Painting: "And I thought this was a sissy game". Frederick Banting

A dynamic article on Sir Frederick Banting, Doctor and Artist.

Sir Frederick Banting, on a plein air painting expedition with  AY Jackson:

"During an outing to St Jean-Port-Joli on the south shore of the St. Lawrence, the weather was cold, the wind was ripping and Banting bundled up but working steadily admitted, "And I thought this was a sissy game.""

source: Canadian Medical Association

Association News article by Elaine Rolf

SUMMER BLOG NOTICE

Sorry folks, but my computer has to go in for servicing. Call it summertime blues, or whatever.

Future Shop usually takes two weeks.  If I get time I will drop into the public library and I may be able to get some entries put together. Otherwise......

I'M GOING FISHING.

Maskull Lasserre. A formidable sculptor

I was recently guided online to the works of Montreal artist, Maskull Lasserre..  Maskull is one of those lucky guys who grew up, in an artistic environment with a mother who is an artist. Even now, his life partner, is also an artist whose media is abstraction. 

I suppose you can call Maskull a sculptor, but there is so much more to it then that. Maskull is quick to say that his sculpure isn't just about sculpturing, but its a reflection of his way of thinking, through his hands about the everyday world and its mysteries and wonders.

I like Maskull's humility. While many artists boast about being self made, Maskull gives credit to the encouragement, from parents, friends and teachers. He even acknowledges the musician Tom Wait, " if I could make sculpture the way he makes music, I'd be a happy man."

All of this doesn't mean that it's handed to him on a silver platter.  Maskull is also quick to say that he works much harder then anyone he knows.  He is a living example of how success in the arts comes from an uncountable number of hours of very, hard work.

Maskull has had a meteoric rise in the world of art. He spent two weeks last year as a war artist, and he is now represented by the Pierre Francois Oullette Art Contemporain Gallery of Montreal, and he has shows coming up in Washington DC, and in North Carolina  at the South Eastern Centre for Contemporary Art.

Maskull's life is defined by his sense of adventure. He sees himself as a risk taker who pushes the boundaries, and clears away misunderstandings.

About all I can add to this is for everyone to step back and watch this man go places!

To learn more about Maskull and see his works, please click here.

Uproar over a painting

Andre Pellan: Eastern Canada

Are you ready for this?  Andre Pellan's work was recently taken down from the walls of the Foreign Affairs Building in Quebec and replaced by a large portrait of Her Majesty.  That's when the pot began to boil.

The Parti Québécois says Quebec should repatriate two works of art that have been taken down from the Foreign Affairs building in Ottawa in favour of a portrait of the Queen.
The paintings by celebrated Quebec artist Alfred Pellan have been removed at the request of Foreign Affairs Minister John Baird, and replaced by a giant portrait of Her Majesty.
The pro-independence party says the gesture shows how little the Conservative government cares about Quebec's culture.
It says the move probably wasn't intended as an insult and was simply a goodwill gesture for the visit of Prince William and Kate, who attended a Canada Day event at the building.
A pair of Quebec paintings have been replaced by an image of the Queen in a federal building in Ottawa. What do you think?  CBC News. Please click here

Niagara Falls as seen by Elizabeth Simcoe

Can you imagine, that this is how Elizabeth Simcoe viewed Niagara Falls. If we think it is formidable today, we should look again.  What's happened to the falls?  A lot of eroded rock has fallen over the edge since then.

Elizabeth Graves Simcoe

In December 2007, a statue of Elizabeth Simcoe Gwillim was erected in the town of Bradford West Gwillimbury, while commemorating the 150th anniversary of the town's incorporation. The statue is located in a parkette in front of the Bradford post office at the corner of John Street West and Barrie Street. - Wikipedia

Bend in the St. Lawrence River, c. 1792

Elizabeth Simcoe was the wife of John Graves Simcoe, the first Lieutenant Governor of Upper Canada.
Elizabeth was an accomplished artist and, between 1791 and 1796, as she travelled throughout Upper and Lower Canada, produced a large number of sketches and watercolours depicting Canadian scenes. She was also an avid diarist and wrote about many of her experiences.

These diaries and paintings combine to create a vivid portrait of both the raw beauty of the untamed landscape and the day-to-day life of a gentlewoman in pioneer times.

Elizabeth Simcoe was a prolific watercolourist. She painted almost 600 paintings while in Canada.

Wikipedia reports:

Elizabeth Simcoe left a diary that provides a valuable impression of life in colonial Ontario. First published in 1934, there was a subsequent transcription published in 1965 and a paperback version issued at the turn of the 21st century, more than 200 years after she wrote it. Lady Elizabeth Simcoe's legacy also includes a series of 595 water-colour paintings that depict the town of York. She was responsible for the naming of Scarborough, an eastern Toronto district, after Scarborough, England. The townships of North, East and West Gwillimbury, just south of Lake Simcoe in central Ontario, are also named for the family

From the Archives Of Ontario website. Please click here.
You may wish to check the Wikipedia article. Please click here.




