Artist Interview with Marta Baricsa

/ 1701 Powell St, Vancouver, BC V5L 0A2, Canada/



Marta with Om natural green.

This blog starts out with a long overdue thank you to large scale painter and ARC artists in residence Marta Baricsa who very kindly had my most recent Body of Work six week workshop class into her home and studio to tell us a little bit about her process and share with us several of her bodies of work. Marta, Thank you so much for having us all over! 


 Marta with my workshop students, showing them her portfolio


My first burning question is about the title under you bio of "Founder of Directivism in art" I've never heard of directivism and would love to know what this is and how you came to found it and other artists that follow this... 

After painting for many years I came to notice that my works and the way I was doing my works were different than much of what I had seen and had been taught about in school. 
While all forms of creation are great I realized what some of the key differences for me were when painting. 

I knew that and was taught to cover my mistakes but I never did very well at hiding them. I also realized I wasn't making any "mistakes"... i.e I wasn't correcting anything in my work. And I wasn't building a surface and removing it to discover what I had put down previously mixed with what was fresh. And I wasn't building layer upon layer upon layer and covering up previous areas.

 Like I said not that there is anything wrong with that. Because there are lots of incredible artists doing paintings just that like that....but I just noticed my way was very different. I became outrageously confident in the marks I make and let what is there be there. It is like I am just allowing what is meant to be flow through me and how dare I be the judge of it?! 

So, I welcome the energy that is to be and I surrender myself to it. Basically if you x-rayed my paintings you would see what is there....is only what has been there. 

Plus Directivism is also about a visual clarity. It is direct and to the point without being controlled. It is a point where I am conscious but have left the controlling logical mind behind. Those little voices saying...."change this"  or "that doesn't look right"  don't exist for me anymore. That is Directivism. While there aren't other artists I know of following this way of working....I can identify Directivist works. For example my partner Roy Mackey made a steel man called "naked man" which he literally built out of air. There is no armature, no building upon, removing....and his works have a real focus to them- so I would have to say he also is a Directivist for the most part.

"I consider myself a Directivist and I paint with deliberate intent.
The works are direct fluid movement that stem immediately from a source.
They can be linear or sculptural - concrete or random in composition.
I use minimal brushwork and the purist clean, clear paint.
Done with no corrections and only over painting where it is intended.
Because it is exact as it is meant to be."

"I am the founder of Directivism in art."
Marta Baricsa



Carbon line. 2006. Ink on primed canvas. 12 x 24"  

Going back a bit here, can you please tell us how did you passion for painting began?

My earliest memory is from kindergarten....having my hands in the paint and the exhilarated feeling of joy I felt - I knew from that moment what I was going to do in life is paint. As a teenager I attended Central Technical Schools art program and then later went to OCAD where I graduated from the department of experimental arts.



 

Have you ever had other jobs or passions or have you been a painter since graduating high school until now?

Yes, I have had other jobs some I was even passionate about! ...mainly relating to energy & movement based work. I taught, trained people in fitness, aquatics, stretching and swimming etc. I also was a Certified Fitness Consultant and performed fitness tests and made training programs for individuals. I also ran my own CPR & first aid business in Toronto & Vancouver. I trained - retrained and certified doctors, dentists and fitness professionals in CPR. While I enjoyed much of this I always felt painting was my main passion.


What's your favourite all time favourite art piece of yours and why? 

That is quite difficult for me to say....I have many favourites.  But I will include "Apollo" which I dedicated to my Mom.

               

Marta with Apollo


What's your favourite all time favourite art piece of another artist and why?


 
That is a hard one Deb. While I love many works of art I would have to say my partner Roy Mackey's "Flame Chair" stands out. Roy is an extraordinary artist and human being. His work is so new and creative. See www.flamingsteel.com for more on his work.




Can you please tell us the body of work you are currently working on and what inspired this series?

I am working on my Om paintings. They are focus meditation paintings. They are about clarity, focus of thought and being present. With many things that pull our attention these days it is my desire that these paintings help bring people back to a sense of awe and Om.

Here is a section I clipped from Wikipedia on Om which I find helps describe these works:

"Hindus believe that as creation began, the divine, all-encompassing consciousness took the form of the first and original vibration manifesting as sound "OM" before creation began it was "Shunyākāsha", the emptiness or the void. Shunyākāsha, meaning literally "no sky", is more than nothingness, because everything then existed in a latent state of potentiality. The vibration of "OM" symbolizes the manifestation of God in form ("sāguna brahman"). "OM" is the reflection of the absolute reality, it is said to be "Adi Anadi", without beginning or the end and embracing all that exists The mantra "OM" is the name of God, the vibration of the Supreme. When taken letter by letter, A-U-M represents the divine energy."






with Om new light.                                                                       


For you, what the best thing about being a painter?

