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Artists

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                    [id] => 86
                    [rank] => 0
                    [created] => 2014-07-26 12:39:12
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                    [name] => Gaye Adams
                    [first_name] => Gaye
                    [surname] => Adams
                    [slug] => gaye-adams
                    [description] => 

 I am blessed to live the life of a painter.

My work is not at all difficult to understand. It is merely an ongoing exploration of that which I find beautiful, from the everyday to the extrordinary.

What really drives me to the easel is my love of rendering light. Backlight, cast shadows, bounced light - all of it is quite mesmerizing to me. I enjoy the other elements present in the visual field, those of color and design etc., but the light hooks me every time.

In addition to doing my larger studio paintings, I very much enjoy painting on site, and have been privileged to do a fair amount of traveling and painting in the last number of years. I also enjoy doing small studies of the still life and the model in my studio during our long Candian winters. 

To balance the solitude of my life as a painter, I find a great deal of fulfillment paying forward the skills my mentors have passed on to me to my students. What a joy. I have gotten to meet some really amazing folks through the years.

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Hailing from southern Alberta, Don spent childhood summers on the West Coast, where he was captivated by its beauty and dreamed of relocating to its shores. For Don, the West Coast had it all, the mystery of his beloved mountains, the ever changing coast lines, treasures delivered constantly from the sea and some of the world’s largest trees to inspire his love of wood. Don gave in to his love of the West Coast and now lives on Vancouver Island.

With an art background from the Alberta College of Art, it was natural for Don to mix his carpentry trade and experience as a display carpenter for the Hudson Bay Company with his love of art.  He creates unique wood sculptures as well as custom furniture.  Many of his pieces use driftwood, burls or re-claimed wood.  Sometimes Don will inset glass with his designs sandblasted onto the glass or he may use steel with his designs cut out of the steel.

When Don is not creating in his studio, he has been known to scour the shores from a very different view, aboard his windsurfer.

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"I can't conceive of anything being more varied and rich and handsome than the planet Earth. And its crowning beauty is the natural world. I want to soak it up, to understand it as well as I can, and to absorb it... and then I'd like to put it together and express it in my painting. This is the way I want to dedicate my life." View Robert Bateman prints here.

 Born in Toronto, Ontario, Canada in 1930, Robert Bateman was a keen artist and naturalist from his early days. Bateman painted wildlife and wilderness in a representational style until his teens when he began to interpret nature using a variety of contemporary styles including post-impressionism and abstract expressionism. In the early 60s, Bateman rediscovered realism and began to develop the style that would make him one of the foremost artists depicting the world of nature. In the 70s and early 80s, Bateman's work began to receive critical acclaim and to attract an enormous following.

Since his first one-man show in 1967, Bateman has had numerous sell-out exhibitions in Canada, the United States and Great Britain. His work is in many public and private collections, including several art museums. He was commissioned by the Governor General of Canada to do a painting as the wedding gift for HRH The Prince Charles from the people of Canada. His work is also included in the collections HRH The Prince Philip, the late Princess Grace of Monaco and Prince Bernhard of the Netherlands. Bateman has had many one-man museum shows throughout North America, including an exhibition at the Smithsonian Institution in Washington, D.C.; most of these shows have drawn record-breaking crowds. His honours, awards and honorary doctorates are numerous, he was made Officer of the Order of Canada, our country's highest civilian award. He has also been the subject of three films. Two books of his art, "The Art of Robert Bateman" and "The World of Robert Bateman", have made publishing history; they have sold more that half a million copies.

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"I can't conceive of anything being more varied and rich and handsome than the planet Earth. And its crowning beauty is the natural world. I want to soak it up, to understand it as well as I can, and to absorb it... and then I'd like to put it together and express it in my painting. This is the way I want to dedicate my life." View originals by Robert Bateman here.

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Kristina’s paintings reflect her life on the West Coast. Often infused with the colors and tones from the multitude of stones found along the beaches of our coast, the painting possibilities are endless. Her paintings present the subject matter found on many walks along the beach, yet are created from within rather than from a still life construction or photograph. The shadows between the stones evolve as she places the lines and tones upon the canvas. The process of painting mimics the reaction of sand and water on stones in nature as the stones settle into place during the creative process. In the finished painting, the eye travels along the crevices created by the shadows, just as water would flow around the stones on the beach.

 

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Lindsay Branson makes her home in British Columbia on Canada's Pacific Northwest Coast. Lindsay has a love for the wild edges of the natural worlds where the forces of nature produce the material for her work. Massive pieces of twisted driftwood, roots and burls, remnants of long-dead trees, now rest in the artist's studio providing her with creative inspiration. "I take great pride that my art is created from my love affair with wood. Whether found upon the forest floor or shoreline, finding the inspiring piece that I can carve is both challenging and rewarding. I have learned not to judge a piece of wood by its exterior appearance, for beneath the surface I can take it anywhere I want by using my imagination. What I try to achieve with my work is to touch the innermost of human emotions."

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Philip Buytendorp was born in Brandon, Manitoba into a family of respected artists. Both his grandfather and father, George Buytendorp, have well established reputations in Europe and in Canada. Their paintings are actively collected and have been consistently appreciating.

Starting at an early age, Philip accompanied his father on extended painting trips throughout the prairies and the Canadian Shield. He took his formal training in art theory at the Brandon Allied Arts Center in 1978-79. From 1981 to 1986, Philip worked in the construction trades in Calgary. Weekends were spent sketching and painting the landscape of the Rocky Mountain foothills.

In 1986, he moved to the Fraser Valley and started a five year apprenticeship under the direction of his father. Philip is an accomplished outdoorsman and mariner who has a skilled appreciation and love of the natural environment. His work is significantly influenced by painters from the Group of Seven, particularly Tom Thompson. Philip's bold brush strokes and vivid colour palettes are reminiscent of the mountain scenes painted by Carl Rungius, an artist whose work he greatly admires. Phil's current work includes west coast landscapes from his boating trips throughout the Inside Passage.

Married and the father of two children, Philip is following the family tradition and has now successfully launched his career as a professional artist whose work is already being actively collected in western Canada and the United States.

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 Tim produces sculptures which not only attract the viewers eye but also the viewers hand. Born in Calgary, Alberta in 1965, Tim grew up in Nelson, a town located among the rugged Canadian Rockies in southeastern British Columbia. This is where he developed a love of wildlife and the outdoors. Escaping into the wilds was then, and still is, a spiritual experience. At sixteen Tim began working summers as a cook and wrangler for a hunting outfit, which took him into the wilderness country of northern British Columbia. By the time Tim was eighteen he was guiding his own clients on two week trips.

The next twelve years saw Tim working with other outfitters who ventured further into the vast expanses of the Yukon and Northwest Territories. Throughout all of these experiences, Tim's keen eye and mind were recording the shapes and movement of the wild animals of this vast wilderness. Tim's love for these creatures led to an interest in taxidermy. Despite the fact that he was unaware of any aspirations for a future in fine art, his interests were going that direction. At age 19 Tim contacted taxidermist Forest Hart, who welcomed him to his workshop in Hampden, Maine. Hart specialized in sculpting mannequins - the artificial bodies used by taxidermists. As a student, Tim's hand and mind became skilled in modeling animals' musculature. He sculpted models for the production process in taxidermy, while learning animal anatomy from the inside out. Tim also observed Hart as he prepared a sculpture to be transformed into bronze. Accompanying Hart to a New York foundry, Tim experienced the fascinating and magical process of fine art bronze for the first time. This observation led Tim to realize that his own life work was finding direction as this would be the year Tim would complete his first sculpture.

In 1988 while Tim was living in Canada, he met noted sculptor Dan Ostermiller who invited him to visit his studio in Loveland, Co. "Ostermiller gave me the opportunity to begin my career", Tim said. Tim then went to work in the studio of both Ostermiller and Fritz White learning the skills necessary for the sculptural process. According to Tim, "I learned direction, enthusiasm, and perseverance from Fritz White. He taught me the importance of mass and volume and gave me the confidence to keep trying different options, never quitting on a design. Fritz was, and still is a source of inspiration and a mentor." White also gave Tim the opportunity to try stone carving in his studio. Carving alabaster, Tim began to find within it the shapes of the animals which were to become his life work, experimenting with graceful simple lines and forms. Tim states, "My sculptural approach involves the use of simplified shapes and lines to produce curvilinear forms. I enjoy orchestrating these elements into sculpture that is rhythmical, flowing and inviting to the touch. Capturing the grace and elegance of my subjects is a primary goal."