Queenston Barracks, c. 1793.


Quebec, St. Audrey, Grondines, Dechambeau, 
September 23, 1794, (detail)

Edward Abela

"Whether in the Island of Malta, my country of birth or in Canada, or in my travels in Europe or America, I have always sought to interpret my environment on paper or canvas. Like the impressionists, I seek to be a ‘painter of light” and look for beauty in light and shadows and in contrasting colours. Most of my landscapes incorporate this to some degree. If the viewer looking at my work finds this to be pleasing and exciting, I feel I would have achieved my purpose."

Edward is a member of the Markham Group of Artists and the Don Valley Art Club.

Mainly self taught, I am always looking for opportunities to widen my artistic horizons. I am currently a member of the Markham Group of Artists and the Don Valley Art Club. He has exhibited his solo and group shows in Canada, England, Germany and Malta and he has received a number of awards.  His paintings can be found in private homes and offices in Canada, US, England, France, Switzerland, Hong Kong and New Zealand.


To visit Edward's website, please click here. 

Johannus Boots: Comments on his painting, 'Oneness'.

“Oneness” started out as a representation of all the animals I witnessed close to home in a month’s time. As with most of my paintings, they evolve as they’re being created and when I added my best friend and myself to the painting, it turned into a symbolic view of ones life’s path. We might all walk a similar path but it’s different for everyone by way of perception. With all the distractions of our digital daily lives, we sometimes loose sight of the wonders of our natural world and the oneness, which is just outside our door. Please click here to visit Johannus's website.

"Make Art Pop" takes Marketing Awards Best of Show award.

Perfetti Van Melle and Cossette Montreal were a pop sensation at the 2008 Marketing Awards in Toronto last night.
Perfetti and Cossette left last night’s celebration with the Best of Show award for the “Make Art Pop” campaign for Mentos Gum. The campaign, which featured artwork made from Mentos’ bubble packaging, also won a gold in the Integrated Campaign category and two golds in Out-of-Home Non-Standard Format Campaign.

Extracted from Marketing Advertising Media and PR in Canada. To read more, please click here.

Napolean Sarony, b. (Canada) 1821 c. (USA) 1899

Oscar Wilde

Napoleon Sarony was born about 1821 in Quebec, Canada, the same year that his namesake Napoleon I died at St. Helena. Information on Sarony's family and early childhood background is sketchy. Historians have reported that his father, a lithographer, had immigrated to Canada from Birmingham, England. Sarony's mother died when he was about ten years old causing the family, which included eight children, to disperse. Napoleon Sarony arrived in New York state in the 1830s and worked as a lithographer with Henry R. Robinson and Nathaniel Currier (of Currier & Ives fame). Sarony eventually established his own firm in partnership with Henry B. Major and in 1846 he married Ellen Major (b. about 1830, possibly a sister to Henry). The 1850 census for Kings, Williamsburg, New York shows Napoleon and Ellen living in the Henry Major household along with the Sarony children Ida, age two and son Otto, age seven months. In 1857, Joseph F. Knapp joined the partnership to form the Sarony, Major & Knapp lithography company. The partnership became one of the country's most successful in the field and later evolved into American Lithographic Company.

Samuel Clemens (Mark Twain)

The above article was extracted from  the Twainquotes website.  This site has some interesting information on Sarony and it features Sarony vs Oscar Wilde over who could claim copyright protection on a celebrity photograph - the celebrity or the photographer?

To view this article and more, please click here. 

Johannus Boots Searches for Life meanings in 'Oneness'.

This is another of Johannus's multi level works. If we look carefully at this painting, the path we see looks like a tunnel through the forest, which leads his walker towards a golden glow of mist.

This is the kind of painting which we can each interpret existentially. We live alone, and our experiences are ours alone to interpret and we walk on a well worn path which others have taken before us.

The dog is the caveat in the picture.  The dog playfully relates to the walker and the walker has his/her hand stretched out.  There is a feeling that our journey is not nakedly alone but that we can and do connect with life outside ourselves in a meaningful way.  We are part of a natural scheme of things.  Look closely into the branches and you will see that the dog and walker are not alone. They are surrounded by the presence of phantom people and animals.  

When I look at Johannus's works I find myself wondering if this is an experience which I have shared with the artist,  for I have frequently wondered if I am treading on ancient pathways where native peoples once walked softly in moccassined feet.  The faint outlines of faces in the trees suggest an almost spiritual kinship with these ancient presences.

I like the way message and craft interact and this work.  I am impressed by Johannus's deliberate small brush work. Each leaf is carefully defined and each blade of grass is carefully articulated,  so that what we think we know so clearly, slowly and surely surrenders to the unknowable golden mist before us. The future we journey towards is warm and pleasant and mysterious. 