Loving what I do. The freedom.... so many new ideas to explore....the paint itself,  the colours, the confidence I have when I have a paint brush in my hands. The excitement and the magic of the paint becoming what it is meant to be....and my hand in helping it become that. It is great feeling. 


For you, what 's the most challenging thing about being a a painter?

Wanting to have more steady income. Believing more in myself.....while I believe fully in the art and my process....I would like to feel the same about myself.


How would you define success for yourself as an artist? What are some success you have achieved thus far on your journey, and what has been a key factor in you achieving your success?

Wow! Well, the success of making the work very passionately is really key for me otherwise I think I would have to say I am a complete failure in all the other normal factors of a successful "career". Having a loving and supportive partner that helps and a caring family. Also hearing back from museum curators and gallery dealers mainly in the US that are all very positive and encouraging helps me stay on track. Selling paintings to clients is important too. Plus I am very fortunate to have had so much exposure in the movies and TV shows. 

Another success and actually quite a challenge was painting "Aequilibrium" a  27 x 20 foot tetraptych. Which I made just because I had a vision of it in my mind. My good friend, Rachel Berman, who is an incredible artist had just given me a huge bolt of canvas as a gift. And I knew I wanted to make something memorable with it.



Talking about success I noticed that you have many of your paintings in movies. I am curious how was your work found to be placed in these movies?

That is a bit of a long story...but basically my first rental was around 11 years ago a set decorator bought some small works of mine she saw at a store.  That was the movie "Life or something like it" with Angelina Jolie.

Then "Catwoman" with Halle Berry was going to being shot here in Vancouver. The production crews were going around the buildings with artists in them and they came upon the ARC building and put up a posting. They came in our studio and saw my works. They rented one painting and were looking for another painting to cover over a mirror and had asked me if I had something that would work. I went down to the set to have a look and then painted something specific for the movie. Later they were looking for many large paintings for the scene in Sharon Stone's mansion. I think they rented around 7-8 large paintings of mine for this movie. Carol, the set decorator really gave me a great opportunity. Not only did I get great exposure in the film....they also paid me very well. 

Then I heard from my neighbours who worked in the movie industry about the BC film commission list. So I began mailing off packages to the productions. Since then I have been in nearly 20 movie /TV productions. Most recently my paintings are in "This Means War" with Reese Witherspoon and also in "50/50" with Seth Rogen....where he actually says a few words about my paintings.



What recent or upcoming shows/and or gallery representation can readers look out for or go and see of your work?

Some of my paintings can be seen in the Art Rental and Sales program at the Vancouver Art Gallery. Or come to one of our open studios which I post on my website and of course private studio visits can also be booked also.




Marta, Thank you for taking the time to partake in this interview!

Thanks for the interview Deb!


Fundamentals of Facilitation

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This week I’m excited and proud to present to you an amazing woman, Leslie Robinson, who will be visiting us here in Vancouver from Calgary this August  to offer her foundation workshop: Fundamental of Facilitation.



Leslie is a fun, popular, and highly effective international facilitator who trains trainers with solid, instantly applicable training frameworks, skills, and techniques…and powers them up using energy principles like the power of intention and the law of attraction.  Leslie pioneered experiential learning in Canada, the US, and Australia through her tourism training programs and publishing company and was a member of the team creating the award winning Certificate in Adult and Continuing Education at the University of Victoria.  

Leslie also taught for years in the renowned Provincial Instructor Diploma Program and is a facilitator and trainer in the internationally acclaimed Instructional Skills Workshop.  Leslie's Masters degree in Adult Education is in resistance (to learning), change, quantum physics, and accelerating learning. She combines her extensive knowledge and skill in applied metaphysics.  Her classes are filled with laughter, music, magic.


FUNDAMENTALS OF FACILITATION 3 DAY WORKSHOP

This is a one time workshop offering for the leaders in my community looking to facilitate a group, run their own workshops or learn how to manage a group or team better.


FUNDAMENTALS OF FACILITATION 3 DAY WORKSHOP
This August 2012 I will be hosting Leslie Robinson, MA Adult Ed

This is a leadership course for entry level trainers and advanced trainers seeking foundational frameworks and to fill their training tool kit with tips and tricks and for those seeking a refreshing new approach to using training as a catalyst for positive change and transformation within themselves and their organizations.  This course may be taken as a stand alone, or as a prerequisite for her Advanced Facilitation Certificate Program  http://www.leslierobinson.ca/workshops/advanced-facilitation-certificate-program/

Who would benefit from this workshop and WHY?  Team leaders from every walk in life: teachers, corporate trainers, nurses, realtors, welders, bakers, artists, spiritual leaders, healers, musicians, parents.  You will walk away with practical skills to increase productivity and efficiency, save time, reduce costs, while empowering learners to bring positive change to their lives and organizations

This course  lays the practical foundation of your facilitation, leadership, and training  practice. Offered in a highly effective and safe framework, you will be able to create a safe and nurturing learning environment, establish clear, strong, powerful goals, design lesson plans, deliver effective facilitations, provide exceptionally constructive feedback, reflect critically on our own learning as a facilitator of learning (!), and create an action plan to integrate these techniques into your daily practice.
 