It was from that approach that Tim's unique style resulted: an expression of each animals personality, movement and behavior. The animals pulse with life and innately celebrate life. Grace and elegance truly are qualities immediately recognizable in Tim's work, but another quality frequently present; is a sense of whimsy, which marks a number of his works. The sculptures are issued in small editions, a fact which collectors truly appreciate. The bronze sculptures are also enhanced by Tim's highly polished surfaces, which glimmer with reflective light making them incredibly tactile. About the patinas, Tim says, "With the smooth surfaces I have a large palette of options available, since my work leans toward a more contemporary style, I enjoy experimenting with colorful lively patinas. To me color is an important part of the design."

Tim has also been recognized by his peers: at the age of twenty- five he gained membership in the Society of Animal Artists and five years later at only thirty, he was elected to membership in the National Sculpture Society and also the National Sculptors Guild. Tim produces sculptures which bring pleasure to his clients and grace homes, offices and public places both nationally and internationally. He is also a sought after contributor to major exhibitions throughout the United States. In 2001, Tim received the James Earl Fraser Sculpture Award, presented annually for the sculpture exhibiting exception merit as deemed by the National Cowboy and Heritage Museum in Oklahoma City during the Prix de West Invitational for the sculpture "Snake in the Grass." Tim also received in 2001 the prestigious Bronze Medal from the National Sculpture Society for "Rivers Run." Tim's sculpture can be found in a handful of galleries across the continent in collectors homes internationally and gracing the pages of Southwest Art, Wildlife Art and Art of the West magazines.

Tim says sincerely, "It takes a tremendous amount of teamwork, time and money to cast bronze. I am extremely grateful for everyone involved with my artwork, their efforts means a great deal to me. As the saying goes,"It takes a village to raise a child." Well, I feel it takes a tribe to raise a sculptor! My family, friends, peers, foundry personnel, patineur, galleries and collectors - are all apart of that

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Elynne Chudnovsky received her art education from The Pennsylvania Academy of the Fine Arts in Philadelphia, Pa. Using traditional tools and native hardwoods, Elynne's sculpture is a concrete expression of the delight and awe familiar to those who spend time among horses.

"I've chosen wood to be my primary medium because, much like a horse, it has an intrinsic beauty and a character of its own. Although the beauty of wood may be somewhat hidden while in its rough state, I know that with patience and attentiveness to the qualities of each piece of wood I select, that same rough wood will emerge as an equal partner in the creation of something beautiful and unique." 

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Brent's love of nature is the inspiration in all of his artwork. Brent strives for anatomical accuracy and detail with each sculpture undertaken. It is important to him that each work conveys a story or engages the viewer by eliciting memories of their own in the subjects depicted.

He has been influenced by the Art Noveau/Art Deco period of design and often those elements appear in is own designs.

He believes that a sculpture has been successful when the viewer is compelled to touch or move the piece around for a different angle of appreciation. As the bronze medium is so heavy, he is always trying to find ways to give his pieces movement, speed, or a lightness through the use of empty space.

 

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TheWest Coast is a homeland of mist for many who live in this mystical and beautiful place. On sombre, midwinter days, inlets are choked with moisture laden clouds. In spring and fall, fog banks drift onto the shoreline, leaving veils of mist as they retreat to the open ocean. Even in summertime, when hot, sunny days dominate the weather, wisps of early-morning mist herald the day. View prints by Carol Evans here.

Carol Evans loves this land, and as a master watercolorist, she captures every nuance of both its power and grace in her marvelous paintings. Sunbeams streaming through an ancient rainforest; children frolicking at the seashore; a sailboat bobbing in waters sparkling with diamonds of light; an eagle soaring against the backdrop of a snow-peppered, granite wall: all are images that she has beautifully interpreted with her realistic style. Her ability to create intensity of color in the watercolor medium and her attention to the subtleties of light are trademarks of her increasingly popular work.

Carol Evans was aware of her destiny as an artist at an early age. Encouraged by her parents, she eagerly investigated everything about art that her mother introduced and, with equal enthusiasm, explored the outdoors her father enjoyed. Born in Vancouver and raised in a number of communities throughout British Columbia, Carol completed high school in the Yukon. After spending some time in the Queen Charlottes - a formative experience - she enrolled in the University of Victoria fine arts program. Realizing her interest and forte were solely in the medium of watercolor, she withdrew from the program after a year of study and eventually moved to the Gulf Islands.

For a time she worked as an illustrator of children's literature, but soon took a serious interest in landscape painting. During the last several years, her skill and style have matured, and her work is now extremely popular with art collectors. Balanced in her ability to create portraits, panoramic land and seascapes, as well as wildlife and botanical studies, Carol creates powerful paintings renowned for their realism. Her watercolors are almost photographic in their detail, but her work goes far beyond being representational. Her trademark is her ability to portray the depths of color, light and shadow, but perhaps most important are her love for the subject and the soulful feeling she projects in her paintings.

Carol and her husband, Bryn King, live on Salt Spring Island where they thrive on the rural lifestyle and the great source of inspiration that is the West Coast.

 

 

 

 


 

 

 

 
 

 

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The West Coast is a homeland of mist for many who live in this mystical and beautiful place. On sombre, midwinter days, inlets are choked with moisture laden clouds. In spring and fall, fog banks drift onto the shoreline, leaving veils of mist as they retreat to the open ocean. Even in summertime, when hot, sunny days dominate the weather, wisps of early-morning mist herald the day. View original watercolours by Carol Evans here.

Carol Evans loves this land, and as a master watercolorist, she captures every nuance of both its power and grace in her marvelous paintings. Sunbeams streaming through an ancient rainforest; children frolicking at the seashore; a sailboat bobbing in waters sparkling with diamonds of light; an eagle soaring against the backdrop of a snow-peppered, granite wall: all are images that she has beautifully interpreted with her realistic style. Her ability to create intensity of color in the watercolor medium and her attention to the subtleties of light are trademarks of her increasingly popular work.

Carol Evans was aware of her destiny as an artist at an early age. Encouraged by her parents, she eagerly investigated everything about art that her mother introduced and, with equal enthusiasm, explored the outdoors her father enjoyed. Born in Vancouver and raised in a number of communities throughout British Columbia, Carol completed high school in the Yukon. After spending some time in the Queen Charlottes - a formative experience - she enrolled in the University of Victoria fine arts program. Realizing her interest and forte were solely in the medium of watercolor, she withdrew from the program after a year of study and eventually moved to the Gulf Islands.

For a time she worked as an illustrator of children's literature, but soon took a serious interest in landscape painting. During the last several years, her skill and style have matured, and her work is now extremely popular with art collectors. Balanced in her ability to create portraits, panoramic land and seascapes, as well as wildlife and botanical studies, Carol creates powerful paintings renowned for their realism. Her watercolors are almost photographic in their detail, but her work goes far beyond being representational. Her trademark is her ability to portray the depths of color, light and shadow, but perhaps most important are her love for the subject and the soulful feeling she projects in her paintings.

Carol and her husband, Bryn King, live on Salt Spring Island where they thrive on the rural lifestyle and the great source of inspiration that is the West Coast.

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 Douglas Fisher has been a full-time (self taught) woodturning artist since 1977. Prior to becoming an artist, he was an ironworker and an underground miner. Doug has led a very eclectic and interesting life including delivering sailboats around the Pacific Northwest, the Caribbean and across the Atlantic. Acting is a passion and he usually performs in two or three plays a year.

The greatest influence on his work has come from the Canadian photographer, Freeman Patterson, who taught him to see extraordinary things in the ordinary. Woods of choice are Big Leaf Maple and Yellow Cedar from Vancouver Island. Using hand held gouges, the wood is cut as it spins on a lathe. After the basic form is made a number of techniques are incorporated to achieve the final results. Some of these techniques include carving, dyeing, ebonizing, texturizing, painting, bleaching and applying real gold leaf. The final step is applying a suitable finish onto each piece, allowing it to dry the sanding lightly and applying again. This is done 4 to 10 times depending on the finish he is trying to achieve. Each piece is one of a kind and the only care required is an occasional dusting.

His work has taken many directions over the years, each stage laying the foundation for the path that he is now on. That path, Douglas believes, is to provoke thought in the observer. He has always been drawn to the inherent power exuding from the art of indigenous cultures from around the world. Simple and complex at the same time. Douglas has also incorporated this aspect into the turned part of his work. Simple bowls and platters which upon closer observation are complex.