Note how Johannus understates the walker by dressing him in subtle greys. In some respects, the playful black and white dog, is more a dominant presence.  The dog is posed in a sideways position, whereas the person in grey walks with his back towards us and away from us.  I find myself wondering, if I am the person in grey and am I as unresponsive as the walker to the natural order of things in life? Like the great artist that he is, Johannus hands us many questions but few answers and by so doing, he draws us into his work, to make a mental relationship to it.  Taking all in all, its a very spiritual work, painted by one of the best.

Art and Soul - Mary Hynes and Robert Bateman

CBC show: Tapestry
Interview with Robert Bateman
Discussion of art and the soul
Please Click Here

Edward Abela, and the Ontario Plein Air Society's Bridgewater Workshop

Artist Edwrad Abela of Markham, Ontario painting on location at the Ontario Plen Air Society's summer workshop.

"Whether in the Island of Malta, my country of birth or in Canada, or in my travels in Europe or America, I have always sought to interpret my environment on paper or canvas. Like the impressionists, I seek to be a ‘painter of light” and look for beauty in light and shadows and in contrasting colours. Most of my landscapes incorporate this to some degree. If the viewer looking at my work finds this to be pleasing and exciting, I feel I would have achieved my purpose.

Mainly self taught, I am always looking for opportunities to widen my artistic horizons. I am currently a member of the Markham Group of Artists and the Don Valley Art Club.

I have exhibited in solo and group shows in Canada, England, Germany and Malta and have received a number of awards. My paintings can be found in private homes and offices in the Canada, United States, England, France, Switzerland, Malta, Hong Kong and New Zealand."

                                                                                                                                                                                E.. Abela

I had the pleasure of attending the Ontario Plein Air Society Workshop, at Bridgenorth Resort outside the village of Actinolite, Ontario.  The workshop featured artist Edward Abela, from Markham, Ontario and was attended by a group of ten enthusiastic painters.  

I was impressed by Edward's kindly presence and how he found words of encouragement, instruction and praise for each of the participating painters.

This was my first workshop experience so I entered it with both a sense of enthusiasm and some trepidation.  The workshop was led by Keith and Helen Thirgood.

The workshop featured good food, lots of good socializing, and the opportunity to learn from the master's hand.

demonstration session

If you wish to visit the Ontario Plein Air Society's website to learn more about the group and their forthcoming September workshop in the Opeongo Hills, please click here. 

To visit Edward Abela's website, please click here.

                                                 

The Art of Glen Scrimshaw, part 2

Canada's History through Art: Rommel Under Attack.

This painting by Lance Russwurm, commemorates this day in history when Canadian Fighter Pilot Charley Fox, is accredited with Rommel's death. To visit Charley's website, please click here. To see more of artist Lance Russwurm's work, please click here,

The Art of Glen Scrimshaw: Part 1

I talked to my brother on the phone today, and he told me that he had a chance meeting with Glen Scrimshaw in North Battleford, Sk. During their conversation, my brother said that he told Glen that I paint. Glen asked, "What media does he paint in." My brother answered, "acrylics". Glen expressed immediate enthusiasm when he heard that.

I checked out Glen's website but couldn't find an option to send him an email to ask for his permission to present him via his you tube videos. So Glen...if you see this note, please send me a line. (my email address is in the right column).

To check out Glens' website, please click here

James Moore, Minister of Canadian Heritage and Official Languages

James Moore was given an opportunity today to clarify the Government's position on funding the arts.
The interview conducted by the CBC's Jian Ghomeshi, covered a broad range of topics and may have put to rest a few anxieties felt within the art community. Its a long interview - but interesting

Please click here and scroll down the page.

Abba's, 'The Eagle' with thanks to Rolf Hicker

I was sitting back enjoying a few Abba songs on You Tube, when I came across the above video. 'The Eagle' caught my attention since I am presently reworking one of my paintings (Cabin on a Northern Lake), and painting a bald eagle in flight within it.

To my surprise, that featured 'Portrait' photographer, Rolf Hicker's work features prominently.

Hats of to Rolf for his photgraphic skills.

You are invited to check Rolf's website out by clicking here.

Clive Powsey's: Man Eating Landscapes - Dales Gallery, Victoria

Count Berthold Von Imhoff

To listen to the story of Count Von Imhoff, please click here to be taken to the CBC archives.

The small town of St. Walburg, Saskatchewan is an unlikely place to find the grave of a German nobleman, let alone one whose talents make him one of the most accomplished religious painters of the early 20th century.

Born in Mannheim, German in 1868, Imhoff showed great artistic talents from an early age. He studied at many prestigious European schools, sometimes studying and working as foreman on major projects simultaneously. After marrying the daughter of one of his art instructors, he immigrated to North America in 1892 where he worked in Ohio and Philadelphia before finally setting up shop in Reading, Pennsylvania where his studio employed a staff of five full time artists. During his time in Reading, he decorated over 100 churches and private homes but still found the time to travel to Europe where he continued studies and improved his technique.

In 1913, Imhoff and his family immigrated to north western Saskatchewan where he could continue his work in an area of peace and tranquillity, just outside of the town of St. Walburg. Here that he completed the paintings for a major commission: the Cathedral in Reading, Pennsylvania, which some consider his greatest work. Saskatchewan also afforded him an opportunity to pursue his second great love, hunting. Apart from his talents as a painter, Imhoff was also an expert marksman and had won trophies in hunting competitions in the United States before coming to Canada.