DATES/TIMES: Monday August 6th - Wednesday August 8th. 3 days. 9-5 PM  
COST: $  597 plus tax
LOCATION: The ARC live/work Studios 1701 Powell Street, Vancouver, BC
REGISTRATION: info@debchaney.com/ 604-736-5111

Learn more About Leslie Robinson ---- http://www.leslierobinson.ca/about-leslie/
and/or E-mail leslie@leslierobinson.ca or call 403-863-1164 to start the conversation
Read about other  courses and programs she offers.... http://www.leslierobinson.ca/workshops/

5 Contemporary MOMA Artists to Check Out

/ New York, NY, USA/

Here are 5 (five) contemporary  artists whose work really captured me when I visited the MOMA in NY last March .




I love this piece in particular and it made want to go home to my studio and do paintings with words all over them!



His work was definetly my favourtie and I literally sat down next to his huge abstract paintings and just hung out and enjoyed them during my MOMA visit. Last year sometime I did for fun that are basicallly white gesso and charcoal. It's such a great way to warm up. This reminds me of them.



I was particularly drawn to this piece as for the absolute freedom of creating with collage that it inspires me in. 






I was not allowed to photograph Rirkrit's installation, but I want to tell you a little bit about it and say that I spent quote a lot of time with his work. In the foreground of the installation were camping pots and mementos such as maps of his camping trips and travels in Argentina. In the background on the wall was a very long aseembled painting with stamps, images from his passports, writings, paint, again all in reference to his travels. It was so beautiful! I wish I could have photographed the exhibit!




To be honest I can't remember why I made a note of this artist when I was at the MOMA as at this current time in my career I have not been that drawn to sculpture/installation artists. However the above poster is pretty cool and most likely there was something I saw at the museum that made me write down his name! I guess you'll have to go visit the MOMA, find his display and see what captured me! :)
















Artist's Date: the NY MOMA

/ New York, NY, USA/

When I was in New York in March I went to visit the Museum of Modern of Art (MOMA) to discover that after 4 PM admission was free on fridays if you just lined up with a few other hundred + people down the street and around the corner, wait your turn, and get a free ticket. Pretty cool. Actually looking back now I wish I'd taken a photo because the line up went all the way down the street and then around the corner and then some. And quite honeslty just waiting in line was a wonderful experience in itself!

So for my friday Artist's Date, I climbed the beautiful stairs of the MOMA and started at the top floor and worked my way down. 






I felt a deep emotional connection seeing an original Frieda Khalo painting in person, up close and personal. The movie about her and Diego I saw with Salma Heyak really touched me and fostered a love with their story and her art. 



It was super cool to see Paul Klee's original work as I remember a collage instructor mentionning at the time (when I was living in Santa Barbara, CA) that my work resembled his and that I should go check him out!

I loved seeing the huge Jackson Pollock Painting up close and noticing that
he may have poured some kind of glossy resin on the piece as well as just paint because there were noticeable clear shiny drips that you might not see in a photograph or reproduction.  










I loved seeing Pablo Picasso's work up close and original. And of course, A Mark Rothco. If they would have let me I would have sat on a bench, drank tea and sat by that painting all day!



I took a lot of photos but wasn't allowed to use a flash so a lot of the photos - even with some digital adjustment - did not turn out that well. And I have converted some into black and white to fix the ultra yellow problem too.

Going down the floors I came upon 5 modern painters and was inspired to find some new names of work I thought were super cool. I will share those with you next week here on my blog!



Breathing Space: Spanish Banks

/ Vancouver, BC, Canada/
A few snapshots from a blustery beach walk in early June this year at Spanish Banks near UBC. You wouldn't have known it was June it was smattering rain and so cold! Beautiful and refreshing though!




The tide was all the way out and I think there would have been skim boarder and more people trolling the beach if the weather had been better!


One of a few people on the beach that day.







My fav pic, love the flowers!

Artist Interview with Jeanne Krabbendam

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Artist Interview with  Jeanne Krabbendam

This month I'd like to introduce Vancouver artist, teacher and friend Jeanne Krabbendam. Jeanne and I met last year via Artists in Our Midsts and got to know each other better during the Roundhouse show in Yaletown 2011 in which she and I both sat at the front reception table during the show.  



Jeanne, first off, when we met I remember you telling me that you grew up in the Netherlands. Can you share with us what your experience was like growing up in Holland with our readers?

I grew up in a large city (Rotterdam). We lived with 7 of us in a small apartment on the 6th floor, right at the inner harbour of Rotterdam. I remember from very young making things with my hands, always creating stuff with anything I found. I had to work small though, because there wasn't much space...maybe that's why I now like large art works!

