For Scratch Art for Scratch

2 July/August 2007 Serving the Canadian art industry • www.brushstrokemagazine.com

ARTIST HAS ITCH FOR SCRATCH ART

Jason de Graaf ‘Metropolis’ Internet helps shy artist market his work internationally

Larry Rich ‘The Divide’ Get your work seen and network

Lorna Hannett ‘Joseph’

Gabriel Krekk FREE - TWO COMPETITIONS! ‘Wait and Sea’ SUBSCRIBE Details inside TODAY! Recording work saves frustration contents Publisher’s Corner 4 Scratching a creative niche Scalpel in hand, Lorna Hannett I can’t believe this is already our second issue. For the last year or more I was creates wondrous formulating the plan for this magazine and time flew by so fast. works In the last several months I have been privileged to meet a large number of Canadian artists, and as time progresses I will meet many more of you. From each artist I gain great insight, and I’m able to share that with you through Canadian Brushstroke Magazine. Sculptor loves Artists are more than just painters, sculptors, sketchers, etc. Most of them have 9 many more incredible talents. For instance, in addition to being accomplished daily grind painters, at least two of our artists in this issue are also talented musicians. Larry Cathryn Jenkins has Rich is in a jazz band, and Marc Little is a guitarist and by the time you read this lived, breathed, and he will have released a music video with his group: The Watermen. Perhaps dreamed of grizzly other artists in this magazine are also musicians or have other creative talents bears for 30 years they never even thought to mention. I was incredibly inspired this issue by the works of Cathryn Jenkins, a BC sculptor who makes serpentine sculptures of grizzly bears in gargantuan proportions, 15 Artist has weighing from 500 to more than 8,000 lbs. no limits And, I am ecstatic to have the opportunity to show off Lorna Hannett’s scratch art works and Jason de Graaf’s ‘hyper-realistic’ paintings. No matter what medi- Larry Rich is open um or style a person works in, these two artists will leave you asking, “How did to painting almost they do that?” anything so he can Gabriel Krekk is a wonderful artist, a cheerful and outgoing individual, and he’s paint full-time got superb marketing savvy. Last issue’s artists left us in awe of their talents, and I know you’ll love our featured artists this issue just as much. I can vouch for all of them that they are not 20 Shy artist only terrific artists, but incredibly interesting, knowledgeable and friendly people. I uses internet am pleased to be able to now count them among my friends. After the last issue went out, we answered literally thousands of emails. So, if successfully you email after this issue, please be patient. We are normally very quick with our Jason de Graaf has responses, but with the landslide of responses all at the same time, it’s impossi- marketed his way ble to answer immediately. to London, Eng. I certainly want you to email us, however, so please don’t let what I said dis- courage you from doing that. Your feedback is important and reading your responses is addictive - I can’t wait to check emails every morning. I look forward 23 Documenting to hearing from you. artwork saves We are released every two months, so you can expect our next issue at the end of the first week in September. Until then, keep creating. You are a valuable asset frustration to our great country. Gabriel Krekk learned this lesson - now he’s working hard to find past works

Artist paints for 28 money PUBLISHED BY JENSU DESIGN All letters or contributions to Brushstroke He loves painting, Magazine are subject to editing with no but Marc Little is PUBLISHER: Susan Blackman limits or liability. honest about the All material printed in this magazine, writ- JENSU DESIGN fact that he paints ten or depicted, is protected by copyright of Box 5483, Leduc, Alberta, Canada T9E 6L7 to bring extra income into his household. this magazine and/or the artist, and cannot Phone: 780-986-0789 • Fax: 780-986-8393 be reproduced in any form without express E-mail: [email protected] 33 Industry News and written permission from the publisher. Information All views expressed are those of the CANADIAN BRUSHSTROKE MAGAZINE Who’s showing where? author and not necessarily those of Box 3449, Leduc, Alberta, Canada T9E 6M2 What competitions can you Brushstroke Magazine. Brushstroke Phone: 780-986-0789 • Fax: 780-986-8393 ? makes no recommendations as to the pur- E-mail: [email protected] enter? Who won awards? chase or sale of any product or service. www.brushstrokemagazine.com Here’s where you look to find the answers. 2 • Canadian Brushstroke Magazine • July/Aug. 2007 letters...

Upon release of the first issue of Canadian Brushstroke Magazine we received thousands of emails. We couldn’t print them all, but here are some that indicate what most of the emails contained...

I just read through the whole magazine and I am very impressed. I love that it is totally Canadian and being a Maritimer I hope that there will be lots of articles in the future from the East Coast. An article I would like to see would be on how artists get to be known and why, what makes some art work more attractive to the buyer than others, what tips could be given to up and coming artists on the type of work that sells or is of interest. Thank you and I look forward to the next issue. Fantastic job. Suzanne Goyetche Saint John, NB

Thank you very much for "Canadian Brushstroke Magazine." I am very pleased to receive this useful and Congratulations! What a terrific first issue of a maga- informative magazine for free. zine that is long overdue! We're letting you know that If you don't mind some feedback, it would be most we support you 100 percent in this endeavor; it looks inspiring to see a great range of styles from the tradi- like it will be a wonderful resource for anyone interested tional to very contemporary. in art in Canada. Our membership has already forward- As a wilderness artist, I find it quite refreshing to see a ed the first issue far beyond Canadian borders so we magazine that features more conservative art styles, think you'd better hold on to your berets! This magazine compared to the sometimes alienating focus on "con- is going places! ceptual" art in many publications. However it would be Alberta Oil Painters terrific to see a bit more risk taking as well. I also hope to see First Nations and Northern artists Congratulations on a fine & necessary publication for featured! & about Canadian artists. Keep up the good work. Mary Dolman Michael Swanson Dawson City, YK Kendall, ON

Congratulations on your chutzpah and integrity: a fine Thank you for sending me Brushstroke; I enjoyed it first effort that held my attention though I was a dyed-in- thoroughly & look forward to more. Of course, being the-wool print version reader. from the east I would love to see more articles on the I’m looking forward to future issues and watching your Maritimes and I am sure that will happen. Keep up the evolution. hard work. Yvonne Callaway Smith Glenn Wallace Montreal, QC Saint John, NB

Congratulations on a great first issue from an artist Thank you for including us in sending your fine online who is a former editor-designer. magazine. Canada needs more publications to reach I look forward to the next issue. I am also sending out to art communities. Keep up the good work. We'll be your email on to all of my fellow artists in Victoria. looking for the next issues with interest. Paul Bennett James Pay Victoria, BC Stoney Creek, ON Canadian Brushstroke Magazine • July/Aug. 2007 • 3 WEST (Yukon, Alberta, B.C.)