Imhoff's output of work was immense, but the parishes who commissioned him were very poor and Imhoff often worked more for the love of his art than for any financial gain. For his talent, hard work and dedication to the faith, he was awarded a Knighthood in the Pontifical Order of St. Gregory the Great by Pope Pius XI in 1937. When he died in 1939, he was far from wealthy, but his work lives on and can be seen at the Barr Colony Museum in Lloydminster, his original studio outside St. Walburg, and many churches of all denominations throughout the area. Count Berthold and his wife Matilde are buried in the Catholic cemetery within the town of St. Walburg.

Some analysts have passed Imhoff's work off as mere decoration, but that categorisation is both unfair and inaccurate. Even though his themes are classical in nature, a closer examination of his characterisations and background elements reveal an artist who was not only a superb technical painter, but also quite aware of the artistic movements of the time.

In 1998, the community of St. Walburg honoured Imhoff by erecting a statue in his memory. The life sized equestrian sculpture, by St. Walburg artist Susan Velder, can be seen as you enter the town from the south. His beautiful north light studio, constructed in 1920-25 is open to the public for viewing from the May long weekend until Labour Day. The Imhoff Heritage Society is currently fund raising for the conservation of the studio and its exterior frescos. The photo below shows the studio as it appeared in 1996.

To see this article on the University of Calgary website, please click here.

The copy of the painting was extracted from Virtual Saskatchewan.com. Please click here.

Joseph and Marie Louise by Sarah Robertson, 1930.

“Joseph and Marie-Louise” by Sarah Robertson, from about 1930


I enjoy impressionistic art. Impressionists take the things I see and pull them like taffy into exaggerated propotions, while retaining and respecting the emotional integrity of a work.

I found 'Joseph and Marie Louise' while drifting through 'The Dali Book', blog the other day. It would be an understatement to say that it caught my eye. Far from it. I stumbled when I saw it.

The picture rolls. The fields roll. The people are rounded and the sky is warped.

The only thing that stands firm is a nondescript building in the background (you have to look for it), and the cross.

There is no doubt that the cross is the central object in the painting and in the lives of the people who erected it.

Take a look at the people. Robertson paints the woman to look stooped and pregnant. And in case her posture suggests her imprisonment, the man isn't much better off. There are only two raised man made elements in this work - the cross and the rake which weighs on his shoulders. Is Robertson suggesting that both are instruments which suppress rural Quebecers? Its a pretty gutsy painting when you consider that it was painted in 1930 when the church was a dominant force in a nearly feudal,rural Quebec society.

The picture was taken from The Dali House, and its article on the Beaver Hall Group.
Please click here.

Geese Don't Wear Ribbons

How many remember, the story of artist Michael Snow and Flight Stop from 1981. This magnificent flock of fibreglass Canada Geese hangs in Toronto's Eaton Centre.

Wikipedia Reports:

One of the most prominent sights in the shopping mall is the group of fibreglass Canada Geese hanging from the ceiling. This sculpture, named Flight Stop, is the work of artist Michael Snow. It was also the subject of an important intellectual property court ruling. One year, the management of the centre decided to decorate the geese with red ribbons for Christmas, without consulting Snow. Snow objected arguing that the ribbons made his naturalistic work "ridiculous" and harmed his reputation as an artist. Snow sued and in Snow v. The Eaton Centre Ltd., the court ruled that even though the Centre owned the sculpture, the ribbons had infringed Snow's moral rights. The ribbons were ordered removed.

.

To view the article at source, please click here.

To view the Wikipedia article: Snow v Eaton Centre Ltd, please click here.

Cameron Creek by Andrew Kiss

It gives me a lot of pleasure, as a landscape painter to write a critique of Andrew Kiss's, 'Cameron Creek'.

Andrew follows the traditional format of leading the viewer along the watery pathway into the heart of his work. And, for those familiar with the process of painting, the visual pathway ends in the traditional 'sweet spot area' of his work of the cross hairs of the upper right quadrant. I like the way Andrew arranges the rocks in the bottom of the creek bed in an arrow like pattern pointing towards the upper creek. And, for good measure Andrew paints a long darker area which directionally lances towards the the last falls. All of these are hallmarks of a technically accomplished artist.

What really catches my eye is the precision, and intricacy of this work. No detail goes untouched in this beautiful work; be it small stones, hair like tree roots, ripples of water, and even rocks from the creek bed.

I am drawn to Andrew's skillful treatment of light. The gentle ripples of reflective light in the stream leads us up to the place where the stream becomes a white path among the rocks. It also interplays with the skillfully blended blues and violets in the rocks along way. Then, when you pick up the same muted tones in the mountains you find a work where sky mountains, rocks and water literally vibrate with light. And together, these adjunts make up 4/5th of his painting. But it doesn't stop there. The foliage for the most part is painting in the springtime lemon yellow-green tones. Notice the how the light bounces off the foreground shrubs. Exciting stuff!