With the development of exclusive techniques, the meshing of native imagery and a distinctive approach to the use of wood as a contemporary medium, the results, he hopes, are incomparable.

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Through his artistic work, Real Fournier invites you to a new dimension. The origin of his sketches start with a question, "Who am I today?" Then, eyes closed, he lets his pen dance on a piece of paper and observe afterwards these inter-twined lines; from there, he outlines and discovers his drawing.


There is a real childlike joie de vivre about his work. He explores his art in infinite dimensions. When he is painting, he wears 3D glasses which allow him to create multiple layers of colours in terms of the perspective of his drawing. We are then transported into a fantastic universe. "I now understand why I am painting like that, he says. It is like I am living the life of my childhood again. From all the imagery I am creating, I'm just seeing myself as a happy child. Inside I get closer to what my dreams say, that I will feel a profound joy to paint who I am."


Real's artworks can be found in numerous collections across North America and many countries in Europe.

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“My sculptures are initially created in wax and then cast into bronze. I have chosen to work with human and animal forms in order to best express my feelings about nature and the human condition. With these figures, I strive to convey a mood as well as to create a sense of motion in space. Through the years my sculpture has moved in the direction of increasing simplicity and growing integration of organic and geometric forms."

Casting my own work in bronze has enabled me to be aware of the variations that can occur at each step of the casting process that I then can incorporate into my work. The evolution of my sculptural forms has been affected by the different structural and textural possibilities inherent in the clay and the wax. Ultimately it is the unique quality of the bronze that has most profoundly influenced the direction of my work.” 

 

Carol Gold was born in Hartford, Connecticut and grew up on a dairy farm in western Massachusetts. Between 1956 and 1960 she studied art at Cornell University, Boston University and the Museum School in Boston, but it wasnʹt until 14 years later, when her children were old enough for her to return to sculpting full time, that her work began to develop and change. Bronze casting techniques learned at the College of Marin in 1977 and 1978 enabled Carol to build her own foundry, outside of San Francisco, CA which she operated for 12 years. This intimacy with the entire casting process profoundly affected the evolution of her sculpture. She began to think in terms of the potential of the metal and started to use wax as her creative medium rather than the clay of her initial sculptures. Simplicity is an important concern in her continuous search for forms with to best express motion and mood using the human figure and an occasional animal as subject matter. 

 

For the past twenty years, Carolʹs work has been widely exhibited in the U.S. and Canada. Her sculpture has received numerous awards at national exhibitions including the National Sculpture Society and the North American Sculpture Exhibition, as well as receiving public art commissions including the Bakersfield City Center Project in Bakersfield, California, the Clinton Presidential Library in Little Rock, Arkansas and most recently, the Whitwood Branch of Whittier, California’s public library system as well as two public sculpture parks in Colorado and California.

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Born in 1944, Tim Hall has had a love affair with painting and drawing since his childhood in New Zealand.  Other family members are also talented artists: both his mother and his sister paint.  Tim paints in oils.  His preferred style is realism.

“Painting to me is a celebration of the beauty of nature…  I use my skills to portray it as realistically as possible and apply my creative freedom to balance and emphasize where necessary...  I am particularly intrigued with wilderness scenery.”

Tim’s appreciation for  natural beauty has been enhanced by his profession as a land surveyor in Canada and New Zealand.  Surveying  has enabled him to travel and work in many magnificent areas where the innocence of nature remains.

Tim lives with his wife in the country near Princeton, B.C.  His paintings are  found in collections in Canada, the U.S., the U.K., Australia & New Zealand.

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Born in Victoria, Tom was fascinated with wildlife, especially waterfowl, from his childhood days. He soon began to draw animals and birds as an outlet for his intensely creative energies.  Artist Joyce Swannell lived next door and Tom spent many hours in her studio studying her painting style and learning from her technique. At the age of 20, his family moved to Salt Spring Island where his father raised horses and started a successful riding school. Tom took a job with BC Ferry Corp. He also joined the Salt Spring Island Fire Department as a volunteer fire fighter.

An unexpected turn of events changed Tom’s life and opened a new chapter. A dramatic injury while fighting a fire left him convalescing with several cracked ribs and severe bruising. With time on his hands, Tom took a workshop in stone carving with the internationally known Inuit carver Abraham Anghik. At last he had discovered the medium that satisfied all his creative urges. Tom took to carving stone with intense concentration and rapidly developed his own style.

Tom’s powerful stone sculptures combine beauty and grace with distinctive poses. His work is outstanding.

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Born in Timmins, Ontario, Canada, in 1968, W. Allan Hancock has had a fascination with the natural world from his childhood days. Allan spent most of his youth in Saskatchewan where abandoned homesteads and the remnants of human heritage also began to leave a lasting impression.

Today Allan continues to share these two interests reflecting upon the passing of time and the influence of mankind on this world. Allan sees the conservation and preservation efforts of various organizations as mankind's attempt to be a positive influence on the natural world - an attempt he wants to be part of. Through his participation in these efforts Allan's artwork has been selected for numerous fund-raising projects for conservation purposes. In 1993 Allan's painting "Of Days Passed - Ferruginous Hawk" was selected for Ducks Unlimited Canada's Art Print Program. Limited edition prints of his painting raised approximately $97,000 for waterfowl and habitat conservation. In 1996, at the age of 28, Allan became the youngest artist ever selected as Ducks Unlimited Canada's Artist of the Year and was honored with the Waterfowl Art Award for his painting "Baldpate Gathering - American Wigeon".

Today, Allan's artwork continues to be featured on conservation stamps and limited edition prints to raise funds and the awareness of the need to protect vital wildlife habitat. His paintings can be found in collections throughout Canada, the United States, and parts of Europe. As interest in his work continues to grow, Allan hopes that mankind's appreciation of the natural world will also grow.

Residing in the Comox Valley on Vancouver Island, British Columbia, Allan enjoys hiking and kayaking and is daily inspired by natural beauty and an abundance of wildlife. Holding a Bachelor of Arts degree in English from the University of Saskatchewan, Allan believes his literary studies have made him a better artist. Literary elements like plot, theme, symbolism, and character development can all be found in his paintings. Allan believes a painting should have an idea, thought, or story to present. In his paintings of the natural world, the theme is definitely: "Fragile, Handle With Care!"

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 Born and raised on the West Coast of British Columbia, Tiffany has always held a deep appreciation for the natural beauty surrounding her. The permanence of landscape and architecture, when combined with the ever changing light, provides an endless source of inspiration and challenge. The tension created when painting the "Grand View" in miniature format engages the viewer on an intimate level. There is an elusive quality inherent in miniature paintings which draws the viewer inward.

The Roots of painting in miniature are found in the historical art of Illumination; of embellishing and illustrating ancient manuscripts and letters. With the passage of time and changing social trends impacting traditional miniature work, contemporary miniaturists now enjoy a broad range of subjects and mediums to work with.

It takes approximately 15 hours for Tiffany to complete an average 3" x 3" miniature painting and a generous amount of patience and concentration.

Both a challenging and rewarding experience, painting in miniature has become a passion for her and it is Tiffany's pleasure to share the artistry and the technique with others.

In addition to her paintings she is the author of two instructive painting books, Endless Seasons and Endless Seasons II, and is currently working on her third book. Tiffany resides in Mission, B.C. with her family.

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 MARK HOBSON lives in Tofino, B.C. Canada on the rugged west coast of Vancouver Island, where he has painted professionally for over 30 years. Born in Vancouver in 1953 he grew up in various parts of B.C. alternating with living around the world in locations as far flung as Sri Lanka, Bangladesh, and Portugal. His teenage years were spent in boarding schools, including two years in Northern Ireland. Drawing almost every day in his early years he gradually taught himself skills in watercolour, oils, and acrylics. Mark is best known for his passionate portrayals of the wildlife and landscapes of the Canadian Pacific coast. From pounding surf to misty coves, from rain forests to the underwater realm the careful use of light is always present enhancing subtle drama in his work. Professionally trained as a biologist, he taught high school science for nine years before devoting his career full time to painting.

