watch us as carefully as we watch them. One Bossie stretches into a welcome scratch behind the ears from a trusted friend who is the only human figure in the show. There are also several landscapes--waterlilies on a creek, a slough, a rippled stream in spring edged with red osier, a mauve sunset. And there is one grouping of still lifes, various arrangements of pieces from a gold-trimmed Blue Mikado-pattern tea set--cups and saucers, creamer, sugar tray and tongs, tea pot, a crumpled table cloth, warm sunlight.

What is the link between an antique tea service, an object not necessarily limited to rural settings, and the cattle, horses, sheep, and chickens in Bishop's countryside? Perhaps it is the celebration of a fragile threatened existence. The joy in hard work and simple pleasures. Taking notice and taking care. Enjoying the beauty in nature and man-made objects. Nurturing. Humour. Respect for each other and for the animate world in which we are set. Respect for tradition. For traditions we inherit. Traditions, like the tea set, like the passion for country living. Values which we inherit from earlier generations, which we choose to inform our lives, when we choose to move to the country, to remain rural, in spite of encroaching development, the houses, golf courses, people crowding agricultural land. These paintings portray things we return to again and again as an antidote to the rush and noise of modern life. Things which give meaning to existence, purpose beyond our self-centred anxieties.

Linda Bishop's paintings of rural beauty inspire thoughts and feelings; they will be in the Back Room of the Hope Arts Gallery until the end of July (2008). Catch them before they go.

April--Flora and Fauna

Flora and Fauna

A curvaceous slash of hot pink feathers greets you as you step into the room, the boa in its own way, with colour and natural medium, both separating and uniting the work of two painters, Sharon Blythe and J'nia Fowler, sharing the exhibition space with their Flora and Fauna.

Sharon's bold and exuberant "phat fairies" frolic in a martini glass, lounge in the pink luxury of petals in "Sleepy Afternoon" and "Catching a Few Rays". Her exquisite watercolour flora--lilies, hydrangea, thistle, grapes, as well as the matted paintings of bamboo and exotic birds--are a Canadian fusion, extrapolating upon the single-stroke Chinese brush painting style. Greeting cards of Sharon's work make her art accessible to everyone.

The flora theme repeats in J'nia Fowler's colourful northern landscapes where Van Gogh meets the Group of Seven. In these fifteen new acrylic paintings, she captures stormy skies, snowscapes, light, sunset, but also movement, emotion, mood. Her brush strokes suggest rather than replicate; her trees would make a grapple-hook want to hug instead. As a viewer, you know you want one of these canvases; you just cannot decide which to pick. The rapid development of J'nia's style since her last exhibit has commentators insisting that we will all be saying "I knew her when . . . "

Flora and Fauna inhabits the Backroom of the Hope Arts Gallery, Hope, BC from April 1to April 28, 2008.

March--Recent Works

Recent Works

Delicate and Serene are my 'first impressions' of Lori Motokado's large watercolours on display in the Hope Arts Gallery. An old boat docked in Harrison lures me through the hallway tunnel. In the Backroom, a dozen more familiar scenes. Boats in Nelson and Steveston. A casual display of battered trunks at the Kilby Museum in Harrison Mills suggests travel and a time warp. A toy wagon, a tricycle evoke nostalgia for a childhood of long ago. Another tricycle, stashed in the Kettle Valley Museum in Midway, is a streamlined rocket of the 1930s whose design is so fast and sleek and modern, it was way ahead of cool. The plant portraits—bamboo, an apple branch laden with blossoms, a frilled tulip bud, a blue balloon bursting to pop, all atop the palest suggestion of a wash—are images of transformation, capturing the moment when one thing becomes another.

Artifacts, horticulture, waterfronts are subjects and scenes which could be 'anywhere', yet the artist's graceful captions locate them specifically, while at the same time expanding upon her inspiration—“to make the ordinary extraordinary”. Indeed, as the images capture and hold our attention, we identify with the battered luggage and the abandoned toys which have moved from function to fondly forgotten. We too will cycle through stages, ages, places of storage; we will live in memory, evoke nostalgia. This art helps us feel more fully aware and thus, more fully alive. Everyday objects become iconic; the light and colour, translucent, luminous, numinous. Focusing on the beauty in which we live, these paintings are elegiac in the best sense—a mourning for our lost selves, a celebration of the way we were, a recognition of what is to come, and hope, in the buds of spring.

Lori Motokado lives in Coquitlam, British Columbia. Her recent watercolours hang in the Hope Arts Gallery Back Room from March 1 to 28, 2008.

February--Been There Done That

Been There Done That

Sheila Patzke’s Been There Done That opens the Hope Arts Gallery Backroom Exhibits for 2008. Langley resident Patzke’s vibrant acrylics and watercolours, often simple sketches in bold colours on generous white space, with an emphasis on line and curl, exude energy and enthusiasm. The variety of subject matter--florals, critters, landscapes, seascapes, still life, and people, people, people—are loosely collected around a ‘hurdy-gurdy’ saloon girl theme of follies and fun. With Barbie-long legs and scandalous costumes, the girls of the dance stage and bistro settings evoke both Toulouse-Lautrec and Degas. Patzke has added to the appeal of her show, two dozen paintings ranging from seventy to under five hundred dollars, by offering smaller versions of her works on greeting cards. Attractive portfolio binders provide a retrospective of her career. Her artist’s statement says simply that her creativity is inspired by things she sees. The comments in the guest book confirm that people in the crowd attending the opening were inspired by what they saw. An invocation to spring, a celebration of life lived, of joy, Been There Done That is in the Backroom of the Hope Arts Gallery in Hope, BC, from February 1 to February 28, 2008.