I mentioned how I liked Andrew's colouring of his rocks. Notice how this colour flows into the flow of water in the lower part of the stream. Beautiful colouring.

I have to tell you. I am most impressed by this painting. Its the signature work of one of Canada's premier landscape artists.

Souls Memorial: Aboriginal Heritage Month

Souls Memorial is found alongside the Blue Water Bridge which links Port Huron Michigan and Sarnia, Ontario on the St. Clair River.




The Souls Memorial has been erected by the Blue Water Bridge Canada as part of a major redevelopment of its waterfront in Point Edward, for the enjoyment of the community. It will stand as a symbol of co-operation and respect between the Blue Water Bridge Canada and the Aamjiwnaang First Nation.

The following was written by Reverend Matthew Stevens, of the Aamjiwnaang First Nation, for the special day of the Unveiling of the Souls Memorial, held June 21, 2003.




Aanii, Boozhoo (WELCOME)

The completion and dedication of the Souls Memorial represents a pinnacle in the long history of co-operation between the Aamjiwnaag First Nation and the Blue Water Bridge Canada. Eons before trade flowed back and forth between Canada and United States across a bridge, this site was the hub of an Anishinaabek trade network that stretched over the entire continent. The Souls Memorial stands in tribute to the generations of Ancestors who gathered on this site for trade, for celebration, for teaching, and for sharing in seasonal spiritual ceremonies.

Naturally, as a site of such seminal significance to the Anishinaabek, some of the Ancestors were laid to their final rest in this area. This practice continued routinely for many hundreds of years, leaving untold numbers of Ancestors interred in the surrounding area. Centuries later, the expansive commercial dynamic of contemporary society inevitably resulted in the resting places of the Ancestors being disturbed by construction and redevelopment.

Thus began a relationship between Aamjiwnaang First Nation, Graves Protection & Repatriation Committees, and the Blue Water Bridge Canada, a partnership that has been marked since its inception by mutual respect, learning, fellowship, and genuine cooperation. The spirit of the Ancestors has taught us how to come together in solving challenges that otherwise might have remained irresolvable. It's been valuable learning, as witness in the thousands of artifacts carefully unearthed by Mayer Heritage Consultants of London, Ontario. Further affirmation was provided by the Ontario Archaeological Society jointly presenting the Aamjiwnaag First Nation, Graves Protection & Repatriation Committees, and the Blue Water Bridge Canada, with The Ontario Heritage Award for the year 2001.




The Souls Memorial was designed and executed by Anishinaabe artist Dennis Henry-Shawnoo, and depicts on the central statue a series of faces representing the Ancestors. To quote Mr. Henry-Shawnoo's...”the inspiration for the Souls piece is the past, the present and the future. The piece reflects on the old ones who have gone..We all must find our true history before we come to the present and move forward to the future. The present is only a moment in time.” It rests atop a tall plinth, handcarved by the same artist from a single massive stone, and embodies certain design features that will be utilized in the celebratrion of traditional ceremonies for many years to come.

Dennis Henry-Shawnoo, artist/sculptor and designer of the Souls Memorial.

The memorial is situated within a garden-plaza setting that was conceived and designed by landscape architect Wendy Shearer. Through many hours of consultation and research, Ms. Shearer gradually evolved a concept that incorporated the traditional symbols, shapes, and colours of the Anishinaabek Medicine Wheel. The plants and shrubs that ornament the beds within the area are all selected from the original traditional medicines, thus completing the symbolic effect. Although the overall effect conforms beautifully to the surrounding terrain, it still emphasizes the centrality of the Memorial.

The Souls Memorial has been erected by the Blue Water Bridge Canada as part of a major redevelopment of its waterfront the Point Edward, for the enjoyment of the community. It's already evident that the completed project will provide critical environmental protection to the shoreline, while at the same time it will create a revitalized community space that will be a source of civic pride for many years to come. Indeed, the visibility of the Memorial during the daytime and at night ensures that it will rapidly become a local landmark, guiding twenty-first century travellers to the same site that for hundreds of years beckoned to the Anishinaabek.




Today's ceremonies will seek to honour that proud heritage, and will in part, reach back to tradtitions that originate in time immemorial. The contemporary celebration that our visitors will witness today, actually commenced long before sunrise this morning. The Spiritual Elders and members of the Graves Protection & Repartriation Committees from the Aamjiwnaang First Nation gathered together during the dark hours of this morning, and began preparing the Sacred Fire. Joined by other speically invited Elders, they continued with all of the ceremonies instrumental to appropriately dedicating the Memorial site to a commemoration of the Ancestors. What our guests will observe during the public ceremonies, will in effect be simply the conclusion of the work-begun hours earlier.