There wasn't much space outside for us children to play and explore, so we played as siblings at construction sites and even played underground in the unfinished metro...!
I also very early in life started visiting museums, something I mostly did with my sister who is in age very close to me. Historic museums, anthropological museum and...art! Soon enough the guards got to know us, two little girls coming into the museum every Saturday, that's different! It was a cheap and easy entertainment for us and we developed our taste in art, both with different favourites. I remember seeing Oscar Kokoschka's Mandrill: it was my first and outmost favourite for a long time! 



Were you always creative as a child, that is, did you know that being an artist was going to be your life path, or did your life take other twists and turns? Was your family supportive of you being an artist?

In my family there were a few choices for girls and becoming an artist wasn't one of them. I know that I wanted to be and I even sent a few drawings in to be accepted into a school of art. I did this without my parents knowing...and for sure they weren't happy with me! My life took twists and turns, I ended up working as a paediatric nurse and studied for years part time (art, psychiatry and adult education). I became an art therapist, worked for years in psychiatry, using art as a medium to connect with others. In the meantime I created my own art at my studio and exhibited my art work in many places in Europe. I taught at colleges and universities art and art therapy. When I immigrated to Canada in 1999 I decided that I would leave the therapy part behind and focus completely on my art. Since that time I have been creating art, exhibiting and teaching art here in Vancouver.



As I recall I think you have a Masters in Fine art. Can you share with us your educational background and journey. What was your favourite class or experience during school?

My most favourite time was in France where I studied for a while at the Academie of Beaux Arts. It was an amazing experience, very international, very open and stimulating!
I hold degrees in Art and Design, in Adult Education and Psychology - Art Therapy. I did some courses in photography and printmaking on the side, but in the end I  still feel I am a painter!


Looking at your portfolio online I can see that you do work in a number of styles - figurative ( your balance series)  and, abstracts, and landscapes, etc. Is there one particular style that you enjoy the most. Why?

Yes, when you look on line at my art work you can travel far back in time (the series on my website start in 1987). My paintings became more and more abstract over the years. I find abstract art more challenging and fun to create. I also like to add suggestive figurative images into my abstracts, so they often end up becoming semi-abstracts. I totally love mixed media and from the very start of my art career (after my art education) I make mixed media art in its many forms. I've done projects like installations, art boxes, I created videos, interactive community art pieces and collaborated with poets, musicians, film makers, photographers and landscape artists. In the end though, as I said, I always return to painting. Over time I have changed my way of art making, inventing new techniques, working with home-made tools, mixing non-traditional art materials with store bought paints and mediums. I think I am a bit of an inventor, an alchemist maybe...




Jeanne, Looking at your most recent works I see a lot of textures and perhaps the use of a palette knife. Would you share with us about your painting process.

I make very loose sketches, with some colour swabs and ideas of different textures I want to use. I write small notes on them and create sample textures. This sketch sits  beside me while I am creating the art work. I start with a loose under painting in large strokes with knives, work tools like trowels, sometimes house hold tools and of course large brushes, my hands and rags, leaving areas light where I want to light later, so I can apply thin layers without loosing the light in the work. Then I create the shapes, these could be abstract shapes, transfers, textured shapes, any shapes the art work needs, followed by working on the contrast, outlining things, accentuating the values in dark and light. And at the end of my painting process I will go in one area in detail and create the finishing touch with fine tools, dropper bottles, ink, pens, scratching tools etc. etc. The sky is the limit!


Jeanne, can you tell us how did your passion for painting began?

I started really as a very young child, drawing, sewing, putting things together. I mostly made the presents I gave to others and remember a little book I had that I used for inspiration. In school my art work was appreciated by the art teacher and  she was a first very important influence to me. Later when I signed up for the drawing course, without telling my parents... (the course I never got; the instructor was sent out of our apartment) I heard the instructor telling my parents "But she has talent!" and I clung onto that and kept that inside of me for years to come! I sometimes wonder maybe when we are not encouraged, we develop a stronger inner drive...



What's your favorite all time favorite art piece of yours and why? of another artist?


At the moment it is the painting "Hastings, Hastings". It just got sold during my last exhibition and was shipped to Luxembourg, so I won't see much of it anymore. I enjoyed working on it, threw my full heart in it and I believe viewers feel that, get a taste of that when looking at it.

Favourite work of another artist is hard to say; I am inspired by artists like Robert Rauschenberg, Cy Twombly, but my favourite artist is since years I think  Anselm Kiefer; An example of his works is 'The Wave' . To me it has so much impact: the size, the textures, everything; just so dramatic!



And what about this poem of Reiner Maria Rilke (1923):

Strange it is, to inhabit the earth no longer,
To have no more use for habits hardly acquired -Roses, and other things of singular promise,No longer to see them in terms of a human future;To be no more all that we nurtured and carriedIn endlessly anxious hands, and to leave by the roadsideOne's own name even, like a child's broken doll.