Artist scratches her creative niche

JOSEPH • Scratch art, 8 x 10”

‘Late bloomer’ educates herself and wins awards with her own unique and exciting version of scratch art

he term 'scratched her way to the top' is very fitting down at a desk, and for the large pieces she has a draft- for Burns Lake, BC artist Lorna Hannett.She was ing table. "I have a computer in there because I do a lot of Tinvolved in many creative things, but didn’t start cropping and playing around with photos, and I have a tel- painting until her children had all left home. evision to keep me company." In the course of educating herself in the arts, she found In addition to the scratch art, she also works in acrylics, a website - wetcanvas.com - that featured an artist who watercolors, pastels and graphite. did scratch art. Hannett "wrote him about it because I was For her scratch art, Hannett starts with a photo. She fascinated." She began experimenting, first with an scans it into the computer to check for the best composi- eagle's head, and a few animals. "The rest is history." tion. When she's satisfied, she draws it out and then uses "I kind of taught myself. Nobody around me had ever Chacopaper (a white transfer paper) to transfer the draw- even heard of scratch art." ing onto scratchboard - Ampersand Claybord Black - Hannett works out of her home studio which is 17 x 24, which she describes as a masonite board covered with with windows on two sides. She usually works sitting white Kaolin clay and then sprayed with India Ink. 4 • Canadian Brushstroke Magazine • July/Aug. 2007 ELEPHANT • Scratch art, 18 x 24”

Scratchboard is unforgiving... Scalpel!... The Chacopaper will leave a light white mark on the Hannett's process for scratching is 99 percent cross- scratchboard. Hannett says "You have to be careful you hatching, done in the direction of the shape of the face in don't rub that off until you want to." portraits. With animals the scratching should always be This transfer process is a necessary part of her process done in the direction the hair grows. especially when she is working on portraits because "I need To scratch, she originally preferred an Exacto knife, but to have everything worked out and in the right place, includ- found the point of the blade wasn’t fine enough. Her hus- ing the eyes and nose. Scratchboard is too unforgiving." band was a fire fighter and one day brought home a scalpel from one of the paramedics. Since then, it's been her favorite scratch instrument. She purchases the scalpels at a Care must be taken... reasonable price from a medical supply store. "I buy them Once the transfer is complete, "Then I just start scratch- by the box. I go through lots of them because they dull ing. With 'Joseph,' I started with his eyes to give him a little quickly." life. I start by scratching lightly, and then scratch the highest highlights towards the end." To ensure no oily residue Protecting the work... from her skin is left on the Claybord, she always keeps a To finish the piece and protect it, she uses Krylon Kamar cloth under the hand she is scratching with. If the piece is varnish. "It totally seals the piece and gives the scratch larger, she will keep one under her arm also. piece a real blackness." Canadian Brushstroke Magazine • July/Aug. 2007 • 5 Play with it... Hannett suggests artists trying scratch art for the first time should purchase an 11 x 14" scratchboard and cut it up on a table saw into small pieces and "just play with it." Purchasing the smaller pieces can be more expensive and then the artist will be less likely to take risks. Often the scratchboard materials are not stock items in art supply stores, so she says artists will have to ask their store to order it in, or go to the Ampersand website - ampersan- LEFT: MAGNOLIA dart.com - to find where it is • Scratch art, available in their area. 4 x 4” Ampersand also has tools and BELOW: REFLECTIONS colored inks especially for • Scratch art, 8 x 10” scratch art. Artist loves the challenge... From her very first scratch piece, to her first award-winner 'Joseph,' was less than a year. " I love challenges," she says. "I look at something and say, Gee, I wonder if or how I can do that. And, I love taking pictures. I take pictures of anything and everything." The artist's complete step by step demonstration of the creating of Joseph is available at http://www.wetcanvas.com/ Articles2/11613/396/ . Hannett never even started in fine arts until her youngest son left home in 1996. "I've always been kind of creative, making dolls, and ceramics. But I started when I had that empty bed- room. "After I got into it, I wished I had started a whole lot earlier.” Inspiration...

She often gets her inspiration from the way the sunlight hits a subject, or from someone with real character in his/her face. Hannett lived in Water Valley, AB before her husband retired and the couple moved to Burns Lake, BC. 6 • Canadian Brushstroke Magazine • July/Aug. 2007 DAN’S HAT • Scratch art, 8 x 10”

Breaking into BC community... LORNA HANNETT'S work can be found in She was a member of the Canadian Institute of the Circle Art Gallery in Portrait Artists, the Calgary Sketch Club, and the Burns Lake, BC, and is Alberta Society of Artists. She is still a signature currently in a summer- member of the Federation of Canadian Artists. long show at Burns She said it's taken a while to break into the Lake Heritage Centre. arts community in BC, but "the first thing I did She has won numerous when I moved here was to talk to the local awards, including the gallery owner. Some of my work is now hanging CIPA Award for Great there. Distinction, juror’s And, a woman from the local artist guild saw choice awards from my work and called me, so now I'm part of the FCA, Best in Show for artist guild. I also do a farmers' market on FCA, to name a few. Saturdays. I have a table and display my art- Find out more about work and demonstrate my scratch art. I will also Hannett’s work at be teaching scratch art workshops for the artist www.lornahannett.ca guild.” Canadian Brushstroke Magazine • July/Aug. 2007 • 7 www.canvascanada.ca

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8 • Canadian Brushstroke Magazine • July/Aug. 2007 WEST (Yukon, Alberta, B.C.)

JENKINS WORKS ON SOME OF THE FINER DETAILS. Daily grind is tremendous fun for stone sculptor Thirty years of sculpting hasn't dampened Cathryn Jenkins' enthusiasm for one of Canada's great creatures - the Grizzly bear. tone sculptor Cathyrn Jenkins, of Langley, BC, has never known a world not filled with art. At 19 years old she would work for her pocket money by Spolishing sculptures that her mother Fran Jenkins had created. She loved the sculptures so much that she started getting up really early in the morning so that she'd have time to sculpt some creations of her own and she was successful with sales. Now, almost 30 years later, she is a seasoned sculptor, renowned for her gargantuan Grizzly bears. Even the small bears usually weigh approximately 500 lbs. and her largest bear weighs more than 8,000 lbs. "I don't know of a larger stone sculpture of a Grizzly bear anywhere. I love working big. Bears are big, powerful animals." Jenkins is a single, stay-at-home parent of two and says, "I work and I raise my children." She is thankful that her art sales have allowed her to do that. Her bears sell from approximately $7,500 to more than $80,000, and Jenkins says, "I know how that sounds." But, she explained, there is great expense to creating the sculptures; including getting the stone, her own time, paying her five employees who do the polishing, cut bases and split rock, the cost of shipping, etc. As an example, it can take 600 hours just to hand-polish the largest finished bears. "It takes great craftsmanship to do it - fanatical actually." Canadian Brushstroke Magazine • July/Aug. 2007 • 9 Jenkins no longer does any finishing work herself. "I only do the creative work. The rest (the polishing, etc.) I oversee. I can create a lot more work than someone who does all the finishing themselves." Her mother Fran is still sculpting, but she has switched to bronzes because stone sculpting is so physi- cally demanding. She still prospects, however, and her recent, exciting find in Osoyoos, BC will supply Jenkins with Serpentine rock (with a marble-type look) for a long time. "There is 400 tons of rock coming," says Jenkins. "I like to have a tremendous amount of stone. That way you have so much rock that you don't have to be careful. Most sculptors cut AN INDICATION OF THE MASSIVE NATURE OF JENKINS’ BEARS. in or grind in their forms. I just hammer them in and let the chips fall where they may. The weak parts will fall off could. The remainder of her studying of her lumbering sub- and then I'm really working with the strength. Then I go jects has been done on a large-screen television and from back in and grind. Each piece is individually created and "really good documentaries." I don't know where it's going until I start. The stone will "I eat, sleep and sculpt them in my head. If you do that take a particular direction. It pushes you to be more cre- for 30 years, you have a good feel for them." ative." Jenkins likes the Serpentine rock because "the stone Jenkins works on several pieces at a time and says she really works with the bears." In describing why it is suited often does two-headed bears. "I make my design and then to the bears, she compares it to fabric: "It's more like I choose which one I want and then - Off with the head," burlap than silk. It's suited to chunky, rough types of ani- she laughs. mals." If something breaks while she is working on it, she could She uses large die grinders, but uses bits that are slightly turn it into a smaller bear, but she says it doesn't happen softer than the stone. "That way the stone shapes them very often because, "I'm hitting it when I start - things will and I can shape them. Once I get into a subject, it's like break earlier in the ballgame." I'm writing a novel. Each bear is a page and every page Being a single parent means she doesn't get a lot of has to be good. Who knows what the conclusion will be - opportunity to spend as much time in the wilderness as it's tremendous fun. Whatever I'm trying to do, my art is she'd like, but she has studied live bears as much as she communicating something."