As many of our visitors will know, today (June 21st) marks the Summer Solstice, the day each year that delineates our passage of Spring into Summer. The spiritual significance of this day translates into the traditions of virtually every First Nation culture, and celebrated both the teachings of the past and the challenging prospects for the future. In 1996, the Government of Canada moved to grant legal recognition to this day, and then Government General issued a proclamation on behalf of Her Majesty the Queen, which in part reads: WHEREAS the Constitution of Canada recognizes the existing rights of the Aboriginal peoples of Canada;
WHEREAS in the Constitution of Canada "Aboriginal peoples of Canada" include the Indian, Inuit and Metis peoples of Canada;
WHEREAS the Aboriginal peoples of Canada have made and continued to make valuable contributions to Canadian society and it is considered appropriate that there be, in each year, a day to mark and celebrate these contributions and to recognize the different cultures of the Aboriginal peoples of Canada;
AND WHEREAS many Aboriginal peoples celebrate the summer solstice, which has an important symbolism within their cultures;
THEREFORE, His Excellency the Governor General in Council....hereby directs that a proclamation do issue declaring June 21 of each year as "NATIONAL ABORIGINAL DAY".

Recognizing the growing spirit of co-operation that has began, many Fist Nations have included the word "Solidarity" in the title for this day. We're pleased to welcome all of our guests here for our NATIONAL ABORIGINAL SOLIDARITY DAY festivities.
We're also particularly pleased to have the privilege of welcoming the Honourable James K. Bartleman, Lieutenant Governor of Ontario, as our guest of honour. The Honourable James Karl Bartleman is the 27th Lieutenant Governor of Ontario and was sworn-in on March 7, 2002. He is the 41st vice-regal representative since John Graves Simcoe's arrival in Upper Canada in 1792. Mr. Bartleman had a distinguished career of more that 35 years in the Canadian Foreign Service, and also served in senior positions in the Department of Foreign Affaires and International Trade. Of special significance to today's ceremonies, the Honourable Mr. Bartleman is the first Anishinaabe to hold the vice-regal position for the Province of Ontario, being a member of the Mnjikaning First Nation, in the Muskoka region of Ontario.




Of course, none of today's festivities could occur if it hadn't been for the determined and cooperative efforts of a great many people. Unfortunately, time simply doesn't permit for the individual recognition of all of people who have been involved over the years of work leading up to this morning. Some were trained professionals, who added to their qualifications the skills of patience, cultural sensitivity, learning, and consensus building. Many others were interested volunteers, who, like their professional colleagues, found their knowledge expanding in all sorts of ways they'd never previously considered. To a very great extent, the Souls Memorial is a testimony to all that can be accomplished when people of disparate backgrounds meet the challenges of contemporary society, in a true spirit of mutual respect and co-operation. We're indebted to them for the exemplary legacy they leave.



Article extracteed from the Blue Water Bridge website. To visit the site, please click here.


Picture of the Blue Water Bridge, extracted from Wikipedia. Please click here.

Steve Shaw Artist with a Cosmic Vision

When I passed through the doors of Steve Shaw's home today, little did I realize that I was following a well beaten path made by others who had come to visit this most creative man.

Steven is well known for his skill in making leather masks.



Steve explains the genesis of his masks: "Masks were worn by troubadours." and troubadours can be called "truth adorers." and "We are all cosmic gypsies" like the troubadours who wandered the highways and byways of Europe, providing entertainment and insights into life.

His masks are brilliantly designed. They are made from leather and are of a quality which one would expect to find worn by Shakespearean players. They are colourful, aptly named for metaphorical concepts,(Fallen, Autumn Wind, Rainbow Butterfly, Tree Jester, Stardust and Crossroads Owl, for instance)and are finely sculptured and comfortable to wear. I asked Steve and his partner Ruth to pose with me (centre) for the top picture.

Steve lives near Parsons, a small village along Highway 95, south of Golden, BC.
This is an area inhabited by some of the most uniquely creative individuals you would expect to find concentrated in one small area of Canada. And like many of them, Steve made his way over the Rockies after having lived elsewhere.

First of all, please allow me to back up a step.

Steve is the offspring of American parents who migrated to Canada. He is also the father of three children and for many years he made his living in interior decorating, design and in the furniture business near Washago Beach, Ontario. About ten years ago, Steve decided that the pressure and stress of the business world wasn't worth it. So, he packed his bags and headed west.

Steven struggled with dyslexia throughout his life and in his youth he refused to yield to the pressure of changing from writing with his left hand to his right. And as any student of psychology will tell you - left handers have strong right brain hemisphere development.

Steve playfully defines himself as a Dysfunctional Human in Training. (D.H.I.T) And his artistic life training includes, writing, art and mystical presentations.

I enjoyed Steve's creative play with words. A play that was rife with subtleties of meaning.

I invite you to join me in taking a fascinating journey into Steve's world by clicking here to open his website. And be sure to check his video for this is where Steve opens the door to his universe.

Clive Powsey: Man Eating Landscapes

This marks the final weekend of Clive's Man Eating Landscapes Showing at Dale's Gallery. 537 Fisgard St., Victoria BC. June 9 -29th.