What are you working on currently and please tell us about it... (what inspires this new work, what is the meaning in it for you, etc.)

I am currently working on a series called TOUCHED. This series tells the story of the back side of our cities, the places we don’t like to look at and show our visitors. This series is also about how I've been touched by these places, which we normally quickly pass by, but that are for many residents of our rich cities the places where they live: their 'wall paper', their 'bedroom'.

The first impression that I got when I moved to Vancouver from The Netherlands was the enormous amounts of people living on the streets. I had never come across numbers like that. I started asking around, talking with people and learned how this phenomenon happened here in our city. 

I offered a 6 week course and started painting with people at Coast Mental Health Resource Centre and this became a volunteer job that I am still weekly involved in, now since almost 8 years! Getting to know a large group of people who live or lived on the streets make me look at the alleys and back side or the city more and different: the walls are touched by environment, rain, snow, traffic exhaust and human hands AND I am touched by the many people that find these places their home. 

Recently I am working on paintings about people moving from the street into housing after a long time and about us building huge apartment buildings right in the neighbourhoods where street people live out of their shopping carts.

I love the physicality of working on wood and canvas. Found objects and out of the ordinary materials inspire me to the point where they end up in my art work. I now see the world in a whole new way, putting a spotlight on areas and things that are often unseen or forgotten by others.

For you, What is the best thing about being and artist?/ For you, What 's the most challenging thing about being an artist?

The best thing of being an artist is the freedom I enjoy. The freedom to create what I love to make and the freedom to use my days and time the way I think  is useful and supportive to others around me. 

One of the most rewarding experiences for me is seeing the 'light go on' in a student, seeing them evolve and develop their own unique style. It is as an artist to me also very rewarding to get a work sold, to see someone fall in love with one of my pieces and 'get' what I tried to communicate with it!

Most challenging is of course the always unpredictable income. By teaching at Emily Carr University, Community Centres and privately I created a base though that seems to work very well; there is nothing to complain, I have a great life!


 What are some key success you have achieved thus far on your journey as an artist, and what do you feel has been a key factor in you achieving your success?

Overseas exhibits have been great to me personally and my art career. Being asked to come and teach at Emily Carr University Continuing Studies as a new immigrant was another, and recently my two month residency at the Banff Centre was an experience I will probably never forget! To be selected and be part of this international art community has been a pretty special and wonderful experience to me. 

Key factors? Maybe just working hard. I have quite a high pace and have the fortunate ability to work organized; I can work on many projects at the same time and keep to my deadlines. (Being Dutch? Being a woman-artist? Having worked in different art-fields? Living a meditative life? Or is it simply mainly getting my 8 - 9 hour sleep every night???)



What keeps you motivated and if you had to achieve 3 more things in your art career before your life ends, what would they be?

Finding myself inventing new ways for expressing myself, finding new ways to support, coach en mentor student-artists, the rewarding art works that come out of the hands of my students, they are all huge motivations for me!

I would love to one day have an overview exhibit of my work that I created over the years (it will be hard to accomplish because my work is spread out over de world). An exhibition in a large gallery in New York City and meeting Anselm Kiefer (someone who I greatly admire as an artist!)


What 3 pieces of advice would you give to other artists -- specifically to other painters or your students who want to work and live as a professional artist like you do?

Try and paint every day, better every day 15 minutes than once a month a full day. It is like learning to play a musical instrument, or maybe just developing a painting muscle!
Connect with others, support one another in stead of being driven by the so well-known art-envy and jealousy.

I am a big believer in self care - especially for artists! What do you do to nourish your self and soul? to re-charge your batteries so to speak?

I keep pyjama-days, movie nights, the theatre, going to galleries, reading great books
More importantly I am a spiritual person; my believe in God and knowing my life has a purpose in the greater scheme, is a major drive in my life! I  wouldn't know how to live or what to live for if  I wasn't connected with this higher power. Meditation and prayer is essential in my daily life. 

What recent or upcoming shows/and or gallery representation can we look out for or go and see of your work?

This summer (2012) I will show a selection of work from the 'TOUCHED' series at Richmond Cultural Centre. Also this summer, during the month of August, I will be showing work of the same series together with three artists who I befriended through Coast Mental Health. 

We will be showing art works at the Seymour Art Gallery under the title 'INVESTIGATIONS - places and things, found and re-found, seen and re-seen'. Again paintings about the streets. 

It will be an absolutely amazing show with different points of view on the same theme. 

There will be an opening night August 7th and an Artist Talk/Interview Sunday August 26th. 

In the fall I am planning on another studio Open House and next year March/April 2013 I will be showing art work with my students at the Britannia Mining Museum!


Jeanne, It's been so delightful to hear about your story, your passion. I love the threads we have in common - the basis of a deep spiritual life and the belief of being in this together and supporting and encouraging other artists to thrive and succeed. With so much gratitude, Thank you for taking the time to partake in this interview! 