Mark’s work has won awards in the U.S., Canada and Europe. He has participated in shows throughout North America and as far a field as Hong Kong and Singapore. At age thirteen he won the top art prize in the British Isles in the annual school competition sponsored by Brooke Bond Tea. More recently in 2009 he placed third in International Artist Magazine’s competition, “Seascapes, Rivers and Lakes” and in 2010 was featured in the magazine’s August cover story. Over twenty of his wildlife images have been printed by Ducks Unlimited as fund-raising limited edition prints and in 2006 he was chosen their Artist of the Year. On three occasions he has won the Pacific Salmon Foundation’s stamp competition and the Royal Canadian Mint has four times invited him to design coins for their collector’s editions. The National Geographic Society has displayed his work in Washington D.C. Mark is a signature member of the Canadian Federation of Artists and was selected as a member of the Society of Animal Artists in 1997. He was B.C.’s Wildlife Artist of Year in 1996 and four times Artist’s Magazine annual competition has awarded his wildlife images high honours.

A strong advocate for preserving the wilderness he loves to paint, Mark has donated numerous paintings and much of his time to efforts to preserve natural environments.

Mark’s years of experience teaching high school have transferred smoothly to the teaching of art classes. The workshops Mark offers two or three times a year are frequently fully booked and enthusiastically received by participants.

To find uninterrupted time to paint Mark travels north from Tofino into the heart of Clayoquot Sound.  His floating studio is surrounded by wilderness, offering endless inspiration and the solitude to be creative.

Mark Hobson in the Rockies

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 The creator of powerful paintings and sculptures, IceBear expressed himself creatively  from as soon as he could hold a pencil.  A status member of the Chippewas of Nawash (Ojibway Nation), IceBear attended the Toronto Artist Workshop as a teenager, then Sheridan College and the Ontario College of Art.   He worked in advertising & communications for 25 years in Toronto & Vancouver. 

 IceBear moved to the West Coast in the 1980’s.  His growing need to give life to the visions that filled his imagination culminated in his move 10 years later to Vancouver Island, where he renewed his commitment to a lifetime of creating art and adopted the name “IceBear” for his art.

 IceBear’s paintings and sculptures come to him first as visions, often complete, each as perfectly formed and visible as a stone picked up off the beach.  They can be moved, turned, looked at from different angles and perspectives.  From this ‘seeing’ comes his understanding of whether that particular vision is to be expressed as a painting or a sculpture. 

 Icebear feels strongly that we all have a responsibility to connect with the natural world around us and respect both this earth & all our fellow travelers on it.  His rich cultural heritage provides the grounding that nourishes his creative spirit.

In the late 1990’s, IceBear created a number of large public murals, 3 of which are in Sidney.  Telus commissioned “Nil/tu,O’ ” (“In the Beginning”) for their building on Resthaven near Beacon Ave.  It is a dramatic rendering of 10 Coast Salish warriors in a canoe escaping a looming storm.  In May 2013, he will be re-furbishing the murals

 

 

 

 

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Born in Boston, Massachusetts, Gail spent her formative years in New York state with an avid interest in art since her teen years at Munson-Williams-Proctor Arts Institute in Utica NY. She attended Boston University, and later moved to Canada to take art courses at Toronto's Central Technical School and Ontario College of Art in preparation for admission into University of Toronto's Medical Illustration Degree Program.

Marriage altered her plans in Toronto and brought Gail and her husband to Vancouver Island, BC, where she furthered her art education at Malaspina University College in Nanaimo. Although she continued drawing and painting, her main focus became the establishment of a successful organic farm and market business. With the sale of the family business in 200l, and her two children grown, Gail returned to her first passion and has been painting full time since.

Gail works mainly in acrylics and oils on canvas, as well as watercolor and pastels. Confident stroke and bold, colour saturated palette often define her acrylics and oils, whereas her work in pastels is mostly represented in large sensitively rendered life drawings. Gail paints intuitively, often referencing imagery inspired by her farming life, her proximity to Vancouver Island's impressive coastline, her favourite fly fishing locations, and her love for all things growing.

"I feel privileged to have so much to paint - such beauty and rich, grounded experiences to draw from. I follow my brush . . . and taste the colour."

A member of the Federation of Canadian Artists, Gail achieved AFCA signature status in March 2006. Her work has been in numerous group exhibitions and solo shows in British Columbia and Alberta, and can be found in private collections throughout North America.

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 Born in England, Malcolm first came to Canada in 1967 for a summer job at Expo ‘67. He returned to his university studies in industrial design but came the following summer for a job in the Alberta oil patch. Malcolm returned to the U.K. once more to complete his degree but emigrated to Canada soon after graduating, this time to Vancouver.

Malcolm had the first of many encounters with whales while kayaking off the west coast of Vancouver Island. Thus began his fascination with these magnificent creatures. Before long, Malcolm decided to leave behind the business world and began his career as a full time sculptor. Malcolm carves wall sculptures in wood as well as smaller pieces in stone. Some of his stone sculptures are abstract works.

Malcolm’s beautiful wall sculptures of these awe-inspiring mammals capture their majestic grace and power through the masterful use of the wood’s colour and grain. His wall sculptures are frequently hollowed out, making them light and easy to hang. Malcolm also creates solid wood carvings such as "Golden Hunter" and "Eagle Bowl" as well as laminated pieces, such as "Blue Whale & Calf."

Malcolm’s pieces are unique works of art.

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Martin Kaspers has been a photographic artist for the last 30 years, progressing from photographic prints to canvas giclées. In this time, he has learned to take his photographs and transform them using the dark room to works of art. In recent times he has also added the digital tools to his creations.The art pieces in this on line gallery reflect the emotions that each scene brought to the artist. All of these images are available in limited edition canvas giclées as well as limited edition fine art prints. 

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Sculptor, Jack Kreutzer makes his home in Loveland, Colorado. His work has earned him numerous awards and commissions.

Jack Kreutzer discovered art at an early age and he still manages to approach it with boyish eagerness. Kreutzer's work ranges from the human figure to wildlife - from realistic to a hint of the abstract. His finished textures range from the loose to refined. His inspirations range from the rhythm of the human body to those of the clouds.

Kreutzer's art and life have a hint of whimsy about them. His father worked for the Bureau of Indian Affairs, which took the family to the Pineridge Reservation in South Dakota where Jack was born.

Together with his sister he attended drawing classes at Northern State College in South Dakota and was awarded a short term scholarship to the University of Kansas. Kreutzer attended Murray State College in Kentucky before moving to Mexico to study with the German artist Lothar Ceistingbaum. He returned to Colorado where he studied at Colorado State University, earning a Bachelor of Fine Arts degree in 1977.

He maintains his studio near his foundry and next door to the Loveland Academy of Fine Arts where he teaches sculpture to a new generation of artists.

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Clement Kwan was born in China. He started drawing and painting at an early age. Clement had his art training through the Chinese government's fundamental art training programs in Guandong. He studied under and was influenced by Mian Situ (Mian was a fine art instructor in China and is now an established artist in the U.S.A). Before immigrating to Canada in 1979, Clement worked for a stage production company, painting large background scenery pieces.

Always striving to improve, Clement continues to pursue his goal of becoming a good fine artist by studying art books, visiting art shows, taking workshops, using DVDs and the internet and following advice from his mentor. He paints both landscapes and portraits in oils, acrylics and watercolors, combining impressionism with realism. He is a member of the Island Illustrators Society of Victoria and is a signature member of the Federation of Canadian ans is now a signatory member of Oil Painters of America. Clement has had many paintings in a number of juried shows in Canada and the U.S.A., including the Salon International Exhibition each year since it's inception.

In 2008, Clement received an award from the Oil Painters of America.

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Multi award winning artist Sheena Lott has enjoyed a successful 30 year career in fine art. She is best known for her distinct, realistic/impressionistic style via oil and watercolour mediums. Her themes often depict her love of west coast life.

Sheena was born in Glassgow, Scotland, moved to Australia, and spent her formative years in West Vancouver. She honed her notable skills in drawing the figure from anatomy labs while obtaining a degree in Rehabilitation Medicine from the University of British Columbia. The call of art was always strong and with early prize winning successes and encouragement, she changed careers and now works full time as a professional artist. She now resides by the ocean in Deep Cove, Vancouver Island.

Though her gallery career is her primary focus, Sheena has illustrated 11 children's picture books. Among these are the classic bestsellers 'Jessie's Island' by Sheryl McFarlane and 'Salmon Forest', written by David Suzuki.

This busy artist has had many successful solo and group gallery exhibitions in Canada. She conducts painting workshops all over the world form which she gathers infinite painting inspiration.

