Posts Tagged ‘Wilderness’

Call for Submissions: “Phases”

Wednesday, August 24th, 2016

Our Fall residency call for submissions is here!
This year, our theme is “Phases,” and runs from October 15th to the 23rd. We invite artists to explore progress and metamorphosis in nature, and how we understand it.

Applications are due September 23rd. You can find the link to the form right here.
We can’t wait to hear about your projects!

Daniel St-Amant: Convergence

Monday, August 15th, 2016

We’re very excited to be hosting our artist, former residency-holder, and good friend Daniel St-Amant for his solo-show, Convergence!

You might remember that last October, Daniel spent a week at Algonquin Provincial Park’s Clarke Lake Cabin. He used that time to gather specimen and natural materials like mud and leaf-litter, to take in the inspiration of the park, and to plan large-scale artworks. His days were spent working on his craft, and at night he got to hear the howling Algonquin wolves.

In the past, Daniel used his signature technique—laying canvasses on the road to pick up the impression of passing cars’ tire-tread, the painting wildlife—to signify the way nature is often closed in and crowded out by human intervention. He would place animals within the confines of human encroachment. But since his time in the wild, his style has moved in a different direction…

Works in progress for the show!

Lately, rather than using human elements as structures of confinement, Daniel allows his wildlife to grow out of the mixed environment of urban and natural materials. It’s a hopeful message about the convergence between the human and animal worlds, and the ways that their interaction can be healthy. It’s an evolution and a progression, conjured up from the melding of very tangible materials from the real world, incorporated into artistic creativity. Daniel has perfectly expressed the spirit of this season’s overarching theme, Metamorphosis.

Join us from now untilSeptember 15th to see these completed pieces and reflect on Convergence in person!

Art of Glass and Stone with Peter Rice

Wednesday, July 27th, 2016

We’ve got a special event coming up this Friday! Peter Rice will be stopping in to do an artist demo… it’s Art of Glass and Stone!

Peter Rice is one of our long-standing artists at the Algonquin Art Centre. He was born in Toronto but spent most of his childhood in rural areas around the Canadian Shield. It was here, playing and exploring among that unique geology, that Peter became fascinated with rocks as an artistic medium. It wasn’t until his university years at Guelph that he discovered how to perfectly incorporate them into amazing sculptural tableaus. By combining minerals with the practice of setting stained glass, he developed his characteristic mode of depicting the landscape in sculpture.

As intriguing as these pieces are, watching them come together makes them even more fascinating.  Taking raw materials of wire and stone and twisting them into life as a unified sculpture takes patience, insight, and a strong vision of what you want to accomplish. And hearing Peter talk through his work is an extra privilege! He’s great to hang out with while he works his craft, and our visitors love speaking with him. That’s why, year after year, we’re delighted to have him back.

This special event will be taking place throughout the day this Friday, between 10 am and 4 pm. There’s no charge. We’d just love for you to stop in and engage with one of our artists! You can get all the details over on our site.
Join us and spend some time with a fantastic creator in his element!

David Grieve: Warm Shore

Wednesday, July 20th, 2016

As the summer progresses and this season’s theme of Metamorphosis continues, we’ve got a new solo show! We’re proud to welcome David Grieve’s Warm Shore, which showcases light and landscape in his signature impressionist style.

David Grieve has worked with oils most of his life. He started out very young, accompanying his mother to her studio, and later attended Guelph University for fine art. All throughout his long painting career, he’s been captivated by landscapes, most importantly the Southwestern Ontario fields he calls home and the rugged woodland of our wilderness.

“Resplendent 2″

David’s style is based on broad bands of colour aligned into impressionistic renderings of the landscape. His technique has some surprising results. It makes you move in, step back, engage with the image, and interrogate the way the trees and hills resolve out of his form. By revealing his brush strokes so dramatically, he adds an extra layer of interpretation onto the already beautiful landscape.