The ARC Uncommon Vision Show

/ 1701 Powell St, Vancouver, BC V5L 0A2, Canada/

UNCOMMON VISION: GROUP SHOW/ MUSIC/ OPEN STUDIOS

JUNE 8th, 9th, 10th 2012

Fri & Sat: Opening Parties + Night Gallery 7pm - 12am
Sat & Sun: Day Gallery + Open Studios  12pm - 5pm
ARC Gallery:  1701 Powell Street @ Commercial map






A SHOWCASE OF ART AT THE ARC



The ARC, one of the only live work artist buildings in Vancouver, has been providing provocative "Uncommon" group exhibitions since 2003. It is a great way to see some truly local art.

With part of the proceeds going to Studio 101, an East Side Culture Crawl young artists’ initiative, this is an event that resonates with creativity and community spirit. “The ARC is an integral part of the Eastside Culture Crawl and a much-loved part of the community. It was particularly generous of the residents there to make Studio 101 a recipient of partial proceeds from Uncommon Thread 2011. We are very grateful that they have offered to do so again this year." (Jeffrey Boone, Executive Director of the Eastside Culture Crawl)

During the annual East Side Culture Crawl, the ARC has always been a destination building.  A dynamic residence of nearly eighty artists of multiple disciplines, home to some and a launch pad for others, this environment creates a stimulating culture for new and explorative art.

The Uncommon Vision show is the East Side "crawlers"  fix to get them through the 12-month gap, and the artists are eager to supply, with only their most pure
and potent works.  

Contact: Karen Moe karenmoephotography@gmail.com /
604-787-1806


Artists in Our MIdsts 2012 Open Studio at Laura Jewitt's

/ 4469 W 10th Ave, Vancouver, BC V6R 3Z7, Canada/

This year marked the Artists in our Midsts 20th Anniversary show, both our opening night show downtown at the Roundhouse Community Center in Yaletown and also our 3 day Open Studio Event where I had the honor to show my work at Laura Jewitt's store. 

A HUGE Special Thanks to Jon and Laura at Laura K Jewitt's Jewelry Store on West 10th Ave here in Vancouver for hosting myself and Marion Webber for the AIOM (Artists In Our Midsts) 2012 Open Studio Show and Sale over the May long weekend. What a wonderul experience hanging out with AWESOME people. A Special thanks also to Linda our "drag queen" (!!!) who brought even more customers in, to Bailey for encouraing people to sign up for the draw, and to Marjory for helping to process sales of gift cards, note pads and Little Gems .

And of course to Laura the Marketing Queen - everyone just LOVED your goodie bags. What a great idea. Thank you so much for all your efforts on behalf of Marion and myself!

Looking at the front entrance to the store. Raw Expression original paintings on paper in the corner, the two matching pink 'Romance' pieces each next to the front door. And a portion of Marion's river series, beautiful oil paintings - more to come in the next photos.


Jon keeping an eye out. You can see Mystic Places painting  in the center background - as of now that painting is still available. Click here for a close up view of Mystic Places: http://www.debchaney.com/debchaney/Art_Portfolio/Pages/PureAbstraction.html#16


 Two paintings are seen here, on the left "Breathing Space" (SOLD) and "Leaping into the Unknown" which is still available as of the date of this blog. Click here to see it up close and personal: http://www.debchaney.com/debchaney/Art_Portfolio/Pages/Emerging.html#0

 Marion Webber glowing in the happiness of having sold several large beautiful oil paintings over the course of the weekend. Go Marion!

 One of our 300+ visitors that stopped by over the weekend and enjoyed tea, lemonade and a bunch of treats. Marion's beautiful flowers here in the background.

 Love this center series of Marion's trees, it reminds me of the interior of BC and makes me think of the small of pine needles and that good feeling I have when I'm camping and just being in nature.




 Jon and myself posing in front of Marion's  beautiful artworks.


Raw Expression series up close and accesible. 

 Table display with the AIOM sign out front in viting customers to come on in!

 In front of Laura's store. On the left IBHF ( see this painting up close at: http://www.debchaney.com/debchaney/Art_Portfolio/Pages/PureAbstraction.html#10)
and to the right of the front entrance "Vermont in a Snowstorm" ( this painting up close: http://www.debchaney.com/debchaney/Art_Portfolio/Pages/Emerging.html#2)



 uh oh... Laura... I think you missed that lady!!!!

 Jon hangin' with my yoga girls!

 Jon and myself in front of "Breathing Space" painting. 



 Marion and myself in front of her work.




 Celebrating with champagne at the end! Wonderful weekend. Friends were made. Art sold. Good times enjoyed by all! Thank you so much Jon and Laura!



Fan Mail - it's wonderful to be loved! Thank you!