Selected visual art awards include the Myfanwy Pavelic Award, The Federation of Canadian Artists Associate award, and Grand Prix d'art.

Book illustration awards include the Federal Science in Society Award and The Canadian Children's Book Centre. She has also been short listed for the prestigious Amelia Francis Gibbon Award, Chocolate Lily award and Christie Harris awards.

Sheena Lott's paintings are found in corporate collections including The Osborne Collection, The Vancouver Public Library Permanent Art collection, Shell Oil, Peat Marwick Thorne, Vancouver Island Helicopters and the National Trust Company.

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Dennis Magnusson paints bold, large scale flower portraits. From the delicate shape of a ladyslipper to the velvety petals of a rose or the striking form of a sunflower, his paintings have a "wow!" factor. Vibrant colour combined with careful composition give his art work a distinctive, modern edge.

Dennis seeks inspiration in frequent "plein air" painting trips with fellow artists but returns to his studio to paint his unique flower paintings. Dark backgrounds may include a hint of foliage but the flower subject has many subtle shades of colour built up by numerous thin layers of paint. The viewer’s total attention is focused on the flower. Soft curves and sharp edges add life and movement to the subject. Dennis’ paintings continue over the sides of the deep canvases he uses.

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Jerry attended the Alberta College of Art & Design for a short time. Disappointed with the school's abstract-oriented program, he left to follow his desire to learn representational style painting by studying master painters and learning from established artists such as Doug Swinton, Jean Geddes and William Reese. Jerry's interests, experiences and travels play a significant role in the subjects he chooses to paint. His focus as a painter is to represent nature and human activity in an artistic fashion in order to leave a history for others to enjoy and experience through his expression of a subject.

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 Sheila Mather is a largely self-taught artist. Having spent most of her childhood with her crayons in her hand and a stack of paper in front of her, she logically chose a career in illustration and design. She worked as an independent designer/illustrator, first in partnership, designing display props, then as owner of Fabric Graphics, located in Gastown, Vancouver. Over 25 years Fabric Graphics completed many projects, ranging from private commissions to large public art installations. Many of these projects included illustration on fabric - the specialty of Fabric Graphics.

It was time for a change when she moved to the scenic Saanich Peninsula, on Vancouver Island. Still working as an illustrator she began to explore fine art painting. The response was overwhelming. She not only sold almost everything she painted but began winning awards at the Island's art shows, and was quickly taken on by a local gallery.

She works primarily in pastel, creating landscapes of layered colour. Her largest commission to date was a series of large pastel paintings of the twelve trees of Haida Gwaii, also known as the Queen Charlotte Islands, for the Qay'llnagaay Heritage Centre in Skidegate, British Columbia, Canada.

She has also recently begun to paint in oils and acrylics.

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A signature member of both the Federation of Canadian Artists (SFCA) and the Northwest Watercolor Society (NWWS) as well as, a lifetime member of Painters at Painters, a prestigious B.C. artist’s peer group. His many award winning paintings have been exhibited in solo shows, group shows and international shows including, The Royal Institute of Painters in Watercolours, the Federation of Canadian Artists, and the Northwest Watercolor Society (NWWS). Examples of his paintings and articles have appeared in a number of publications including International Artist’s Magazine. Richard’s paintings can be found in commercial galleries and corporate and private collections in many countries worldwide.

Working in oils or acrylics and other watermedia, the artist uses various forming processes and a random or more explorative start in developing the visual image. A love of paint and creative process is evident in the energized surfaces that result.  

Paintings are developed from travel and life experience using a more  intuitive  approach to composition and colour.

 

In addition to being a prolific painter, Richard is respected as an instructor and mentor to emerging as well as established artists. As a signature member of the Federation of Canadian Artists, his service activities have included positions at the board level, VP level, and contributions to workshop and educational programs. He has been instrumental in the start-up and administration of numerous studio art educational programs within the organization as well as with other local arts groups. Annual workshop instruction often includes activity in Canada, US, Britain, France and Spain.

 

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Glen Melville was born in Port Elizabeth, South Africa in 1959.  Painting was his passion from an early age.  Despite having no formal art training, he sold his first painting at the age of 17 and that encouraged him to continue painting in his spare time.  A few years after graduating from high school, Glen met the creative director of a large advertising agency.  In conversation, Glen told him about his painting.  When eventually, Glen showed him some paintings, he was immediately offered a job effective any time!  So began Glen’s 30 year career in advertising!

Glen immigrated to Canada with his family in 2009 where he is now able to paint full time.  He prefers to paint with oils or acrylics.  He paints a wide range of subjects including landscapes, seascapes and still lifes as well as pet portraits. Glen also does caricatures for corporate clients, including Nestle and Gillette.

Winning “The Show Designer’s Choice” award at the Sidney Fine Art Show in 2009 was the perfect start to Glen’s new life in Canada.  He also won a “Juror’s Choice” award and received an “Honourable Mention” in 2011.

 

 

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Catherine Moffat's still-life paintings depict objects that have a special, personal appeal. She strives for visual delight through balance, harmony, subtlety and sometimes humour in her paintings. Using the traditional tools of shading, perspective, colour harmony, intense attention to detail and careful composition, Catherine creates realistic and appealing images which convey an underlying sense of stillness, calm and elegance.

Since Catherine began painting professionally in 1978, she has held numerous solo and group exhibitions and has participated in invitational events and charity benefits across Canada. Her work has received awards in national and regional exhibitions and can be found in private and corporate collections worldwide.

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Pieter Molenaar is an internationally known Canadian West Coast artist transplanted from The Netherlands. Molenaar admires the Old Dutch Masters, and this is reflected in his style—his colours are rich and his tones evocative. Molenaar's paintings reflect a brooding, pensive, and compelling atmosphere that is most obvious in his scenes of pending storms in rural settings, roiling waves of seascapes, and slanting light down city streets.  He uses oil exclusively since it allows him such a broad scope of expression. 

Since coming to Canada in 1979, Molenaar has continued to paint and show his work internationally.  When asked from what he draws inspiration, Molenaar replies that memory, photographs, and paying attention to the world around him supply him with all the subject matter he needs.  In a style that blends realism and impressionism, Pieter Molenaar uses dramatic colours, contours, and brushwork to enhance scenes from the West Coast, the Prairies, and The Netherlands.  He creates a unique and intelligible impression of his subjects, which is much appreciated by those who admirer and collect his work.

 

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 Michael O'Toole was born in Vancouver, British Columbia in 1963. He attended BCIT where he studied architectural design and later moved to Toronto to work for several architectural firms. Eventually he was drawn back to the beautiful West Coast where he now resides.

Michael's love for design led him to explore his creativity in variety of media including watercolour, pen and ink, graphite, gouache and acrylic. Currently focusing on acrylics, his diverse subject matter ranges from landscape and seascape, to architecture and portraiture. His vivid and dramatic style is inspired by his former instructor, renowned artist Charles M. Svob and other impressionists. His travels both locally and internationally have also been a tremendous source of inspiration.

Michael believes that his paintings reflect a balance of emotion and technical skill. Painting has become an "all consuming passion". To date, he has lectured extensively and enjoyed many successful exhibitions in British Columbia, Alberta and Quebec.

Michael's work may be found in corporate and private collections across Canada, the USA, Europe and Japan.

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  A wife, mother, grandmother and former nurse, Nancy travels extensively with her Irish born husband Eric.

With a generous spirit and a zest for life she has the unique ability to capture on canvas the very essence of the places she visits. International companies, charitable foundations etc., have come to recognize this attribute and Nancy is in constant demand for the use of her images. Represented by major Canadian Galleries, Nancy has numerous Solo and Public Exhibitions to her credit and is sought after and collected by Corporate and Private collectors at home and abroad.

Her work is highly recognizable by her dynamic palette! Be well informed, she is "fearless" in her use of colour! A popular instructor in Acrylics, "Have brush - will travel" (no blarney), Nancy teaches with the same enthusiasm that she applies to her own painting. 2007 saw her return to Tuscany & Venice to study and paint with friends and artists. In 2008, along with her artist son Michael, she taught a workshop in the beautiful Andalucian area of southern Spain, sponsored by "A flavour of Spain" Learning Vacations! Following Spain in June 2008, a visit to stay and paint in a traditional Donegal cottage in Ireland is planned!

Selected images of Nancy’s paintings are reproduced by Canadian Art Prints, and are available world wide.