“Warm Shore”

David’s solo show, Warm Shore, specifically explores his use of light. Sunlight’s animating presence transforms a dormant landscape into a kind of radiant wonder-world, brimming with possibility. The daily change of light between sunrise and sunset is among the most fertile territories for an artist to explore. That change reveals new regions overlaid atop familiar geographies. We all know the feeling of revisiting a favourite location at an unfamiliar time of day or year. It’s almost an entirely new place. David’s use of light captures just that experience in his depictions of the familiar Algonquin landscape…

“Wagi, Jumping Rock”

You can experience Warm Shore July 21st to August 15th at the Algonquin Art Centre, located at km 20 in Algonquin Provincial Park. Get all of our details over on the website, Stop by, and let these beautiful interpretations of the landscape guide your experience of Algonquin!

David Lidbetter: The Colour of Winter

Sunday, June 5th, 2016

“Late Lies the Wintry Sun”

Now that the gallery is up open and running, we’re excited to announce our first solo exhibition of the season. From now until July 20th, come experience David Lidbetter‘s The Colour of Winter. 

“Tea Lake”

David works from a simple premise. He heads into the wild to find his inspiration, but he doesn’t seek out the conventionally picturesque. He looks for scenes that evoke strong emotion, often feelings of isolation and solitude. You can sense his reflective attitude toward his work as he visually ponders distance, depth, and looks for colour in the muted landscapes of winter.

“New Year’s Day”

This winter saw David out in the bush, taking sketches and impressions of Algonquin in winter. “I love the surprising natural sense of balance and design found in landscape,” he says. “The line, the abstract space and fractured colour are what interest me most.” Anyone who’s examined the cracks in the exposed rocks along the trail or looked through the angles in bare tree branches knows what he means. There’s a disorganised symmetry to nature that David captures perfectly.

“Narrow Way”

 We can’t wait for you to experience this exhibit in person. Take in David’s work 10-5, seven days a week until July 20th!

“Northern Sky 2″

Off-Season Artists: Andrea Ross

Thursday, April 28th, 2016

With the off-season drawing to a close, we’re at the VERY LAST Off-Season Artists post! If you haven’t been reading along, that’s when Alex, the man who considers refreshing his web page as refreshing as the spring breeze after a long winter, interviews our artists and unpacks their process.
In this installment, we speak with impressionist landscape painter Andrea Ross!

Andrea Ross and her piece “Shake It Down to Earth

So first off, where are you from? What was your experience of the Canadian landscape growing up?
I was born in Oakville and growing up my family cottaged on Skeleton Lake. I did many canoe trips in the Georgian Bay, Port Severn, and Algonquin areas, so rocks, water, and trees are fully engrained in my enjoyment of the outdoors.

“Benjamin Shoreline”

I notice that in your work you tend toward auburn and muted pinks and golds, with a quality of light that seems a lot like the evening just a little before sunset. There’s a very peaceful quality to your paintings! What attracts you to that aesthetic?
I love the evening time just before the sun goes down when the air is still, the light’s low and at a right angle to the landscape, and the shadows are long. Colours become deeper and much less bleached out by the light. It’s a time when I like to venture out in my canoe or Kayak.

How about your influences? What artists would you say inspire you most?
I very much admire the work of Ottawa artist Philip Craig. Earlier I studied work by Edgar Degas and Mary Cassatt as well as the Group of Seven—specifically MacDonald, Thompson, and Jackson).
My mentor, my aunt Eila Ross had a career as a medical artist and I completed a degree in Fine Art at the University of Guelph, concentrating on drawing with the thought that I would go into medical Art. After graduating Guelph, I decided that was enough school for me, so I took a different route and created art for pleasure.

“Hypnotic”

I understand that you’ve done a lot of work in pastels. That seems like a very different medium. How has that influenced the way you paint?
My first love was drawing and with the pastel medium—you can draw with pure colour. I have learned much about colour through my pastel paintings. My goal when switching to oils was to make them look like pastels yet do away with the framing that a pastel requires. I also wanted to work larger, and that’s difficult when you have to frame under glass.