Cathryn Jenkins is represented by Masters Gallery in Calgary, AB; Peter Ohler Fine Art in Vancouver, BC; Whistler Village Art Gallery in Whistler, BC; Mountain Galleries in Jasper, AB; and she has work in the prestigious art auction at Texas Art Gallery in the US. To read more about Jenkins, visit her website at www.jenkinssculptor.com

10 • Canadian Brushstroke Magazine • July/Aug. 2007 In November 2007, join Canadian artists, collectors, gallery owners, arts writers, publishers, art historians, teachers, critics, curators, corporate leaders, arts service organizations, and public sector funders for an unprecedented milestone in Canadian culture: the Visual Arts Summit.

www.visualartssummit.ca

En Novembre 2007, joignez-nous a` une pléiade d’artistes, de collectionneurs, de galeristes, d’écrivains, de critiques et d’historiens d’art, d’enseignants, d’editeurs, de conservateurs, d’organismes de services aux arts, de dirigeants d’entreprises et de bailleurs de fonds du secteur public a` une étape charniere` de l’histoire de la culture canadienne : le Sommet sur les arts visue`ls. www.sommetsurlesartsvisuels.ca

Canadian Brushstroke Magazine • July/Aug. 2007 • 11 CLAASLTL CALL FOR FOR Landscape ENTRIES ENTRIES Competition

Competition No. We want to show off Canada’s artists, and our competitions 1 will offer us a chance to do that! Subject Landscapes Be sure to enter your artwork in our competitions - not only do you have a chance to win Medium Two dimensional drawing or painting medium

$1000 Entry Fee $15 (You can enter as many works as you would like) CDN Entry deadline July 30, 2007 plus an award certificate, but we also get a chance to see your work and we just may *Winners and finalists will be featured feature YOU in an upcoming issue of in the September/October issue of Canadian Brushstroke Canadian Brushstroke Magazine Magazine.

RULES — HOW TO ENTER

DIGITAL FILES ONLY ly. All CDs must be labeled with the must be original, not copied from any Enter with high res digital file only - artist’s name, the number of entries other artist’s work, photographer’s on CD only. Do not send digital on the CD, each of their titles and work or published work of any kind, images via email to our offices - they this issue’s Competition Number. All and must have been completed in will be automatically disqualified. You files on the CD must be labeled as the last two years. The work can not must print off the entry form on next follows: lastname/firstname/Entry No. have won previous awards or any page, complete it, and send it along Example: John Smith’s Entry No. 2 distinction of any kind. No works cre- with your CD and method of pay- would be labeled smithjohn2. ated under supervision are eligible. ment. If you have more entries than ELIGIBILITY We reserve the right to refuse any the space allotted, please print This competition is open to any artist entry, or ask for source material at another form and fill it out complete- with residency in Canada. All work our discretion.

12 • Canadian Brushstroke Magazine • July/Aug. 2007 RULES — HOW TO ENTER (CONTINUED)

ENTRY FEE/DEADLINE by Canadian Brushstroke Magazine, on the site. Submission of the entry The DEADLINE for Canadian and/or qualified judges of our choos- also constitutes the entrant’s accept- Brushstroke Magazine to RECEIVE ing. ance of all competition rules. The entries is July 30, 2007. You cannot PERMISSION TO PUBLISH winner and finalists will be notified by courier material to our box number, so Signing and submission of the entry e-mail, and their work will be pub- be sure to send it in plenty of time form, digital files and payment will lished in the specified edition of the (Address is on submission form constitute permission for Canadian magazine. The judges’ decisions are below). The fee per entry is $15 CDN, Brushstroke Magazine to publish final. which can be paid by VISA, cheque or your artwork(s), your name and infor- Canadian Brushstroke Magazine money order. the fee MUST be includ- mation in our magazine, which is does not accept any liability for ed with the CD and entry form submis- released on the internet, and copies color variations that may occur as a sion. The entry fee is not refundable. archived on our website on the inter- result of different computer screens. COMPETITION JUDGES net for as long as the publisher The artists will always be properly The competition entries will be chosen wishes to keep the archived editions credited.

Phone number: ( ) E-mail: E PLEASE WRITE VERY CLEARLY Entry 1 Entry 2 Entry 3 N Title: Title: Title: T R Medium: Medium: Medium: Size: (hxw) Size: (hxw) Size: (hxw)

Y I enclose my cheque or money order for the total fee of $15 Canadian PER ENTRY

OR, please charge the total sum to my VISA: ______

EXPIRY DATE:______Signature______

F I solemnly declare that all the works listed on this entry tition rules, and I understand I am granting the rights to form are my own original artworks and I own the copyright publish my name, the artworks listed and information in an to the work and to all source material used in creating this upcoming issue of Canadian Brushstroke Magazine and artwork. I understand the entry, including the form and CD, that the issue will be archived for an undetermined amount O will not be returned, and I understand the entry fee is non- of time on Canadian Brushstroke Magazine’s website: refundable. I have thoroughly read and agree to all compe- www.brushstrokemagazine.com. R Address Please PRINT name clearly M Postal Code City/Province Signature Please mail this form and the properly labeled CD (see Rules - How to Enter) with properly labeled files to: Canadian Brushstroke Magazine, Box 3449, Leduc, AB, T9E 6M2

Canadian Brushstroke Magazine • July/Aug. 2007 • 13 Myfanwy Pavelic: ‘Grande Dame’ of portraiture, dies at 91 Susan Abma ictoria, BC artist Myfanwy Pavelic, known affectionately to many as the V ‘Grande Dame’ of portraiture, died May 7 at the age of 91. Among her numerous important portraits, Johnson Pavelic painted the official portrait of former Prime Minister Pierre Trudeau. She also painted many portraits of her Gallery friend, Katherine Hepburn. Pavelic had been mentored by the late Emily Carr. During the Second World War, Pavelic painted numerous portraits for the Red 7711 - 85 St., Edmonton, AB Cross, raising money for the war effort. • 465-6171 Pavelic was awarded the Order of Canada, • www.johnsongallery.ca and the Order of British Columbia.

