EXHIBITION

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"Through the Strange, New Essences, Creating the World Anew".

This is the title of the 2-person show I am in. Curated by Katie Brennan.

Click on these two links to see all the works that were in the show. here and here

In the picture below, I am giving an artist talk on my work. Petrina McNeill, the Lake Country Art Gallery manager is helping me to hold an accordion book with the collection of all the shapes I created in my "Transformations" series. On the table you can see a plate with pomegranates, pears, decorative corn and a a fresh ear of corn, a curtain tassle and a potato masher. These are all the items that I abstracted from to create the hybrid shapes found in all the Transformation series.

ARTIST TALK

Where we stayed

What a great experience we had in Lake Country, B.C. We stayed in an Owner Direct Vacation Rental, which turned out to be the best accommodation for us. Two and half bedrooms that can sleep 7 people. As well the Grapewood Cottage had two bathrooms that had a spa like feel with heated tile floors. It had a very comfortable living room and everything you would want in a full kitchen and a washer and dryer.

The views were spectacular, across from us was Wood Lake and behind us was their 7 acre orchard including these black walnut trees. The next photo shows the view from the top of their orchard.

We had such a fabulous time in the Okanagon, great weather every day with the most beautiful scenery. The people there were so nice. My experience at  Lake Country Art Gallery  was wonderful, Katie Brennan the curator and Petrina McNeil the gallery assistant were welcoming, helpful, and lovely women. 

Katie Brennan, Petrina McNeil and Jill Ehlert, standing in front of my Tryptych “Crossover”.

Katie Brennan, Petrina McNeil and Jill Ehlert, standing in front of my Tryptych “Crossover”.

FINISHED ARTWORK

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Brand new - "LandForms” Series completed.

“LandForms I”

Details below - click to enlarge

“LandForms II”

Details below - click to enlarge

EXHIBITION

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I am pleased to announce the opening of my newest show.

For Immediate Release:Two new exhibitions open at the Lake Country Art Gallery - Oct 8th. 2014The Lake Country Art Gallery is pleased to present two concurrent exhibitions from October 8th - November 15th, 2014. The first exhibition, “Through the St…

For Immediate Release:

Two new exhibitions open at the Lake Country Art Gallery - Oct 8th. 2014

The Lake Country Art Gallery is pleased to present two concurrent exhibitions from October 8th - November 15th, 2014. The first exhibition, “Through the Strange - new essences, making the world anew”, presents work by Vancouver-based artist Stephanie Jonsson and Jill Ehlert of Cobble Hill, on Vancouver Island. The second exhibition, “Airport Visions”, presents works by local artist John van der Woude.

“Through the Strange - new essences, making the world anew” is an exhibition of mixed media work that encompasses drawing, painting, sculpture, ceramics and textiles by Jill Ehlert and Stephanie Jonsson.

Jill Ehlert’s works take the form of intricately layered drawings and collages that pull from a wide range of interests: nature, geology, organic forms, cellular structures, cycles of metamorphosis and regeneration. Objects from the natural world and manufactured objects are placed side-by-side, in direct relation, to draw attention to the discovery of similar patterns and forms. In her collages, actual objects, like books and lace, are incorporated into drawn and painted compositions.

In Stephanie Jonsson’s work, there is a similar interest in natural forms, which she transposes into ceramic and textile sculptural pieces. She plays with the contrasts of hard against soft, furry against cold and sharp to create new hybrid plant / animal creatures that are both familiar and newly strange.

This exploration of finding the strange in the familiar is extended in “Airport Visions”, in a solo exhibition of photographic works by Kelowna artist John van der Woude. van der Woude has taken between 700 - 800 screen captures from Google earth per piece of the world’s busiest airports and stitched them together to create composite photographic images that explore ideas of security vs. accessibility and the aerial aesthetics and visual appeal of how airports look from sky.

All the artists will be present at the opening, on Wednesday, Oct 8th from 6 – 8 PM. Jonsson and Ehlert will be on hand for an artist talk on Thursday, Oct 9th at 12 noon. They will speak further about their work in this exhibition, as well as previous work. van der Woude will have an artist talk on Saturday, Nov 1st at 3PM. All events are free and open to the public.

Katie Brennan, Curator

http://www.lakecountryartgallery.ca

Making Marks - Collecting Inspiration and Marks

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Inspiration Table

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Collecting Marks in my sketchbook

Making Marks from Found Marks

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Found Marks - Being open to accidental beauty.

You never know where you will find inspiration for making marks.

Step 1. I was pouring ink onto a sheet of Stonehenge paper, which I was holding over top of this piece of newsprint - this is what is left over after my pour. I found the marks spontaneous and interesting. 

Step 2. Inspired from the newspaper piece I drew marks on a new sheet of Stonehenge paper with a Stabilo Woody 3 in 1 Pencil.

"This chunky pencil functions as a coloured pencil, watercolour, and wax crayon all in one, it is perfect for a variety of techniques, and for those with endless imagination."

Given that the Woody pencil is water soluble, once I drew with it, I used a brush dipped in water to wet areas touching the border of each shape, this way it created a halo-like effect around the mark, mimicking what I saw on the newsprint.

Step 3. I laid a piece of tracing paper on top of the Stonehenge paper from Step 2 and traced the marks that I had drawn, again with the Woody and wet the areas liken Step 2.

This final piece shows the tracing sitting over top of the piece that I had originally been pouring ink onto that had  created the inks spots on the newsprint.