“Sailor’s Rest”

There’s a really neat contrast between your land and trees and your water. There are these bold, broad strokes on the land and a real luminosity in the water. I’d love to hear about how you developed that style!
Generally, I work from drawing with paint to working up the shapes in the design, then creating the form in each major shape and finally working out the details in the focus area. Building the colour from dark to light and intensifying any areas I want the viewer to focus on. There is definitely a process with each painting which I try to follow. Sometimes this process is amazingly fast and in other paintings I slowly work through problem areas.
Sometimes to develop certain feelings I use a specific stroke and change the size and shape of brush.

“Good Footings”

In terms of your subjects, we see a lot of familiar views in your paintings from around Algonquin and the Muskokas. What would you say is your favourite spot in the outdoors?
Without a doubt, my favourite spot is right where I live on Skeleton Lake, but I do love Algonquin Park and am extremely happy to be able to get to the park within an hour and enjoy this fantastic, natural, unspoiled area.

And last but not least, what’s something we might not know about you?
I am a very keen 470 sailor and love to listen to classical music, especially when I paint.

“Hut Hike”

And that’s that for our Off-Season Artists series this year! We hope you’ve enjoyed reading as much as we’ve enjoyed writing.
Now we’re hard at work getting everything ready for the new season, starting June 1st. Stay posted for updates and info about our artists and the activities we’ll be putting on this year. We can’t wait to see you!

Sarah Carlson: Perennial Threshold

Monday, April 11th, 2016

Over March Break, we and our partners at Algonquin Provincial Park were fortunate enough to host Sarah Carlson for the Perennial Threshold spring residency. She sent us her description of her time in the park, along with a few pictures of her experience.
Enjoy! 

The wilderness has always brought me great clarity and perspective. Along with a heightened awareness of my surroundings comes increased understanding both of myself as a maker and as a strand in the web of life. Hiking, paddling and climbing are frequent jumping-off points for the conceptual development of my work. Since the diversity of the landscape propels my investigation into human-environment exchanges, I immediately seized the opportunity of being the Perennial Threshold artist in residence at Algonquin Provincial Park.

Going into the Algonquin Art Centre residency, my plan was to cultivate a connection to place and to work on large-scale paintings in preparation for my April solo exhibition in Toronto entitled ReWILDING. This exhibition positions the Canadian Landscape as a site for questioning and (re)imagining relationships between humans and the natural world.

The beautiful yet unpredictable spring weather meant for multiple types of footwear, from snowshoes to traction aids to rain boots.  Hikes and plein air sketches were followed by hours in the studio/cabin translating my experiences onto canvas. I was listening and learning from the trickling creeks, rustling conifers and forest critters. It’s hard not to have multiple “Snow White” moments with birds landing on you and squirrels climbing on you while you’re taking a photograph or painting. I also had the privilege of learning from park naturalists and biologists. These conversations and experiences continue to resonate with me and I am excited for the new directions this residency has inspired!

It was amazing to watch Sarah at work. Her time was so productive she was able to finish some large-scale pieces, which are now on display as part of the ReWilding exhibit at Toronto’s Graven Feather gallery. For a special treat, we were fortunate enough to attend the opening last Friday!

If you’re in the Toronto area before May 1st and cruising around Queen West, we definitely recommend stopping in for the exhibit. These huge canvasses are striking in person, and you get pulled into her otherworldly colours the same way you’re coaxed into the landscape when you’re out in the wild.  Find all the information at Graven Feather’s website!
In the meantime, this was such a successful partnership between Algonquin, Sarah, and the Art Centre that we’re getting more and more excited for our next round of residencies. We can’t wait to get our next one under way, so stay posted!