Next Competition: Waterscapes Our next competition will be waterscapes, mit, and follow ALL the same directions list- ie: creeks, ponds, rivers, lakes, oceans, etc. ed on the landscape form. You will be sub- If you wish to enter early, you may use the ject to ALL the same rules listed. The dead- form from the landscape competition, but line will be November 23, 2007. PLEASE BE SURE to put The winner will be announced in the COMPETITION # 2 January/February issue of Canadian on the front of your envelope when you sub- Brushstroke Magazine.

14 • Canadian Brushstroke Magazine • July/Aug. 2007 (Nunavut, Saskatchewan, CENTRAL NWT, Manitoba)

THE DIVIDE • Acrylic, 36 x 72”

hen Larry Rich goes to his cotton canvas to paint his acrylic creations, he almost never Wpicks up a brush. Instead, he uses "non-traditional painting methods without a brush - upholstery Artist has foam, kitchen sponges..." To achieve more defined lines, he uses the edge of a square kitchen sponge. "It has a nice straight-edge to it." The Winnipeg artist describes his work as "very expres- sive. I do a lot of abstracts, and a lot of work that bridges between abstract and realism." There is one area in which he paints much more realis- tically, however. "I still do portraits. I can't take too many NO LIMITS! abstract licences with those because I need to look for a reasonable close likeness of their face." He studied graphic design at Red River College "back in the day when everything was hand-rendered. It was very hands-on." He also credits a lot of his 'eye' for painting to live model drawing he did for many years at the Winnipeg's LARRY Winnipeg Art Gallery - "week after week. It really honed my drawing skills. I think it was one of the greatest expe- riences I've had as an artist." RICH loves his work He developed a market for his artwork primarily through the interior design world. "Years ago I started going into and will do whatever it people's homes. I started doing murals in kids' rooms - work I still do." Through that work, he developed relation- ships with many people who he has also sold his paint- takes to continue ings to. Rich will do murals, abstract, semi-realistic, portraits, or whatever a client may ask for. "I never limit myself. I still doing it full-time. do kids' rooms, I still do murals. I want to be able to make a living at what I do and not rely on other part-time jobs."

Canadian Brushstroke Magazine • July/Aug. 2007 • 15 So, in order to do that, he has looked at many venues to promote his artwork. They include galleries, upscale hair salons, home shows and custom home builder show homes, which he says is "A great way to generate business." He avoids any conflict by providing different styles of work for the different venues. For instance, he provides one of his galleries with floral or landscape work, and he provides abstract work to a salon. "Every place I deal with, I like them to feel that they have some kind of exclusive." Rich adds, "I think too many artists limit themselves in what they'll do. You need to get out and get your art seen and learn to network." About the artist’s studio space He works out of his home studio. For several years he had another studio location, but he found he was doing most of his painting at home, and he didn't like juggling between the two studios. The room in which he paints smaller pieces is a large sunroom able to be used in all four seasons. He paints his larger pieces in a "3-car shop" which he does not use for vehicles. He also uses that studio to build stretcher frames. ABOVE: FOREST 2 • Acrylic, 36 x 48” He has another room that he uses as an office. In it he keeps a computer and a library of books and photographs. "I've actually become quite a good photographer over the years. I've got quite a sub- BELOW: FALL GLOW • Acrylic, 32 x 40” stantial library of pictures." With the exception of the bathroom and kitchen, he laughs, "My art and my business has pretty much taken over my whole house." But, since he is fairly fastidious and he has clients visiting on a regular basis, he says, "I like everything to be neat and everything in its place. If everything is cluttered, I find my mind is cluttered." Paint brands and the artist’s palette Although he works primarily in acrylics, Rich says he's been working with mixed media recently. "If it needs something, I might add a little oil pastel" or something else that will give it that 'little extra.' Rich worked for many years with Liquitex acrylics, and recently also started using Kryla (Daler Rowney) fluid acrylic paints. His palette consists of Mars Black, Burnt Sienna, Chromium Oxide, Cobalt Blue, Cobalt Turquoise, Red Oxide, Cadmium Red, Magenta, Cadmium Yellow Medium, Raw Sienna and Titanium White. For the magenta, he prefers Daler Rowney System 3, or alternately, Winsor Newton Quinacridone Violet.

16 • Canadian Brushstroke Magazine • July/Aug. 2007 "I have my favorite colors. I work a lot with earthy colors, but lately I've been adding oranges and even fuscia. Over the last couple of years color has really exploded for me." He sometimes uses photographs as inspiration, but often just paints “straight from the gut.” Rich tries to achieve "a sense of inner light, a sense of space. I'm always considering space. It's really important to me. I don't necessarily fill everything. I don't want a very busy, complicated painting. As with my home, I try to get away from the whole sense of clutter." "I work in all sizes and shapes, but I try to stay away from the typical rectangular format."

LARRY RICH exhibits his work in many locations, including Birchwood Gallery and Interior Illusions in Winnipeg. He ABOVE: LARGE BIRCH • Acrylic, 48 x 48” also teaches BELOW: SHADES OF BLUE • Acrylic, 30 x 60” workshops at the Artist's Emporium (a local art supply store). You can view more of his works at www.larryrich.com

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18 • Canadian Brushstroke Magazine • July/Aug. 2007 Visual Arts Summit marks first national conference since 1941 he first national meeting to address the situation of the visual arts in Canada since the TKingston Conference of 1941 is set for November 25-27 in Ottawa, ON. The Visual Arts Summit (VAS) will offer an opportu- William nity for the key players in the visual arts sector to interact directly and engage in a high level discus- sion about every aspect of Canadian art. Rodgers Through a series of conversations, discussions and arts events, the VAS will start building a con- Workshop sensus and a strategy to broaden the appreciation Long Pose – Nude Figure Painting in Oil of Canadian art - both domestically and internation- Aug. 16-20 2007, Thurs.-Mon. Limit 12 students ally. The visual arts in Canada are at a high point with Cost - $600 US Canadian artists achieving international success, This extended pose will teach the artist the full process of exe- Canadian art commanding record sales at auction, cuting a finished painting in a studio situation. In the first ses- new architectural additions being being added to sion Mr. Rodgers will explain and demonstrate how to set up public galleries in several cities, universities and col- the model, lighting and materials. Next an explanation of how lege art programs training artists in significant num- to begin the study of the model and then moving on to initial bers and visitor and participation rates for art exhibi- block-in and gesture, drawing techniques, refining the study to begin painting, and modeling the form in the final painting. tions and events mounting steadily. The aim of the Visual Arts Summit is to generate high-level discus- For more information call Shairl - 499-8730 sion about these exciting trends and to propose • email: [email protected] ways of heightening their effects: making the visual or Cindy Revell - 662-3088 arts more intelligible, more accessible, better sup- • Email: [email protected] ported by citizens and more viable for practitioners. To find out more about William Rodgers go to The unique context for the Summit is a gathering of www.americanclassicalrealism.com the full spectrum of those engaged in the visual arts: artists, art historians, educators and teachers, collectors, arts service organizations, funding bodies, public and private galleries, arts writers and publications, critics and curators. Organizational partners, led by the Canadian Museums Association are: the Aboriginal Curators Collective; the Art Dealers Association of Canada; the Artist-Run Centres and Collectives Conference; the Canadian Art Museum directors organization; Canadian Artists Representation; the Canadian Education Association and the Independent Media Arts ALLIANCE; and the Royal Canadian Academy of Arts. Canadian Brushstroke Magazine • July/Aug. 2007 • 19 EAST (Ontario, Quebec)

METROPOLIS • Acrylic, 30 x 20” Shy, young artist uses internet to get work across the country and ocean A graduate of illustration and design, JASON DE GRAAF discovered that fine arts is where his heart is, and it suits his quiet personality perfectly.