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 Jim Park’s ongoing series surveys his profound interest in natural places. His primary goal is to unravel the relationship between one place and another, between what he can see and what is obscured by darkness. His paintings essentially function as a tangible record of his mental and emotional experiences, walking through these landscapes, which he then re-creates onto canvas.

“Landscape is something that everyone can relate to using their own knowledge and experience. I try to make a work of art sensitive to the local culture and highlight the uniqueness of the geographic features. I am inspired by the impact of light (natural or man-made) on a form, a figure or a pattern. Hence, I've been experimenting with rendering light on canvas, since early days. I find light in many landscape settings very attractive because it contains both enigma and discovery at the same time.”

Park implements accidental, swift and fluid mark-making techniques in his work, and tries to approach each painting without any set of formula, in an effort to simplify the process, and be faithful to the creative evolution of each individual work.

“By observing the environments and structures seen around the west coast of BC, I try to bring together sensibilities and techniques which I apply to create my own atmospheric landscape, lively wave paintings and seascapes. In my work, I try to suggest a sensory experience of the landscape, mimicking the passing of time.”

In Park’s process he works from sketches, collected over months of sketchbook drawings or from photographs. He selects the strongest images he feels are fit for painting. His goal is to create works that are translations from the original experience of an occasion, a moment, or a meeting, and then turn them into another set of experiences involving the activity of painting.

“I try to re-construct a set of equivalent colours and shapes, and I would labour endlessly on reworking paints until I feel certain that they are exactly what I wanted to achieve visually. As the painting evolves, I feel that it’s necessary to make the marks I use more and more resonant or expressive of the feeling that I started out with.”

Born in 1978 in South Korea, Jim Park grew up in a small city of Pohang. He moved to Canada at the age of thirteen and attended high school in Abbotsford, BC. His father a metallurgical engineer and his mother a piano teacher, were both incredibly supportive with his decision to become an artist early on. He completed his BFA at the Emily Carr Institute of Art and Design, in 2003. Jim Park currently lives and works in Vancouver, BC. His work is collected both publicly and privately in Canada and U.S.

 

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Ron Parker’s large paintings are suffused with a radiant calm. The broad landscapes of our west coast which he paints are stripped to the essentials. The remaining elements are presented with a bold simple stylization, creating an effect which is reminiscent of the transcendental scenes of Lawren Harris, which verge on the cosmic. Yet Parker is as pragmatic and down-to-earth as can be. The deliberate images he creates result from his searching observation of the world, his paint technique which aims toward perfection and the mental discipline which makes him stick to the program.

Painting is only one of Parker’s passions. Coaching young athletes in track and field is part of his life every day. It’s clear to see that his success as an artist is due in no small measure to the discipline with which he approaches sport. “Focus your attention,” he explained, “and apply the results.” Parker took up painting when he was 34 years of age. Right away, his early works in the “every hair on the grizzly bear” wildlife style were taken up by the prestigious Mill Pond Press. These yielded a good income as limited edition prints for the next 15 years, but Parker could see the limits of that practice. There are no surprises in wildlife art - detail, perfection and accuracy are demanded. Parker insists his new style is not much different. “Now there is no rendering of detail, but it’s all planned.” Still, he admits, there is more room for colour. With his wildlife painting, he used basically four colours - burnt umber, ultramarine blue, payne’s gray and hooker’s green. Now he revels in vast expanses of all sorts of blue - blue sky, blue mountains, blue water.

Parker paints with gouache, an opaque poster-paint, carried in an acrylic medium. “It’s called Jo Sonja, and it comes from Australia. The duck carvers all use it,” he told me. You can thin it with water and use it as a wash, but he likes its solid, matte finish. “With acrylic, I had to use 10 or 11 coats, but with this, three coats covers it solidly. It dries so fast that blending is difficult,” he says - but his blends of tone are faultless. He attributes this to the “patented” Robert Bateman sponge technique he uses. Clearly, Parker is an artist who is open to fresh ideas. “You have to try tons of things,” he noted, “keep on experimenting.” He then quoted sports scientist Istvan Balyi: to keep expecting different results from doing the same thing over and over again - that’s just insanity. I noted his new passion for simplicity. “It’s not new,” he insisted. “I’ve always been looking for what I can take out of a composition. I’m removing stuff all the time! My approach to design hasn’t changed very much from the wildlife days. I’m just doing less rendering.” And now his compositions don’t have to look “natural”. He drew my attention to the peaks in his painting of Moraine Lake in the Rockies. “In wildlife art you’d never have three identical peaks - you have to break the rhythm - 6-5-2-3-7,” he counted out, using his shorthand code for height. “Now I can go 2-2-2-2, or even 2-2-2-4! It works way better, to accentuate the rhythm and repeat the shapes.” Freed from verisimilitude, he can go “way beyond, and really build the paintings.” These images are truly abstracted from the landscape. Parker goes beyond the surface to the essence. “If you interpret the landscape in the way people’s impressions are created” - rather than how a camera sees it - “then you’ve got it!”

Though pared to the basics, Parker’s canvases of Mystic Beach and Arbutus Cove are instantly recognizable. Most of his landscapes feature water and trees. Using a digital camera he’s constantly taking note of things like the big old arbutus trees and autumn colours of UVic. He leafed through a couple of sketchbooks, bulging with ideas for paintings. Some of them demonstrated his passion for the long winding line of a country road.

The artist works at a drafting table in an upstairs bedroom in his Victoria home. On his left side is a small slide projector, and the shelves around him are loaded with reference photos. Just to the other side is a single bed. “I paint for an hour at a time,” he pointed out. “I get tight up here - my neck aches from holding my head, and I have to rest.” Parker is definitely not the proverbial artist ruining his health while waiting for inspiration to strike. “You learn to organize your time,” Parker concluded, “to persevere, to work through difficulties. Pursuing athletics at a high level, you really learn how to apply yourself. You focus on some things and discard others. It helps you to decide on what’s important and, even more so, what isn’t.”

Written by Robert Amos (November 15, 2004)

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Murray is a readily recognizable and well known Canadian artist. With a long beard and hair, and comfortable attire, he is quiet and thoughtful by nature. Although he has been painting for more than 40 years, much of Murray’s life has been lived in the halls of academia where he holds graduate degrees in Theology and Cultural Anthropology.

For over 20 years, he taught in a variety of colleges and universities. His interests are many, Including classical guitar and sailing, but an abiding love has been his desire to paint.”There is an intense urgency to paint, as if something important needs to be said, and I can only say it with brush and canvas.” Murray has a strong desire to express the spiritual in his paintings. The primary focus of his work is the Canadian Wilderness - particularly the West.  He spends several months each year camping in isolated areas.  He paints relatively large canvases on location travelling to several locations in a day and returning the following days to the site at the same time to capture the same light.  He may work on one canvas for several weeks.  Murray’s paintings reflect his love for nature. “I feel most at home in the wilderness where I spend several months each year. I have a variety of studios, but my favourites are my canoe, sailboat or my tent trailer, which enable me to transport my studio to the painting site.” 

There is a rich heritage of connection between Canadian artists and the land.  Tom Thomson and the Group of Seven initially painted the Canadian North (Algonquin and Algoma). This connection has never been more important than today when we are losing our relationship with the wilderness and see the wilderness primarily as a playground for our high powered toys.  Murray is presently working on a book of his paintings advocating a renewed connection with the wilderness and its inhabitants.  He also is frequently asked to speak on our relationship with both art and the wilderness.  Murray is a Signature Member of the Artists for Conservation which includes 500 members from around the world.  Recently he was nominated for the prestigious Simon Coombes Award given to an artist for outstanding contribution to Conservation. This past year has been a year of enormous loss for Murray, as Betty, his loving wife for 46 years passed away.  She was a source of much strength and encouragement for him. Painting has been an important part of the grieving process for him.

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The dramatic paintings of Giuseppe (Pino) Dangelico are not as spontaneous as they might at first appear. It is, in fact, the duplicity of fresh, spirited brushwork and rich dense tones of color with carefully articulated pictorial values that distinguish Pino's images today.

With a full range of figural subjects from the youthful openness of children to the sensual innocence of young women and unvarnished records of life's penetrating experience etched in the faces of old men, Pino explores the act of painting in the process of uncovering the reality of form.

Pino's unique vision was born in formal training, disciplined by professional illustration and set free with the experimentation that has always marked advances in the history of painting. It is a vision that can reconcile geometric patterns of an informal interior space with the organic shapes of human forms; a vision that can press the picture plane with frank subjects that engage the viewer directly while others recede and turn shyly away.