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Once in a while I get an eEmail from a kind stranger who bought a copy of the Little Inspiration Book and o discovered something valuble in it and/or got inspired and wanted to connect with me out of appreciation for putting it out there. Michael Mercy,  living near Toronto, ON, both an actor and writer, currently working on a series of poems  sent me this beautiful poem that I wanted to share with you here on my blog. Michael - Thank you! You can check out Michael's work at: www.warriorpoetwisdom.com.

Random Poem of Kindness

Hi again, my artist friend
It seems it’s been a while
So I just thought I’d send you this
In hopes it brings a smile

I stumbled on your little book
While going through my shelf
And leafed through it and after a
Few pages thought to self:

“I should send this beautiful soul
A note that will remind
Of what an inspiration that
She is and just how kind

And caring and selfless one has
To be to write such text
To help others survive their day
And have strength for the next"

So for all those who drew strength from
Your pages, let me say
Thanks for inspiration, sister
And for you, I pray

The same strength, grace and love to be
Returned to you in spades
I hope your inspiration for
Helping all never fades  :)

The Ultimate Artist Date: New York City

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In March this year, I had the priveledge to stay in my friend's apartment in Manhattan for a few days and go and play in New York ! Honestly, there are a zillion guide books and many many of my facebook friends told me what to see, where to go, where to eat, and so many things to do that it could make your head spin. The city alone could do that anyways, minus the lists and suggestions from books and your friends. But for an artist date the goal is to get out to somewhere new, with myself, and preferably with no agenda --- and I have to say that New York City is the ultimate destination to do just this.

So here we go, a few shots from my "New York Artist Date" random wanderings around and exploring. Never been happier. Never have I fell deeper in love with any city. And yes, I want to go back!

Could'nt find a tofu street hot dog ( they have plenty downtown Vancouver) but I couldn't resist snapping this picture as it's definetly part of NY culture these food vendors on the side walk.

This reminded me of all those scenes in movies where the hero or the heroin is stuck in traffic trying to get to the loved one at the last minute!


If I lived here I would for sure have roof top bbq parties
and invite friends over to dine with a city view.


My never ending fascination with brownstone city buidlings - so tall!

Gum or cigarettes anyone? it's all right here on the street corner.
Gotta love these tiny street side stores. super cool.


Times Square.

Times Square, even better at night.

Couldn't resist. I have to say I got super sucked into the tourist " I heart NY" stuff.
I lusted after the shirt, the hat, the magnet... All the stuff I usually avoid when I visit a city, but New York is just so amazing, I wanted to declare my love with souvenirs!




Random artist's work in a retail clothing ship. Could not stop myself for sneaking in and taking a pic. LIked the art better than the clothes at this place! :)

Darn, I wish I could remember the name of this store. It was like a chinese dollar store but the stuff was higher end. More like IKEA meets china town. Super cool trinkets, nick nacks, house wares and more. I could have spent several hours there! ( its in SOHO --- If I recall the name I will post it in the blog comments)

Just love the buildings and architecture and who doesn't enjoy the cobbled streets? Charming!

I think this was some sort of street art but I just kind of whizzed passed it to take a super close up look. I like the idea though - really you can have art anywhere. No need for walls or a gallery, just make it on the street. Why not.

Creative How-to: Wiring the Back of your Finished Painting

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I've decided to expand my blog repetoire and add a Creative How-To section for other artist's and my workshop students who'd appreciate the review and/or if we didn't have time to cover a particular element in a workshop. It'll cover all sorts of things such as;

how to start painting with acrylics
how to make acrylic paints emulate oil paints
how to make acrylic paints emulate water colour paints
and more, etc.

My goal will be to write a blog like this on a monthly basis. Enjoy!

This "Creative How-To" blog will be created in conjunction with a youtube video - for those of you who would like to see things happening in motion rather than read them. All youtube videos will be posteed at http://www.youtube.com/debchaneyartist so you can go back again and again and review any materials that is relevent or interesting to you anytime. :) Cool.

To start today I'll be covering how to wire the back of a canvas or panel painting.

Here's what you'll need in terms of tools and hardware:

  • Hammer
  • 1 nail (any)
  • wire cutters
  • measuring tape
  • 2 small D-rings (size them to your painting edge)
  • 2 small screws (OPUS code STPOLY 6)
  • Woven picture wire – 4 feet in length
  • 4 small clear round bumpers
  • Phillips screw driver or Electric screw driver


Step 1. Measure the side of your panel and mark, with a pencil, the place 1/3 down from the top

Step 2. Place the D-ring in its final spot, flat and use your Hammer and nail to make a small hole/dent in preparation for the screw and D-ring.

Step 3. Place the D-ring down on it’s flat/flush side, put screw through it and insert the screw into the wood using your Phillips screw driver or electric. Repeat on other side of panel.

Step 4. Cut the length of wire you need for the panel plus 2 “ extra for each side.