Making Marks with Wax Resist I

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I spent the entire day in the studio today experimenting with the wax resist process. I used "Susan Scheewe Wax Resist Sticks" that are a clear wax crayon. I purchased these a few years ago at Michaels. I also used a product by  "Sennelier oil pastel" called a transparent medium, also in stick form. As well I used a candle, which yields good results. 

I had to exert quite a bit of pressure with the clear wax crayon so that once I put an ink wash on top it would stand out -- otherwise it was too weak of a contrast and hard to see. I had excellent results with the "Sennelier" transparent stick. The downfall with it this product is that it is quite soft and leaves little chunks behind, which can be quite messy. So you have to be mindful to clean up immediately. I could mash this a bit into my finger tips and then impress my finger pads onto the paper to create different marks. I tried cheap oil pastels in colour but found the ink would cover it up or be absorbed into it. 

In the early stages of my experimentation this morning I started out with a cheap student grade India Ink. This is the type that comes in a huge bottle, it is not waterproof nor does it ever get black black. I quickly discovered this and switched to my Winsor & Newton Black Indian Ink, this product is water proof and yields a deep dark black. I found it made a world of difference using the quality brand.

I sometimes laid down a watercolour wash first on top of the wax resist, I let that dry and then came in with the India ink. I would always start with a watered down version and build up to a darker value.

Paper makes a difference as well, one that isn't as absorbent like a Stonehenge shows crisper white areas. BFK Rives is more absorbent, it had good results but somehow the wax gets a bit more covered over with the watercolour or ink than when it is on the harder Stonehenge paper.  Play around with both to see what you like the look of best. 

I have to put more time in to this wax resist technique, I didn't get the look I was after today. I discovered what looked best to my eye was to make marks repeatedly over the entire page, as a way to generate a pattern. Strong contrast with the India ink is very important.

Making Marks through Actions

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Smoking paper

Drawing on top of smoked piece

Smoked piece

Smoked piece

Burning holes

Scoring, Cutting, Puncturing, Piercing, Incising, Rubbing, Frottage, Hammering.

Making Marks with Found Tools

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Marks with Found Tools  

Twigs, pine cone, Day Lily seed head, stick, branch, moss, carved tongue depressor,  3/8" sponge applicator, bamboo skewer, mat board edge.

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All the marks in the piece above were done with the 3/8" sponge applicator

All the marks above were made with the bamboo skewer. I was amazed at how long the ink lasts without having to dip into it again.

MAKING MARKS

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 New Directions

Over the next several weeks I will be exploring mark making in order to create a new lexicon for my art practice. My intention is to develop a new new series from this exploration..

Physical movement and large gestural strokes

Taping a sponge brush to a long handle and working outside with the paper on the ground, I dipped the brush into India Ink, employing the gesture of my body to create marks. I wasn't thinking but just allowing to let what would happen lead me on to the next set of marks and brush strokes. Usually I would use a synthetic brush for this but trying to get out of my comfort zone I forced myself to use a sponge brush, something I would not choose for his type of challenge.

22" x 30 " India ink on paper

48" x 60" India Ink on paper

 

Direct Marking using Hands and Tools

In this piece. while standing I poured powdered charcoal on my paper, using my fingers and sometimes a chamois I rubbed the powder in here and there. Using an eraser I removed areas creating white lines and shapes. I created marks on top using a variety of charcoal sticks. Inspired by the plants in my garden, I quickly drew gestures of plant forms. I used the movement of my whole body not just my wrist. I worked quickly - not over thinking this exercise.

22" x 30" Charcoal on paper

 

Finger Printing - direct marking using my pointer finger

Using only my pointer finger I created all the marks below.. My goal was to see what I could do with just one finger tip. I varied pressure, position, angle…side, top, tip, whole pad…etc. very cool.

14" x 30"  India Ink and pointer finger on paper

Upcoming Art Exhibit

"Drawing Beneath the Surface"

Slide Room Gallery 

January 24 - March 3, 2014

Opening - Friday January 24,  7:30 - 9:00 PM

Jill Ehlert, Sarah Cowan and June Higgins

Curated by Wendy Welch

This exhibition highlights the way drawing moves from drawing marks to painterly strokes and sculptural forms.  These three artists work in the realm between the abstract and the representational and use line as a  form of expressive gesture and a vehicle for meaning.

Gallery Hours 9:00 - 5:00

Some Weekends and Evenings - call to confirm 250-380-3500

The "Slide Room Gallery" is located on the lower level of the Vancouver Island School of Art, 2549 Quadra Street, Victoria

SLIDE ROOM GALLERY: DIFFERENCE & REPETITION

 

Art Opening November 1 at 7:30 pm  

 

Difference and Repetition, an exhibition which derives its title from the book of the same name by French philosopher Gilles Deleuze, explores Deleuze's concept of how a new series brings back an older series and transforms it into something completely new, so that repetition brings about difference.

30 artists from diverse backgrounds and working independently from one another will be contributing one unit (of exactly the same size) in a series derived from a single source - "Abstract painting (1985) 587-5" by the German artist Gerhard Richter.

Richter's work is in a sense itself a series; however in his case a series of unpredictable chaotic and gestural actions resulted in a single work which is impossible to recreate accurately. His series within a single work (Abstract painting (1985) 587-5) will itself be transformed into a new series consisting of 30 original works.

 

Exhibit runs from Nov 1 to Dec 2 2013

Opening Reception: Friday Nov 1 @ 7:30 pm

Slide Room Gallery

Vancouver Island School of Art (VISA)

2549 Quadra Street