A master of representational, impressionistic bravura painting, Pino attacks the canvas with an energy and confidence that recalls earlier work by Anders Zorn (1860-1920), Joaquin Sorolla (1863-1923) and, or course John Singer Sargent (1856-1925). A consummate technician, Pino has the ability to capture both form and light with a few lightning strokes, transforming everyday life into romantic moods filled with verve, vitality and mystery.

Born on the cusp of a defining world war in Europe, Pino Dangelico's childhood visual memories are those of women left behind to keep the home fires burning. His mother, aunts, grandmothers and cousins became a universe of attractive Italian women in aprons, maintaining domestic tranquility in very uncertain times. Bathed in the Adriatic light of his native Bari, these figures would later infuse the romantic canvases of Pino that speak so softly to the hearts of Europeans and Americans alike today.

Throughout his early education Pino drew sketches in the margins of his textbooks and, when his older brothers and soccer teammates offered him 30 lire per drawing to help them with their high school design projects, he considered the earned income confirmation that he might be able to support himself doing something that he loved. At seventeen Pino was enrolled at the Art Institute in Bari and found a job illustrating a small religious publication. At twenty-one he was ready to leave home for studies at the Academy of Brera in Milan. He arrived at the train station with three pencils, one brush and holes in his shoes.

Soon Pino was illustrating historical scenes for grade school textbooks and later joined the staff of Fabbri, a well-known publishing firm where he illustrated history books and women's magazines. When his father died suddenly at age fifty-two, Pino moved his mother, two sisters and three brothers (an older brother was already on his own) to Milan where, as head of the household, he was their sole support until his siblings were able to provide for themselves.

In 1970 Pino married Chiara and in 1971 their first child, a daughter, Paola was born. Later that year his five year contract with Fabbri expired and the ambitious artist made his first trip to the United States on a visitor's visa where he spent three unsuccessful months in new York seeking a sponsor and employment. Upon his return to Milan, Pino and Chiara had their second child, a son named Massimo.

Throughout his studies and early commercial career Pino dreamed of being free of art directors and account executives whose demands that he paint their ideas rather than his own were a constant drain on his creative energy. The prodigious attention span that he enjoyed as a child was now combined with the puritan work ethic of his father, the Italian flair for romance and detail and determined patience born of near poverty. Pino knew where he wanted to be but the responsibility of a family held him close to lucrative illustrations where his use of subliminal devices, color, composition and detail were already pushing the edge of the envelope in a field where publishers were more interested in consistency than originality.

Having grown up with the faded glories of renaissance art and architecture at his doorstep Pino was in tune with the energies of a new era and, despite his phenomenal success as one of the leading European illustrators of all time, he wanted to be closer to the dynamic art center of the world, New York. He also wanted to release his art from the restrictions of others and be free to explore new avenues that had been opened by the abstract expressionists of the late 1940's and early 1950's.

A visit to Manhattan in 1971 exposed Pino to the exciting synergy of the United States and the museums of New York opened his eyes to the rich history of figure painting in America. In 1978 he returned with his wife Chiara, seven-year daughter, Paola and five-year-old son, Massimo.

Knowing of course, that New York was not only the center of fine art but also the world publishing capital, the place where big deals were made and new concepts and original styles rewarded, Pino, accompanied by a friend as translator, began knocking on doors of America's top publishers. Zebra books gave him his first opportunity and the success of his first covers for Zebra soon had Simon & Schuster, Bantam, Harlequin, Penguin and Dell eagerly seeking his distinctive style that would not only dominate the market but also exert a profound influence on other artists' work from 1980 to 1995. During this period Pino was the highest paid illustrator in America with over 3,000 book covers, movie posters and magazine illustrations to his credit.

Eager to leave illustration behind and to begin stretching the envelope of fine art with his fresh figural concepts and brilliant brushwork, Pino began showing his canvases to galleries in 1994. They met with immediate success among collectors and Pino began to distill over forty years of training and experience into each new painting. Combining all that he has learned from formal training and assimilated from observing the great masters, Pino has evolved a mature style that is both distinctive and deeply rooted in art history.

In 1995 Pino was the subject of specials on Entertainment Tonight, CNN, and CBS' 48 Hours and in 1996 he was featured in People Magazine.

In June 2001, Pino was an invited artist in the Prix de West, one of the nation's most prestigious museum exhibitions at the National Cowboy Hall of Fame in Oklahoma City.

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Born in Ashford, Kent, U.K., in 1958, Clive Powsey is a watercolour artist whose favourite subjects are the landscapes he sees while hiking, mountain climbing or driving.  Clive studied drawing, painting and printmaking at the Ontario College of Art, graduating in 1980.  He lived in Florence, Italy during the final year of this program.  Clive also worked in animated film and television from 1985 to 2008 with screen credits as an art director and background artist/stylist.  He is a member of the Canadian Society of Painters in Watercolour.


Clive admires the dramatic paintings of nineteenth century landscape artists.  A resident of Vancouver Island, Clive strives to capture the feeling he experiences in nature.  “I’m trying … to create my own drama as witnessed on hikes and climbs, drives, ferry rides; even glimpses from an upstairs window...  Vapours, atmosphere, light, shadow, mountains, glaciers, tumbling and falling water, vast stretches of ocean scattered with islands – it’s all here..”

Clive finds watercolour is the ideal medium to create the paintings he feels best capture the spectacular scenery and dramatic light of Vancouver Island.  His paintings are a combination of his observations, memories, and imagination.  “For both the artist and viewer, my paintings are less about a place … and more about the place.”


Clive Powsey paintings are in private and corporate collections, including IBM Canada, McCain Foods, HSBC Asset Management and Gibraltar Solutions.

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 Well known BC artist Janice Robertson was born on Vancouver Island, into a family with a long history of women artists. She lives in the historic village of Fort Langley with her husband, artist Alan Wylie.

Since launching her professional career in 1989, Janice has received a number of awards, including the the Bronze Medal in the Federation of Canadian Artists 2000 Signature Members show and the Margaret and William Foley Award at the 2001 Adirondacks National Exhibition of Watercolors in New York . Her work has sold throughout North America and can also be found in collections as far afield as Australia, Singapore, Japan, Europe and the United Kingdom.

She has been a member of the Federation of Canadian Artists since 1987 and in 1993 was awarded the organization's highest status- Senior Signature member [S.F.C.A]. In 1999 she was elected as President of the Federation. Also in 1999, she was awarded signature status in the Northwest Watercolor Society [NWWS].

Janice's art training has included courses in the fine arts department of Fraser Valley college, as well as many workshops offered through the F.C.A. She is a popular workshop instructor, sharing her love of light and the techniques she uses to capture its moods.

"Quality of light is important to me", says Janice. "It gives me energy and inspiration and I hope something of that quality is what I give to people in my paintings. I choose to paint images of the things that I love... the things that are near and familiar. My still-life paintings reflect the attachment I feel for my home and garden and my landscape images are, mostly, of the West Coast forests and beaches I have known all my life."

Janice works in watercolor, acrylics and oil.

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I was lucky enough to be born to artistic parents who encouraged and supported the direction I would take into the arts. I was also fortunate to be born and brought up in Jamaica, a land of beauty and complexity, of warmth and coolness, of vibrancy and tension. Many say that my Caribbean upbringing influenced my palette and I think they may be right. I do know that it shaped my worldview.

On my academic path, I completed a Bachelor in Fine Arts (Honours) at the University of Manitoba, followed by an M.A. in Art History at Queen's University. Thoughts briefly crossed my mind about continuing on for a PhD but I found myself being drawn back into the practice of art and I am ever so glad I listened to my soul!

 Over the last couple of years, my work has taken a new direction, from one that reflects an interpretation of what I see in the world, to one that relies more on working intuitively, and that revels in ideas and the process itself. I have had to learn to trust that the combination of intuition and intellect, of following the lead of the painting itself, will get me there in the end. I have also learnt to be more brave, to take more risks. Along with abstract work, my most recent explorations often include the figure.

I have exhibited regularly through the years in regional, national and international shows, and have been honoured to receive appreciation of my work at these shows in media reviews and awards. Most recently, I was thrilled to win the 2014 Grand Prize for the international juried exhibition, Painting On The Edge (POTE) at the Federation Gallery in Vancouver. I am also proud to have received my Signature Membership in the Pastel Society of America (PSA) in 2002. Happily, my paintings are found in private and corporate collections in several countries.