Off-Season Artists: Jan Wheeler

Wednesday, March 30th, 2016

Just in time for the springy weather, we’ve got another Off-Season Artist! In this series Alex, who spends his time pacing the vaulted halls of the internet, head reverently bowed as his footsteps echo into digital eternity, interviews one of our artists to learn about their process and personality.
This week, it’s landscape painter Jan Wheeler! 

So let’s get right into it. Your style is very difficult to pin down. Your landscapes are both very naturalistic but also otherworldly. There’s a monumentally static quality to your rocks and hills, but they all flow together in swirls and motion. How do you reconcile these seemingly competing elements so effectively?
Each piece sets out to share the rhythms and forces I’ve observed. There’s always an underlying rhythm, perhaps the strong winds of a storm, or a gently rippling breeze.
It’s that underlying rhythm that shapes the piece. Whether sky, water, rocks or hills, the wind flows over and sculpts all. Light and shadows from the skies flow over rocks and hills with the same force and rhythm. I work with all the elements together to create the choreography of the composition. The fluid lines and curving form draw the viewer’s eye smoothly through the piece so they too can feel the wind at play.

“Montreal River Harbour”

Who would you say were your influences in developing this style? It’s quite unlike a lot of other landscape painting out there.
A major influence for me was a contrary one: Cezanne. By that, I mean that while he explored planes of light and form in a landscape, I was aware of a curving form. I knew I had to diverge from his work to find a way to interpret what I was “seeing”.  The artist I consider the key influence would be Henry Moore, whose tumbling, flowing forms enabled me to see how I could develop the flowing movement I was trying to capture.

Paul Cezanne, “La Mont Sainte-Victoire” and Henry Moore, “Reclining Figure”

Wow. Now that you mention it, I can really see that. I understand you also have a great deal of different regional influences. You’ve travelled quite a bit throughout the world—Japan, Saudi Arabia, the UK, Italy—and clearly you’ve used your diverse experiences to hone your style. What overseas experience would you say was the most valuable for making your art what it is today?
I would have to say that my time in London, UK was most valuable. I was able to study the works of many great artists and explore my own interpretation of landscape against that inspirational backdrop.
I played with the curving light and form of London’s plain trees and the rolling hills of the South Downs. During this time of development I worked in an office across from the Tate Gallery, with a Henry Moore sculpture in its front courtyard. His fluid, smooth forms draw the eye through and around the three-dimensional forms almost without awareness.  Seeing his work in situ sent my mind racing through the possibilities of my own developing style by further exploring the fluid movement and rhythms of a landscape.

“Wind Sculpted Skies”

In spite of all that travel, more than any other subject the interaction between big Canadian waters and their skies seems to captivate your attention. I’m thinking of “Wind Sculpted Skies” in particular, one of your most ominous paintings and one of my favourites. What draws you to those subjects?
I’m drawn to the movement in landscape and want to capture a scene, not in its stillness, but in its living. Water and skies are rich with rhythm and simply captivating when observing. They’re a challenge for me with complex dramatic shifts that require complex choreography within the composition.
“Wind Sculpted Skies” is a scene from the shores of Lake Superior. The painting describes a long, age-worn rocky peninsula weathering once again the force of an expansive storm front. Strong winds drive and sculpt the sky, providing a rich choreography for me to work with.

There’s no place quite like Lake Superior, is there? On that note, you’ve done quite a bit of backpacking and canoeing. What’s your favourite natural space to get into in Canada, and why?
The north shore of Lake Superior never fails to inspire and challenge me. I’m captivated by the geologic forces in constant battle there, and on a scale that can be very hard to bring down to even a large canvas. Its geologic age gives it an underlying weight that resonates in the rhythms I observe.
For an artist who loves to work with stormy skies and turbulent water, the great lake provides me with a rich range of awe-inspiring moments.