Flight by Ice Bear

This visually exciting work is by Ice Bear (Chris Johnston). Please check the right column for the announcement of his most recent showing at Coombs, Vancouver Island. The open house will be held at Coastal Carving Fine Art Gallery just across the bridge from the famous 'Goats on the Roof' country store, June 24 to 26.

Alfie Fishgap: Art Which Speaks for Heritage and Spirituality

by Maureen Bayliss.

Alfie J. Fishgap descends from the Salish First Nation but grew up estranged from his Native roots.

Alfie’s adopted name was not Fishgap. After discovering as an adult that he had been adopted by his Scottish/Italian parents, he researched his background learning of his Coast Salish heritage and that his ancestors had been fish trappers for their village. An elder had used the name Fishgap, and now so would he.

Always interested in art, the pathway to his West Coast heritage led Alfie carve a ‘wild woman of the woods’. It was during the journey with this piece that the spirit of his western roots reached out to him.

Since then, Alfie embarked on an exploration of his ancestry and immersed himself in the styles and lore of Haida and Kwakiutl art.

In speaking of his work, Fishgap says he does not create his art; the art creates itself using his hands as the tools.




Like the dream time his ancestors revered, Alfie’s art speaks directly to him and it is not uncommon for him to return from a foray into the woods harbouring a myriad of artistic inspiration. And in this, he is moved to create.

Totems, spirit lures, masks, halibut hooks, boxes, canoe paddles; all are part of Alfie’s repertoire. His work exhibits his heritage, and the spirituality of his ancestors. Each piece created is one of a kind meticulously designed, hand carved, burned, and painted in a traditional style which speaks to a new generation, yet still honours the past.

Alfie resides with his wife and his daughter in Holland Landing (near Toronto, Ontario). His career has led him to enjoy many awards, commissions, exhibitions and an offerings of workshops with private and public events.

To read more about Alfie Fishgap and his work, please click here.

Meet Andrew Kiss, Alberta Nature Artist

Andrew Kiss, lives in Calgary with his wife of 43 years. He began painting at about the time of his marriage and 17 years ago, he took the big leap of faith, and left his employment to make art his full time vocation.

Andrew is the first to tell you that being an artist, isn't always the most secure way to make a living. But, solid support from his wife Lynn and a strong dose of perseverance have helped him on his journey.

Andrew moved to Calgary, where his daughter Rita and son Lee, also live, 5 1/2 years ago, from British Columbia,

Like many artists, Andrew cannot remember when he didn't like producing art. And as the years passed he worked in cartography as a draftsman. Andrew says about his employer:
"The company I worked for was very lenient in allowing me to go do art shows and taking time off, they were really good that way."

They say that behind every good man is a good spouse. And in Andrew's case, Lynn supported him in his art pursuits. He started with landscapes but did wildlife for about 10 years and this saw him produce 110 limited editions in the print market. He later returned to landscapes and also produced small birds.

Its nice to know that he has received well deserved success. His art has allowed him to exhibit all over the world- Europe, Hong Kong, all over the US, many parts of Canada. And, It has also allowed him to travel to many places such as Kenya, Tanzania, Hong Kong, Austria, New Zealand and many other places I would not have gone to if it wasn't for the artwork.

As far as technique and style is concerned, Andrew is a self taught artist, and he cannot attribute any other artist who influenced his work, and he feels that this is most important in setting an artist apart from others.

I am most impressed by the energy Andrew put into marketing himself by travelling extensively and by doing as many as 15-20 shows in a year and he is quick to share his appreciation for his son or daughter who would travel with him to help out, particularly in long drives to Los Vegas or Phoenix.

Andrew made a major shift in his focus about ten years ago, when he moved the bulk of his work over to galleries to handle his art and this freed him up with more hard earned painting time - although he still does occasional road shows. His works can be found in 6 galleries whose names can be found his website. He also does the Calgary Stampede every July and this has the largest juried art show in the west with only originals from approximately 75 artists,

As far as the future goes, he looks forward to continue doing what he is doing now, and most importantly he hopes to continue giving pleasure to people who see his work.

Andrew invites you to click here to check out his website. Its filled with great art, and is sure to give you a lot of insight into why he has become such a well respected artist.

Vancouver Street Riots and Love in the Eye of the Storm

I hesitated in blogging this picture from Vancouver's Street riot, mainly on moral grounds. Is it appropriate to put a picture such as this on an art blog? I watched the young couple being interviewed on television and they told the story of the young woman being knocked over and the man comforting her and in the end this picture tells of where comfort can lead.

Photography as an artform has been given,at best, token representation by' The Portrait'. My bias, as a painter, is pretty apparent and I will be the first to admit it.

But there is something about this picture which reaches deeply inside my artistic spirit, call it the art of life, or love triumphing over hate whatever you will.

Canadian Painters of the 30's.

Its a long one but worthy for any student of Canadian art history. Please click here.


Canadian painting in the '30s.
The CBC Digital Archives Website.
Canadian Broadcasting Corporation.