I love teaching so, as well as creating full-time, I offer workshops in pastels, drawing, and mixed media. I am also excited to be developing a series of online courses in pastel.

To learn more about what I’m up to, read my blog at www.gailsibley.com. If you’re interested in pastels and learning how to use them, subscribe to my blog at www.howtopastel.com.

 

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Born in India, Sandhu immigrated to Canada in 1990.  In 2002, he graduated with a Bachelor of Science in nursing.  Always interested in art, he took a watercolour painting course in 2004 that changed his life.  With a young family of 3 children, Sandhu painted whenever he could.  In 2009, he became an active member in the Federation of Canadian Artists and decided to dedicate himself to fully developing his artistic talent.  

 
Watercolour is a complex and challenging medium.  The softness and atmospheric qualities appeal to Sandhu.  “It reminds me to let go and just be.   When I paint, I become fearless, which allows me to look at life from a different perspective.” With subjects ranging from city scenes to marinas, landscapes and lone figures, Sandhu relishes each opportunity to render  life’s unique moments.
 
In 2011, Sandhu won the “Best in Show” award at the Sidney Fine Art Show.  In the spring of 2011, he won an “Award of Excellence” at the FCA show.  In the FCA’s fall 2011 show, he earned an Honourable Mention”.  He is an artist to keep an eye on as his talent continues to develop.   See more of Sandhu’s paintings on our website at www.pengal.com
 
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Blu Smith was born in Kamloops in 1968 and grew up in Vernon, B.C. Canada.  As a young man he moved to Victoria and completed his bachelor of fine arts at the University of Victoria in 1993.  Victoria, B.C. Canada is where Blu lives and works with his wife and growing young family.

 His mature style as an abstract painter began as an exercise to free himself from the technical restraints of realism.  Non representational abstract became a creatively freeing direction that evolved into his unique voice as an artist.    "My work has always been predominantly non-representative but based from organic shapes with strong ties to nature.  The organic structures are balanced with cavernous spaces and are filled with light and glow with an atmospheric quality.  This group of paintings is really about the diversity of two different states and the transitions between the two.  The real interest lies in bridging the gap between structure and space."

His early influences included the abstract expressionists of the New York School.  Most notably of these artists were Willem DeKooning, Mark Rothko and Robert Motherwell.

Blu has exhibited his work throughout British Columbia for several years as well as Alberta, Ontario and notable international venues such as Florence, Italy,  Las Vegas, Nevada and The Red Dot Contemporary Art Fair in Miami, Florida.

 

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 Michael was born in Paris, France, of British and French ancestry and spent his early youth on the Left Bank, a stone's throw from the Theatre de l'Odeon and the Saint-Germain-des-pres church.Michael studied art in France and at the Royal Academy of Fine Arts in Brussels, Belgium.

After working in Europe in film animation, publishing, and illustration, he moved to Montreal to work in advertising, opening his own commercial art studio in 1984.

He started to paint in the early nineties, first in watercolours, then in acrylics and oils. By the middle of the decade, painting became his full-time occupation. Michael moved to Vancouver in 1996 and presently exhibits in various galleries in Vancouver, the lower mainland, the Okanogan, Vancouver Island and Cozumel, Mexico.

His work figures in private and corporate collections in Europe, Canada, the U.S., Mexico, Hong Kong, and Japan.

Michael's paintings are a celebration of life. There is a storytelling quality of his work. A very personal vision of his surroundings as well as primary importance given to colour and composition produces dreamlike, whimsical scenes that engage the viewer's imagination.

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Mike Svob has been a full time artist since 1982. He traveled extensively before settling in British Columbia. He paints in acrylics, watercolours and oils. Mike has had numerous solo exhibitions to date, and has produced more than 22 large scale murals throughout North America.

Mike studied at Niagara College and the University of Western Ontario. A past President of the Federation of Canadian Artists and a senior member of this society, Mike is an award-winning artist and a sought after teacher and workshop instructor. He is a contributing author to "The Artist’s Illustrated Encyclopedia" and "Design & Composition Secrets of Professional Artists". In 2002, Mike’s sold out book "Painted Red Hot Landscapes that Sell !" was published by International Artists Publications.

Mike’s paintings reach out and touch the viewer. With his artistic expression, mastery of tonal values, shapes and drawing; he goes beyond technique. When Mike paints, he puts his heart completely in his work. Because of this, everything he paints makes an emotional and intellectual connection the viewer. He uses colour to emotionally draw the viewer in, with colours not expected to be seen in real life - they are an unexpected and compelling interpretation.

Mike Svob’s paintings can be found in many private and corporate collections throughout the world.

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Ray Ward has been spending most of his time lately painting landscapes and seascapes inspired by visits to the west and north coasts of Vancouver Island. To him, these spaces are important because they give us the land untouched and unaffected by any human concerns.

"I paint the unspoiled natural beauty found in the parks and the remaining crown land that hasn't been stripped of its resources," says Ward. "Most of my paintings are devoid of any human presence. I think this may have started as a subconscious reaction to all the development in my neighborhood recently, where I've seen large tracts of land cleared and flattened to make way for more houses and retail spaces."

When painting these places, Ward enjoys working in unusual weather conditions as well as very particular moments of light.  "I prefer the low light of winter sun and dawn and dusk," says Ward. "I also like atmospheric effects of air thick with moisture and changing weather patterns, such as a storm passing through. My approach is quite often centered on creating a mood through light and atmosphere."

And, in doing this, Ward is not just duplicating what he sees in nature, but, rather is focusing on these minute mood and atmospheric changes to interpret these scenes for greater emotional effect. "I don't just recreate what I see," says Ward. "To make a good painting there are always changes to make. Quite often there are distracting elements to be removed, things to add, to exaggerate or lessen. Even when a near perfect scene is presented, there are always things to play with to put your stamp on it."

It is also important for Ward to find beautify in the everyday world that surrounds him and to show this side of the natural environment to people who may not so easily recognize it. "I'm always trying to look at things differently," says Ward. "Or, at least in a new light so to speak, to enable me to broaden my work and offer a unique view of something. There is natural beautify abound where I live, and in addition to painting that I try to find beauty in the simple, somewhat mundane subjects that I might be tempted to overlook.

My Inspiration - "Low Tide, Schooner Cove"

For the last couple of years I have been painting landscapes and seascapes almost exclusively of Vancouver Island, where I live - many favourite spots are just minutes from my home. For "Low Tide, Schooner Cove" I traveled a couple of hours to the west coast, a trip I make two of three times a year to collect information for future paintings and to enjoy time with my family. I planned to visit Schooner Cove and checked the tide tables prior to leaving, as access is difficult or impossible at higher tides. There are several islands that lie just a few hundred meters from the beach, and I was drawn to this particular one. With mountains, mist and trees in the distance, it presented a classic west coast scene to paint.

This interview is an excerpt from International Arist magazine (April/May 2012). Ray Ward was the Grand Prize Winner of Challenge No. 68 - Landscapes.

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 Alan Wylie was born in Glasgow, Scotland in 1938. In 1960, he graduated from the Glasgow School of Art with a degree in Mural Design and Mosaics. He immigrated to Nova Scotia in 1967 and began a career as a full-time artist and teacher. In 1974, he moved to British Columbia and now lives in the historic village of Fort Langley with his artist wife, Janice Robertson.

Throughout his career, Alan has participated in over 60 solo and innumerable group exhibitions, and has won many prestigious awards in Canada and the United States, including the Spillsbury Gold Medal (twice) of the Federation of Canadian Artists, Vancouver, the Grand Prize at the First Annual On The Edge International Exhibition in Canada, the Gold Medal of the California Watercolor Association, San Francisco, the Rouse Gold Medallion at the Adirondacks International Exhibition of American Watercolors, New York, the High Winds Medal (twice) and the CFS Medal at the American Watercolor Society, New York.

He is a Senior Signature Member of the Federation of Canadian Artists (SFCA), the Canadian Institute of Portrait Artists (CIPA), the Northwest Watercolor Society (NWWS) the California Watercolor Association (CWA), the Louisiana Watercolor Society (LWS), and a Dolphin Fellow ( the first Canadian to achieve this distinction ) of the American Watercolor Society (AWS., d.f.)

Alan is also a noted mural and mosaic artist, with forty-four completed works in Scotland, Canada and the United States.

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