“Break in the Storm”

Speaking of getting out and working on pieces in the open air, one of the notable things about your paintings is their sheer size and ambition. When you’re in the presence of one, boy does it take over! What’s the process of going from mobile sketch to huge canvas like for you?
It’s great to hear that the paintings are connecting with you.
While on location I sketch, take photos and if I have colour with me, I’ll do a colour study for later reference. The scale and complexity of the scene usually dictates the scale of the final piece. The larger the scale of the scene and the more complex the underlying rhythms, the larger the final painting needs to be.
A final drawing precedes the painting, where I work out the rhythm in the landscape in a finished composition. This is important in order to have a consistent flow for the eye to follow; to draw the viewer into the underlying dance of the scene.
On canvas, I can develop the flowing scene more as the brush moves and blends the colour throughout the piece. The largest piece I’ve completed is a 48”x60”, which, if you know me, is as big as I am and that brings its own challenges.  The extra work is worth it though as a larger canvas lets me develop and express more dramatic and complex scenes.

And last but not least, just for fun: what’s something we might not know about you?
Well, over the years I’ve had encounters with a lot of wildlife: a bobcat, fisher, weasels, elk, bears and many more. But probably the most memorable was when I was kissed by a camel in the Saudi desert.
I was with my husband and a group of friends, heading across flat sands to the Red Sea for some snorkelling when we came across a female camel and her two youngsters.
We stopped some distance away and watched quietly, taking pictures. The curious young camels playfully approached, soon followed by the mother. Everyone in my group backed up out of range, worried about an attack by the mother.  I could see the mother wasn’t stressed and felt it best if I just stood quietly, making no moves.
The kids stopped before they reached me and looked on with curiosity but kept their distance. It was the mother who stepped up to me. She slowly, gently sniffed my face, my hair and then gently rubbed a cheek. She looked at me carefully one more time and then her incredibly long tongue washed my face in a big kiss. Astonished, yet careful not to move, I spoke to her quietly, thanking her, and watched as she and her kids went on their way.

“Shimmering Lumsden Lake”

That’s it for Jan Wheeler! She’s a delight and we can’t get enough of her art…
Check in soon for our next Off-Season Artists post!

Rhiannon Vogl: Landscape, Experience, Memory, Expression

Sunday, September 20th, 2015

The creators from our summer residency have had some time to process their experience and now, back in Ottawa and Luskville, Rhiannon Vogl and Manon Labrosse are working toward the project they started at the Algonquin Wildlife Research Station. They’ll be keeping us apprised of their progress as the work moves on, so stay tuned!
In this post, Rhiannon tells us about her history with Ontario’s wilderness, her thoughts on landscape, and the beginnings of Manon’s artistic enterprise at the AWRS…

Photo-credit: Rémi Thériault

Thinking about my connection to Northern Ontario, specifically that in and surrounding Algonquin Park, I can’t help but find myself returning to Margaret Atwood’s iconic statement that “all landscapes are psychological.” I’ve referred to her writing in Wilderness Tips several times in relation to other artists work – Zachari Logan, Peter Doig, Sarah Anne Johnson – and of course, with this residency, was looking towards considering it in relation to the paintings of Manon Labrosse. Which, returning now after my time in the Park, I still certainly will…

I have yet, however, to turn that phrase towards myself, my own work as a writer, and my own experiences of the natural world. Exposed, expansive, secluded, sublime, the land seems to present itself to artists as that which can be written upon, consumed, possessed, but also equally possessing, imposing and manipulative. Rarely just about nature, only about the vista, or the world “out there,” landscapes seem always already loaded with that which exists “in here.”

Having spent five days steeping in the wilderness, staying in an incredibly unique and special area of Algonquin, rarely visited by the public, the “in here”-ness of the land began to reveal itself in ways I am only beginning to start to process.

Until I was 19, I lived in Powassan Ontario, just north of the Park’s border. The landscape of the Canadian Shield is one that is simultaneously nostalgic and familiar, a source of current wonder but also tinged with malaise – a place I unabashedly rejected while growing up. I no longer have a family home there, yet it is nearly impossible for me to imagine life disconnected from this part of the country.