“ yper-realism” is how Jason de Graaf, of Oka, 'flog' a portfolio, painting is, for the most part, a somewhat Quebec describes his photo-realistic works, and solitary experience. He found he could do most of his Hthat style has already taken the 1996 graduate into marketing on-line and also keeps a good line of communi- the Vancouver, BC and London, England markets. cation open with other artist friends. "Because of my own Although de Graaf studied Illustration and Design at shyness, I didn't like cold-calling. Now I can do a lot (of Dawson College in Montreal, QC, the shy artist found he marketing) with email. And I correspond through email was uncomfortable with the marketing aspect of that with other artists - it's important to know your 'gang' - industry, and the quick turn-around times. He found him- other artists in a similar boat as what you are." self wanting to spend more time to finish a painting than The illustration and design education has been instru- illustration would allow. For the last three years he has mental in his painting, though. "I learned a lot of technical concentrated on painting in acrylics on cotton canvas. stuff that has been very useful, and it gave me an eye, While the illustration industry means constantly having to and a little business sense." 20 • Canadian Brushstroke Magazine • July/Aug. 2007 ABOVE LEFT • HOLLYHOCKS • Acrylic, 18 x 24” ABOVE RIGHT • 5 O’CLOCK SHADOW • Acrylic, 18 x 14”

Preparing the canvas... trying to establish himself. A big part of that is because he In order to achieve the high level of realism de Graaf can only complete about 15 originals/year in the time- desires, the full-time artist prepares his canvas by putting consuming style that he paints, so he can only supply to a up to three layers of Gesso and sanding in between. He small number of galleries. doesn't sand to a completely smooth surface, however. He "Some of the big paintings take me three months to do." likes a fairly smooth surface, but with some texture left to provide some tooth for his paint. Beyond the reference... His reference material is often photographic, but he says, "I take it beyond the photographic image and add The process... more depth, more presence." He begins with drawing his image on tracing paper, To ensure he stays aware of the differences between enlarging the image, and then transferring it onto his can- photos and life painting, he occasionally will paint from vas with blue SARAL wax-free transfer paper. life, but he considers these paintings more as sketches "I might reinforce some aspects, use a compass for a than finished pieces. sphere, or make sure a straight line is completely straight, For other young artists starting out, de Graaf says they because the drawing usually moves a bit when you trans- have to "have a lot of patience, a lot of dedication, and fer it." get their work seen." He paints on a drafting table rather than an easel. "I'm used to drawing and painting on a table, and I turn the painting a lot." His initial goal is to establish shapes and colors very quickly, and to achieve the darkest darks. "I'm very painterly at first and after that I just refine it." JASON DE GRAAF has works in the Jacana de Graaf’s palette... Gallery in Liquitex Acrylics are his medium of choice. "I like them. Vancouver, BC, They work for me - I'm a bit scared to change manufactur- and the Plus One ers as I'm used to how they act." Gallery in London, His usual palette consists of Mars Black, Burnt Umber, England. For more Burnt Sienna, Dioxazine Purple, Paynes Gray, Pthalo information about Green, Cerulean Blue, Ultramarine Blue, Hooker' his work, see the Green, Light Green, Cadmium Red, Cadmium Orange, artist's blog at: Medium Magenta, Cadmium Yellow, and Titanium White. He says he is still very much a struggling artist and www.jasondegraaf.blogspot.com

Canadian Brushstroke Magazine • July/Aug. 2007 • 21 Perfect for elementary schools, resident & day camps, youth groups, child care facilities….

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Sold exclusively through: Artra Art Supplies Co. Ltd. For prices and more information, please call toll free at 1-866-ART-8500 22 • Canadian Brushstroke Magazine • July/Aug. 2007 EAST (Ontario, Quebec) Documenting Artwork NOW Saves Work And Frustration Later

Watercolor artist GABRIEL KREKK stresses the importance of properly documenting all your work. And he should know - he's working hard now to track down past works that he didn't record.

THE HAT MAKER - A DYING BREED • Watercolor, 13 x 19”

hese days, when Gabriel Krekk, of Belleville, Ontario much time I put into my originals." finishes a painting, it has a number, a date, the num- This helps him to determine the price for commis- Tber of hours he spent painting it, who purchased it, sioned works and for his original paintings, which are and more. usually valued between $2400 and $3400. The time he "One hundred years from now this information will spends on a painting can vary between 10 hours and 100 exist," he says. I want to track down the hundreds of paint- hours. ings that I've not catalogued." On his website, he asks "One of the things that really alarms me, breaks my anyone who has any of his early paintings to contact him heart, is that artists so often undervalue their work. I've so he can catalogue them. "Not that I want them back, always taken the position that I won't sell a piece for less although that would be okay," he adds. But, Krekk wants to than what I think it's worth." try to have the information on file for future generations. Marketing is a huge part of Krekk's life. The very per- "My intention is to make an impact on the world with my sonable artist is internet savvy and maintains his own web- work." site. "A lot of artists don't have the ability to maintain their He also believes it's important to track the time on his own site, so they have to pay somebody." Because he can works, which he describes as contemporary realism. "In do that himself, he says, "I have the ability to react very the late '80s it dawned on me that I needed to find out how quickly." Canadian Brushstroke Magazine • July/Aug. 2007 • 23 KEEP YOUR NAME PROMINENT But, he adds, "How many people really go out and look for artists on a website?" So he works hard to keep his name prominent with the search engines so that when people do seek Canadian watercolor artists, his name is among the first people will see. He also has a comprehensive promotional package ready to send at a moment's notice. It includes items such as a cover letter, CD of his paintings, his biography, a brochure, and dry- mounted posters. Krekk believes in seizing every opportunity, and doing whatever it takes to get his name "out there" and have people and gallery representatives see his artwork. However, he says he has had more success south of the bor- der. "Canadian galleries are not very receptive to self-promoting artists, so I've had to do different things. The reality is, though, you need money. It's going to cost you to go out and promote yourself." "In a world of seven billion people, lift up your head and scream as loud as you can so the world will hear your voice and know you are there."