Aboriginal Heritage Month: Thayendanegea (Jospeh Brant) - as seen by different early artists

Interesting: Two paintings of Joseph Brant by two different artists. How can one person look so very different?

The picture on the left was painted by William Berczy, c.1807. a German artist who emigrated to the States, and from there to Canada. Berczy was the leader of the Markham, Ontario Berczy Mennonite Settlement. Click here to see the Wikipedia article.

The painting on the above right was by George Romney. Wikipedia states:

Portrait of Joseph Brant. Brant was visiting England with Guy Johnson at age 33 or 34 when Romney painted him in his London studio. Brant is shown wearing a white ruffled shirt, an Indian blanket, a silver gorget, a plummed headdress and carrying a tomahawk. The painting is today in the National Gallery of Canada in Ottawa.

The Berczy painting makes a token effort of presenting Brant in a more authentic context, in that it looks as if it was painted on location where Thayendanegea lived. Also, the Chief looks older then he does in the Romney work, which was painted around 17 years earlier.

When I look at the Berczy painting, I find myself wondering why and where the chief is pointing. Historical inreading suggests that it may be looking at his people and pointing to Canada where his people would be resettled in safety and as a reward for the loyalty to the crown.

I am intriqued by the way the artists painted Thayendanegea's face. Berczy gave us a Native Chief. Romney presented a styalized white man with white skin, sensual lips, and dark searching eyes.

Both paintings present the chief in ceremonial regalia. Romney has him wearing a Christian cross whereas Berczy gives us a Mohawk Chief wearing his hair cut in traditional Mohawk fashion.



The smaller work which can be seen immediately above was done by Gilbert Stuart. Gilbert paints Brant with a face which has a nostalgic look suggestive of what he and his people have lost.


The picture to the left,was done by William Armstrong,(who also painted the first picture of Toronto's city hall which was featured in an early blog entry) who was an early Canadian watercolourist. Armstrong lived between 1822 and 1914. Its pretty obvious that Armstrong never saw the chief, for Brant died in 1807, 15 years prior to Armstrong's birth.

This picture has the most discomforting representation of Chief Brant. His features look disturbingly non native and most unlike any of the faces we see. The revered feather which was seen Berczy's work, has been replaced by what looks like a couple of ostrich feathers. More then that, I find Armstrong's painting of Brant in a pink shirt with flowers disrespectful.

When you check the link below it will take you to a sizeable collection of Brant portraits, painted and drawn by many artists. It's obvious that Brant was a highly respected native leader who made a significant contribution to the development of early Canada. please click here.

Carvings from the Shuswap Golf and Country Club. BC

Aboriginal Heritage Month Art - the Native Sun Man Glyph

Peterborough Petroglyph Park

Now, if I painted a picture like this and entered it into a major art show, it would likely get juried in and with a little luck be selected as a sure winner.

It goes to show that whatever goes around comes around. I find myself wondering what was going through the mind of this ancient glyph carver. Was he interpreting a figure from tribal mythology? Did he or maybe she, take a step into the realm where his carving took on its own life and meaning? I'm sure that Erik von Daniken could add his own spin to it and suggest that this ancient carver, had seen a denizen from another spacial realm.

I guess nobody but the carver who is long gone, knows what his being represented. Its easy to conjecture that his head resembles the sun. Was the carved man, an important being?

While I am on this theme, I had an interesting conversation with a man who owns a large farm in the Peterborough area, and he claimed that he has a set of petroglyphs that equals or surpasses the Peterborough glyphs in size, in the woods of his property but the Ontario Government has chosen not to acknowledge is presence.

So many mysteries, so few answers. If this entry has any native readers who are familiar with Algonquin spiritual symbols, I would be pleased to publish a response.

Toronto's Struggle with Graffiti - Art?

Photo from: 'The Star'.

Anyone who lives in the Toronto area or who follows the news in Toronto, is no doubt aware of struggle the city is having with graffiti. The nub of the problem is the lack of discretion of many graffiti artists in painting on the sides of privately owned buildings, garage doors, and fences. The city requires owners to clean the graffiti off and this costs money which owners have to pony up for.

A recent public forum examined whether graffiti is an artform and if it is, do graffiti artists have rights to publicly present their works?


Please click here to be taken to the Star's article on the public forum.

Artist honours Canada's fallen soldiers

Dave Sopher's massive work of art, a mural featuring oil portraits of 155 Canadian men and women killed in Afghanistan, will doubtless bring tears to the eyes of thousands of Canadians.

Known as Portraits of Honour, the piece is touring 105 Canadian cities this year starting in June. It is tentatively scheduled to in Brantford and Simcoe on June 19. Details have yet to be announced.

It's a deeply personal work for Sopher.

After more than three decades of success as a commercial artist, the Cambridge resident has sunk most of his time - it takes about 80 hours to do each portrait - and more than $400,000 of his own money into the project.

To read the rest of the article, please click here.
Title and article extracted from The Brantford Expositor.