Psychologically, and physiologically, this landscape is truly inside me, part of my internal memory-scape, that, while on residency, I was able to access more intensely, to feel again in a more tangible way as I moved through my daily activities there – hiking, observing, meditating, and talking with Manon. This immersion was a chance for me to reconnect with a place in myself too long left unvisited…

Reflecting on what we saw, experienced and discussed while in the Park, it dawns on me how lucky I am, as a writer, to be able to see an artist in the midst of inspirational shifts, watching her growth and excitement for new work on the horizon, and being able to share events and encounters that will in turn shape the future work she creates.

Times and spaces like these are rare – and even more invaluable when shared with another creator. Many thanks should be extended to the Algonquin Art Centre and to the Wildlife Research Station, for welcoming us and for allowing for this creativity to begin unfolding…

The Golden Encore Artist’s Residency with Daniel St-Amant

Thursday, September 17th, 2015

We have some exciting news!
This October we’re partnering with Algonquin Provincial Park to provide the Golden Encore Artist’s Residency from October 14th to 21st. We’re proud to announce that we’ve chosen Daniel St-Amant to take part in this fantastic experience during one of autumn’s most beautiful times!

Daniel and his work

Daniel originally hails from Sherbrooke, Quebec, and spent time in Halifax at the esteemed Nova Scotia College of Art and Design. He eventually landed in Toronto, where he works as a visual effects artist for the film industry.

“The Noble Messenger”

Daniel’s artistic practice represents a blend of wildlife painting and a medium he describes as “modern surface.” He lays his canvasses on road-surfaces in areas of urban traffic or construction, and lets vehicles leave their impressions. Then, in the midst of those urban imprints, he paints wildlife that often seem poised in watchfulness, almost demanding that the viewer engage with them. You can see Daniel’s process here. It’s amazing to watch!

“Tácehubana”

Daniel’s work explores the the way human encroachment, driven by consumption, leaves its impression on the landscape and wildlife around us. His paintings’ sombre but resolute subjects stand out and confront the human gaze, forcing us to acknowledge our place within nature, not above it, no matter what indelible marks we might leave on the landscape.

There are a lot of exciting things planned for this residency!
The “Golden Encore” takes place after the main flush of autumn colours. Once the reds and oranges of the maples have gone to sleep, the blazing yellows of the birches, the poplars, and the tamaracks flame up amid the deep greens of the pines and make for shockingly beautiful views. You can read all about it here.
During this dramatic time of year, Daniel will be staying at a lodge inside Algonquin’s boundaries, on Clark Lake near the East Gate. He’ll get the chance to take in the peaceful setting around the lake, walk in the woods, reflect on his artistic practice, and spend some time on his own projects, some of which may be hanging in the Algonquin Art Centre next season!
Our friends at the park tell us that there’s often a wolf-pack in the area. Being in such close proximity to one of our most magnificent animals can’t help but inspire a wildlife-artist…

Clark Lake
Imagine getting to look out on this view, flushed with yellow amid the howling of the wolves!

Daniel will also be taking part in art-demonstrations that’ll be free and open to the public. On Friday, October 16th, he’ll be at the Algonquin Art Centre. Then on Saturday the 17th and Sunday the 18th he’ll be at the Algonquin Visitor Centre at km 43 on Hwy 60. Each of those days you’ll be able to see Daniel at work from 11:00 AM to 3:30 PM, ask him any questions you might have, and just hang out with a compelling artist in an inspiring setting.
Again, that’s all free and open to the public. So come in, see the park at its best, and engage with the creator who’s capturing it!

Congratulations Daniel!
We can’t wait to see what you’ll be working on.


Algonquin Art Centre - Gallery in the Heart of Algonquin Park

open June 1 - October 19

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located at km 20 on Hwy #60

in the Heart of Algonquin Park

 

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