MANAGING PAINTING TIME WHILE WORKING Krekk works 12-hour shifts four days a week at Procter & Gamble, and has less than four years before he retires. Every weekend is a three-day weekend, and he takes that time to paint. So, his painting time is precious. "I set goals for myself every year." Last year he painted 14 paintings, and this year his goal is 20 paintings. Along with his originals, he also has several limited edition prints. As a young boy, Krekk says he was already known as the neighborhood artist at 12 yrs. old. ABOVE: AFTER THE FINAL BELL • Watercolor, 12-1/4 x 18” And, his mother believed in his talent so much that she spent $700 in the '60s for a course to help him improve his skills. "That was a lot of BELOW: SURRENDER • Watercolor, 15 x 10” money - like $10,000 now!" In addition to his art, he also loved architecture and studied architecture. He set up a drafting company for home and industrial designers. "I built this incredible little company, but I got tired of working seven days a week. So, I took my career with Procter & Gamble in 1983. I also tried to write a children's book in 1986, which went nowhere." But, his painting is a success story. He taught himself how to paint in watercolor. "It took me a long time to master the medium and it's a continual learning process.” 24 • Canadian Brushstroke Magazine • July/Aug. 2007 THE PAINTING PROCESS “I love working from photographs. I'm not one of those on-location artists." And he isn't a slave to the photos. He changes whatever he feels needs changing to make the work a better painting. His process starts on 140 lb. Winsor Newton watercolor paper. "I'm pretty exclusive to that. I've tried others with pretty good results, but that's the one I usually use. I lay out my lines, doing a very light sketch. The less graphite I have, the happier I am. I just do a general shape of what I'm trying to achieve. I work from the background to the foreground with not too much detail in the background. I want the eye to go straight to the image. Although, I spend just as much time on the background as the flesh tones or detail in the face. Then, I move into the detail of my subject." Krekk often does many "side studies" of the main image to make sure he gets it just the way he wants on the actual painting. White is almost non-exis- tent - he uses the white of the paper - but occasionally he will use a Chinese White wash to soften the background. His palette consists mainly of Winsor Newton paints, and includes Gamboje, Viridian, Pthalo Blue, Opera Rose, Vermilion, Burnt Sienna, Raw Umber, Burnt Umber and Ivory Black. He uses Lowell Cornell and Daler Rowney sable brushes. "Pthalo blue is one of my favorite colors. Even in my flesh tones there's Pthalo blue. It mixes so well with other colors." He has his own special recipe for a "black, black," for watercolor paintings. He uses five different layers - Pthalo Blue, Paynes Grey, Ivory Black and Indigo. WAIT AND SEA • Watercolor, 11 x 16” Canadian Brushstroke Magazine • July/Aug. 2007 • 25 On his final layer, he uses a reverse stroke, again with Ivory Black.

I ALWAYS LEAVE THE FACE UNTIL LAST "I don't take on any painting unless it provides me some level of challenge. There has to be something unique, some level of spirituality. With the 'Winds of Montana,' what I wanted was her hair really blowing with the tight curls. And she had a dark coat and it was closed. I opened the coat and allowed her shape to come out." "I always leave the face until last. It's like my dessert! After that I'll light myself up a big, fat, Cuban cigar. It's the only bad habit I have," he says, laughing.

DON’T WORRY ABOUT WINNING His greatest achievement in his point of view was winning the People's Choice Award for his painting Tears for a Mother at a juried exhibition because it was the public, not jurors deciding on the work. When he does public speaking, he tells artists not to rely heavily on what jurors choose. He tells them, "You know something? You guys are incredible. As the jurors go through and pick the 'best' piece, remember that you are incredible. Don't worry about winning.”

BELIEVE IN WHATEVER YOU WANT TO DO, GO DO IT, AND DO IT NOW! “ Just get your work up there in front of people. Listen to your dreams and then go live them. Believe in whatever you want to do, go do it, and do it now!"

ABOVE RIGHT • WINDS OF MONTANA • Watercolor, 13 x 23” BELOW • TEARS FOR A MOTHER • Watercolor, 17-3/4 x 15-1/2” GABRIEL KREKK is represented by Agora Gallery in New York City, NY, Infusion Gallery in Los Angeles, CA, Kennedy Studios Gallery in Key West, FL, Quinte Art & Frame in Trenton, Ont., About Framing in Belleville, Ont. For more information about the artist, visit his website at www.gabrielkrekk.com.

26 • Canadian Brushstroke Magazine • July/Aug. 2007 Susan Abma

Cindy Revell

Johnson Susan Box Gallery

7711 - 85 St., Edmonton, AB • 465-6171 • www.johnsongallery.ca

Joan Bolen

Canadian Brushstroke Magazine • July/Aug. 2007 • 27 (NFLD/Labrador, PEI, MARITIMES Nova Scotia, New Brunswick)

ABOVE: MALLARD • Oil, 18 x 32”

ARTIST PAINTS WHAT PEOPLE WANT MARC LITTLE of Moncton, NB artist says he's nothing if he's not honest - he paints for money and he's succeeding at it.

arc Little says painting is just a trick. "It's an opti- "I work my very best on everything, regardless of whether cal illusion. You're tricking people into thinking I'm paid for it," he says. But, most of his wildlife works also Msomething is three dimensional when it's only two sell quickly, or in some cases are even pre-sold. dimensional." He is currently working on a series that will include deer, And, when the Moncton, New Brunswick artist is paint- moose, foxes, Canadian geese, a polar bear, Mallard ing, he says he tries "to emulate the only true artist, which duck, and more. is God." A key to his success is his mahl stick, he says. "That's Half of his works are commissioned portraits of people or one of my important tools. I'm always at least an arm's pets, and the other half are paintings of Canadian wildlife. length away." He insists that is crucial. 28 • Canadian Brushstroke Magazine • July/Aug. 2007 ABOVE: COUGAR KINGDOM • Oil, 24 x 36”

His studio is in the basement of his home which has natural sunlight lighting, and he BELOW: TUCKER • Oil, 16 x 20” also has a SAD light. When describing the studio he says simply, "There's about 300 paint brushes and four guitars. It's a mess - my wife stays clear of it." Little glues cotton canvas onto Masonite. He starts his paintings by lightly outlining his drawing (via projector) in acrylic paint. He then rubs his first layer of oil paint into the weave of the canvas. He then paints in many very thin layers. They are so thin that the oil paint dries overnight and he can paint again the next day. His common palette includes various brands of ivory black (because he says he prefers that is more blue), burnt umber, burnt sienna, Cobalt blue, Alizaron crimson, cadmium red and yellow ochre. His favorite white, because he likes the consistency, is Permalba white. He also occasionally uses a touch of cadmium orange on lips or ear lobes. Canadian Brushstroke Magazine • July/Aug. 2007 • 29 NEW MOTHER • Oil, 16 x 20”

Little works from photos, but says they are "normally just "I work really quickly. I paint thin layers and the next day a guide. Most of the time I'm a bit of a romantic for how it's dry and I go at it again." things should look - I make them more idealistic." He has two young daughters and says that although he Although he works full-time as Artistic Director for Co-op truly loves painting, he currently paints to bring income into Atlantic, he still manages to paint 24-25 paintings per year. the family. 30 • Canadian Brushstroke Magazine • July/Aug. 2007 "I've been here (at Atlantic Co-op) for eight years, but there's never guaran- tees (of job security). If you're painting for pleasure then you can paint whatever you want and not worry." But when you're painting to make money, "You have to paint stuff that people want to buy. The consumer's always right." Little markets his work in various ways, including very impressive brochures, but he says word of mouth is still his most effective marketing tool. "There's nothing like a painting that somebody shows to their friends," he adds.

ABOVE: BOY • Oil, 12 x 16” RIGHT: SCHNAUZER DOG • Oil, 12 x 16”

MARC LITTLE (shown with daughter Grace) graduated from the Ontario College of Art & Design. He has works in the Moncton City Hall, the Moncton Art Society Art Gallery, the Vancouver Ampitheatre, and says he has pen and ink drawings of Atlantic scenery "on every continent." The artist's website is www.marclittle.com

Canadian Brushstroke Magazine • July/Aug. 2007 • 31 Get outside and paint!

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Sold exclusively through: PERFECT FOR BOTH Artra Art Supplies Co. Ltd. INDOOR AND OUTDOOR USE! For more information, Each $350.00 Canadian (+gst + S&H). please call toll free at Please allow 6-8 weeks for delivery. 1-866-ART-8500 Pictured below: Canadian artist Jack Ellis demonstrates the Banff easel

32 • Canadian Brushstroke Magazine • July/Aug. 2007 news & information ALBERTA The Studio Gallery (St. Albert), July BRITISH COLUMBIA 5-28: Essence of Women. The artist Linda Wilder says, "Quiet confidence, simple elegance, sensitivity and sen- A fire in Penticton, BC, last month Dinner will be held at the Sheraton suality, fear and inner strength, are has left the 4,000 sq. ft. Lloyd Art Wall Centre. The event presents only some of the qualities that cap- Gallery in a state of ruin. The fire is attendees with a chance to bid on ture the very essence of a woman; a believed to have been caused by a unique works from emerging and dichotomy of character, hard yet soft, ruptured gas pipe, although that has- established artists. subtle yet racy." n't been confirmed to date. There Artists featured in this year’s auction ...... may have been several thousand include Rachel Harrison, Althea Art Gallery of Calgary, Until Aug. 25, original paintings and at least as Thauberger, Jessica Stockholder, Cities: John Hartman: This exhibition many prints that were destroyed in Stephen Waddell, Chris Gergley and of 18 new Hartman works from a the blaze. Kristan Horton among others. All variety of public and private collec- ...... guests will receive an artist’s multiple by Neil Campbell.The title of this tions has been organized and circu- Two Rivers Gallery (Prince George): year’s event is "Rapt." Last year’s lated by the Tom Thomson Art The Gallery received official designa- event sold out at 280 attendees and Gallery, Owen Sound, in partnership tion as a category 'A' institution by raised over $140,000 towards the with the Art Gallery of Nova Scotia, the Ministry of Canadian Heritage in CAG’s programs. and will tour Canada through 2009. June. Two Rivers Gallery curator, Hartman is known for his large-scale George Harris says, “Receiving an ...... expressionistic landscape paintings 'A' designation is the result of a com- Vernon Art Gallery, Until Aug. 31: animated with the imagery of local prehensive assessment of all aspects Marsha Kennedy: Mapping the Land historic events and personal narra- of gallery operation by the federal and the Body. In the exhibition tives. Cities: John Hartman includes government. It is tremendously Mapping the Land and the Body, a major new artwork commissioned rewarding to know that the gallery Saskatchewan-based artist Marsha by Scotiabank to mark its 175th has been recognized to have been Kennedy examines and addresses anniversary and its commitment as a built and is operating at the highest issues of visual representation that corporate patron of contemporary professional standard.” artists have been preoccupied with Canadian art. The 16.5-foot oil on “This places us in the same category for centuries. linen triptych, entitled 'Halifax' will of art galleries as the Vancouver Art become part of the AGNS permanent Gallery and the National Gallery of ALBERTA collection following the international Canada. This designation is a credit touring exhibition. Cities is accompa- to the vision, effort and energies of Willock & Sax Ltd. Gallery (Formerly nied by a full colour, hard cover book the City of Prince George and to all of Waterton Lakes National Park) published by Altitude Publishing. of those who contributed to the build- moved to a new location. They are ...... ing of our gallery. It is an achieve- now at: 110 Bison Courtyard, 211 Art Gallery of Alberta (Edmonton), ment of which we are tremendously Bear Street, Banff National Park, Until Sept. 9: 2007 Alberta Biennial of proud.” Alberta. Contemporary Art. Co-presented by ...... Art Gallery of Alberta and Walter Blackberry Gallery - Port Moody Arts ...... Phillips Gallery at the Banff Centre. Centre, Until July 29: Featuring Newzones (Calgary), July 7 - Aug. The Biennial will feature Sarah Parvaneh Roudgar with An Artist 25: Group exhibition "G'DDY UP!" - Adams-Bacon, Robin Arseneault, Meeting the City of Arts, and included in the show will be Joe Richard Boulet, Jennifer Bowes, Ken Mikhayla Stewart - Facing Tonality. Andoe, Dianne Bos, Joshua Jensen- Buera, Kay Burns, Chris Flodberg, Julian Forrest, Paul Freeman, Anu ...... Nagle, David Levinthal, David Robinson, Kevin Sonmor and Russell Guha-Thakurta, Terrance Houle, Elliott Louis Gallery (Vancouver), July Young. Jarusha Brown, Geoffrey Hunter, 24 - Aug. 12: Scott Pattinson's show David Janzen, Jonathan Kaiser, Mary Periphery Flash will feature many ...... Kavanagh, Linh Ly, Annie Martin, abstract works in Pattinson's flam- Mark Mullin, Paul Robert, Laurel boyant style. Multicultural Centre (Stony Plain), Smith and Kristy Trinier. The AGA ...... Until July 26: Dimorphic Perceptions, says their work reminds the viewer a visual interpretation of the world that hopes are often matched with Contemporary Art Gallery around them, by artists Elaine impending catastrophe, actions with (Vancouver), Sept. 15: The CAG’s Tweedy and Donna Marchyshyn adversity, and that utopia is mostly 19th Annual Art Auction and Gala Shymko. built on disasters. Canadian Brushstroke Magazine • July/Aug. 2007 • 33 news & information MARITIMES

Art Gallery of Nova Scotia (Halifax), SASKATCHEWAN MANITOBA Two new exhibits. Until Sept. 3: Garry Neill Kennedy: Superstar Assiniboia Gallery (Regina), Until Art Gallery of Southwestern Manitoba Shadow. Kennedy's installations are Sept. 12: The gallery will be celebrat- (Brandon), Jly 5 -Aug. 18: Two new an extension of a career of works ing its 30th Anniversary with an exhi- exhibitions explore the representa- that respond to the conditions of site, bition and sale of new works of tions of gender in art. In Shadow that employ colour, form and line (in almost 50 of the gallery's artists. Princesses, artist Deborah Forbes the shape of a specific font, examines the popular image of the Superstar Shadow, developed by ...... princess. Esselte-Letraset foundry) to examine She explores how the "little princess- how power is expressed in culture. Joe Fafard is the recipient of the es" on the child beauty pageant cir- Until Sept. 9: Lucie Chan: Between, 2007 Lieutenant Governor's Lifetime cuit continue to influence our percep- and in Tears. For this site-specific Achievement Award. Fafard is an tions of girlhood today. Deborah installation, Chan remounts a project acclaimed sculptor who lives near Forbes is an artist and art educator originally displayed in Quebec. She Regina, SK. He was born in 1942. in Medicine Hat, Alberta. combines large objects (tear-drop He attended the University of Also in the Main Gallery is the group shaped sculptures made from and Manitoba, Winnipeg (BFA, 1966) and show Painter Pants. Featuring work suspended from the gallery) with ani- Pennsylvania State University, State from young and emerging painters mations and drawings into a unique, College (MFA, 1968), was an instruc- Aaron Paquette, Jason McLean, Jeff evocative installation. tor in sculpture, University of Nachtigall, Neil Dyck, Patrick Saskatchewan, Regina, from 1968 to Lundeen, and Roger Crait, this exhi- 1974, and visiting lecturer in sculp- bition takes a lighthearted look at ture, University of California at Davis, masculine identity in contemporary winter semester 1980-81. Canadian art. Fafard is the recipient of numerous RBC announces awards, including the Order of ONTARIO Canada (officer) in 1981 and the Royal Architectural Institute of national Canada Allied Arts Award in 1987. The Ottawa Art Gallery, Until Sept. 2: Already well-known as a ceramic The exhibition Oh So Iroquois sculptor, he turned in the early 1980s emphasizes the dynamism of both competition to bronze work and in 1985 opened a traditional and contemporary foundry, Julienne Atelier Inc., in Iroquoian creative processes, pre- Pense. senting work that is deeply rooted in semi-finalists His work is in great demand and his a cultural system of values and commissions include both private æsthetic qualities. Featuring artists RBC announced the semi-finalists and public funders. He has works in Vince Bomberry, Hannah Claus, Ric in the ninth annual RBC Canadian major collections across Canada, Glazer Danay, Katsitsionni Fox, Ellen Painting Competition. The paintings including the National Gallery of Gabriel, Jeffrey Gabriel, Louis Hall, were chosen from more than 1,400 Canada and the Montreal Museum of Alex Jacobs, G. Peter Jemison, works by 690 artists from across the Fine Arts, and in numerous collec- Peter B. Jones, Miriam Jordan & country. The winners will be tions around the world. Julian Haladyn, Clifford Maracle, Alan announced in September. Michelson, Shelley Niro, Melanie One national winner and two hon- Printup Hope, Jolene Rickard, Greg ourable mentions will be selected MANITOBA Staats, Bear Thomas, Jeff Thomas, from the semi-finalists and awarded Samuel Thomas and Marie Watt. $25,000 and $15,000 respectively. With a total of $55,000 in prizes, the Winnipeg Art Gallery, July 13 - Aug. MARITIMES RBC Canadian Painting Competition 19: Around Here: Scenes of offers the highest total award of any Manitoba from the Historical Ross Creek Centre for the Arts painting competition in Canada. Collection. The paintings show how (Canning, Nova Scotia), Until Sept. Submissions were accepted from Manitoba’s landscape has trans- 2: Sara Hartland-Rowe's exhibit, The professional, practicing, visual formed over the past 150 years. Gods that Walk Among Us. She por- Canadian artists who are in the early trays mythical sisters weaving their stages (within first five years) of their ...... magic. careers.

34 • Canadian Brushstroke Magazine • July/Aug. 2007 news & information classifieds RBC competition cont’d TO BOOK YOUR CLASSIFIED AD: The semi-finalists include: Eli Bornowsky of Vancouver, [email protected] BC; Arabella Campbell of Vancouver, BC; Angus Ferguson of Vancouver, BC; Chris Millar of Calgary, AB; Shaun Morin of Winnipeg, MB; Melanie Authier of Toronto,ON; Kim Dorland of Toronto, ON; Jennifer Lefort CLASSIFIEDS RATES: of Toronto, ON; Anders Oinonen of Toronto, ON; Ben Word ads/listings - $50 for 50 words. • Pinkney of Toronto, ON; Elizabeth Grant of Saint John, $1 each additional word. NB; Nam Nguyen - Halifax, NS; Aleksandra Rdest of Display Classifieds: $40. per col. inch • Pouch Cove, NF/Labrador; Mélanie Rocan of Montreal, QC; Justin Stephens of Montreal, QC. 1 column = 1.75”

What can you place in a classified Five in running for advertisement? A gallery listing, models available, services for artists, workshops and $50,000 Sobey award exhibitions, retreats, equipment for sale, art holidays, and so much more. The national curatorial panel has selected five finalists for the $50,000 Sobey Art Award, presented by Scotiabank. The winner of the 2007 Sobey Art Award will Canadian Brushstroke Magazine is an be announced at a gala Oct. 15, and will receive $50,000. excellent way to reach an audience that you The five finalists, one from each of five regions, were couldn’t before - at least not affordably. chosen from a list of 25 Canadian artists. The national shortlist for the 2007 Sobey Art Award Our rates are listed above, and the email includes Ron Terada from Vancouver, BC; Rachelle address to send classified Viader Knowles from Regina, SK; Shary Boyle from advertisements to is: Toronto, ON; Michel de Broin from Montreal, QC; and [email protected] Jean-Denis Boudreau from Moncton, NB. Terada studied at the Emily Carr Institute of Art and We take VISA, cheques or money orders. Design, the Nova Scotia College of Art and Design and the University of British Columbia. He is represented by Catriona Jeffries Gallery in Vancouver. Viader Knowles studied at Cardiff College of Art, the University of Wales College Newport, MFA from MALE MODEL University of Windsor, ON and is represented by PEAK Gallery, Toronto. AVAILABLE Boyle has a diploma of Fine Arts from the Ontario College of Art and Design and is represented by Jessica Experienced, fit, male model (nude) available Bradley Art + Projects, Toronto. for figurative, sculpture, De Broin has a BFA from Concordia University, MFA painting, and some photo classes for workshops, group, Université de Québec à Montréal. He is represented by or private sessions. Galerie Pierre-François Ouellette Art Contemporain. Boudreau has a diploma in Animation and Graphic For Edmonton and surrounding area. Design from the New Brunswick Community College and BA in Visual Arts from the Université de Moncton. He is a To Book, email: member of Atelier Imago, Inc. [email protected] An exhibition at the Art Gallery of Nova Scotia featuring works by the five artists selected for the shortlist, will run Or phone: from Sept. 15 to Dec. 2, 2007. 780-940-3893

Canadian Brushstroke Magazine • July/Aug. 2007 • 35 the last word...

Canadian Brushstroke Magazine became a sponsor of the Visual advertisers Arts Summit ( www.visualartssummit.ca ) that will be held in November index of this year. This is the first time the visual arts sector will meet together since 1941. Canvas Canada Not all of you will be able (Art Reproduction) ...... 8 to make it to the summit, although I hope many of you can. I encourage you, Visual Arts Summit however, if you have (Summit for the visual arts) ...... 11 some thoughts on what should be discussed, to Johnson Gallery put it into writing and ...... 14 send it to them, or send it to me so I can be Swinton Art Supplies armed with your (Fine Art Supplies) ...... 18 thoughts and views as I head off to Ottawa to attend. William Rodgers Workshop (Long nude workshop) ...... 19 The Canadian art industry is vibrant and active, and is certainly worthy Artra Art Supplies Co. Ltd. of being in the spotlight. (Educational kits) ...... 22 And unless artists create for the pure pleasure of it with no intention of ever selling artwork, we must think about how Canadian Johnson Gallery art can be marketed world-wide and create excitement about collect- ...... 27 ing Canadian works. And also, how our government can take a greater role in supporting the arts. Artra Art Supplies Co. Ltd. The Visual Arts Summit is a rare opportunity to discuss Canadian (Banff Travel Easel) ...... 32 art, tell the entire Canadian art world what we think, and to have them listen. Be sure to think carefully about this - if history repeats itself, we CLASSIFIEDS may not have this kind of an opportunity for another 66 years...... 35

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36 • Canadian Brushstroke Magazine • July/Aug. 2007