Step 5. Loop the wire through the D-ring once, twice, three times and then back through the loop. Pull tight. Take remaining wire and wrap around itself towards the center of the panel.

Step 5. Pull the wire tight to the other side and repeat the loop knot.

NOTE: You want the wire to tight so that your painting will hug the wall and hang straight.

Step 6. Place the plastic bumper on each four corners of your panel. These help with the painting so that it hugs the wall evenly.


[See Deb wiring the back of a painting on youtube at: http://www.youtube.com/debchaneyartist]

A sneak peak inside "Creating Time: Using Creativity to Reinvent the Clock and Reclaim Your Life"

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This week I'd like to introduce you to Artella founder Marney Makridakis' new book: Creating Time: Using Creativity to Reinvent the Clock and Reclaim Your Life! and offer you a sneak peak inside in support of making time for your creative dream and art making.

No Time? Changing Time Anxiety to Time Artistry
By Marney Makridakis author of Creating Time

When I surveyed fifty-two people about their experiences with time, the results revealed that 90 percent felt “somewhat anxious” to “significantly anxious” about time. What’s even more startling is that these results don’t even seem all that surprising. Stress and worry about time is very much a part of most of our lives. Our modern society makes it acceptable and even expected that we fall into patterns of being worried and stressed about time. While worrying about time seems to be part of our humanity, does it really need to be? What kinds of payoffs are we getting from worrying about time?
It’s helpful to dig deeply to figure out what is at the root of our problems with time. Why do we overschedule ourselves? Why do we want to be so busy? Why are we so consumed with time? Why does it seem so “normal” to worry about time so much? Why is it easier to be caught up in a drama about time than it is to be released from it?

Here are some examples of payoffs that people might receive from worrying or complaining about time:

· Time is a good catchall: if I can complain about being busy, then I don’t have to look at other areas in my life.
· My schedule is wrapped up with my self-esteem. Being “too busy” means that I’m successful.
· I don’t plan things that I might enjoy because it is too scary — it just feels safer to be bored.
· Worrying about time gives me something to talk about with other people.
· Worrying about time is a convenient excuse for not following my dreams.

Once we can identify the payoffs that we get from worrying about time, we can see them for what they are: illusions that keep us from living our true potential. Simply being aware of what we are getting from our time worries allows us to make a different choice: a choice to partner with time, instead of working against it.

We know that time is relative. Einstein proved it over a hundred years ago, and you prove it every time you compare an hour you spend in the dentist’s chair to an hour you spend with a loved one! Time is totally different in these two extremely different situations because of several variables at play, such as emotion, engagement, flow, desire, interest, pain, and pleasure. With so many variables dancing around in every single moment of our lives, we know that time is never constant. Since time is relative, we can use this to our advantage, and choose what our relationship with time will be. Every time we decide how we choose to talk about, measure, and experience time, we are creating a new era of time.
It’s time to finally drop all the archaic views and limitations of time that have held you back from fully embracing the wild beautiful truth: time is not a defined line; it is instead a vibrant, completely moldable, layered, multi-faceted work of art that is in your hands to create and design, each and every day.

Marney K. Makridakis is the author of Creating Time. She founded the Artella online community for creators of all kinds and the print magazine Artella. A popular speaker and workshop leader, she created the ARTbundance approach of self-discovery through art. She lives in Dallas, Texas. Visit her online at http://www.artellaland.com
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Based on the book Creating Time: Using Creativity to Reinvent the Clock and Reclaim Your Life ©2012 by Marney Makridakis. Published with permission of New World Library http://www.newworldlibrary.com
See a video introduction to the book: http://youtu.be/_VgIj55i-A8

Creating Time: Using Creativity to Reinvent the Clock and Reclaim Your Life. Published by New World Library (April 2012, www.newworldlibrary.com)
You can visit http://www.artellaland.com/creatingtimebook.html for more information.

Artist's Date: Streets of Philedelphia

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An artist's date walking the streets of Philedelphia...



In March I had $400 credit with Air Canada and a deadline to use-it-or-lose-it so to speak towards a flight anywhere. I actually had no clue as to where I wanted to go to. Honestly, I have been so happy/busy in my home studio and settling into life in Vancouver with new friends, the ARC, the great outdoors, fun with my little girl, painting, teaching -- I actually was not inspired to go anywhere! (unusual for me as in the past I have been an avid traveler and adventure seeker!)

Well, With 2 weeks before the air credit expired a friend from Philadelphia serendipitously called and basically said in not so many words; "when the heck are you going to come out and visit?". I booked a ticket right after our talk and finally made it back east in mid March!

Here are some photos snapped along the streets of philedelphia during the first few days of my visit. I was really taken with the brick, lots and lots of brick !! and the beautiful door ways. The streets actually reminded me of London, England. So I spent the first few days of my vacation waling around a lot, writing in my journal and well, that's it....

Doors, streets, bricks and windows were what inspired me these first few days walking around South Philly.

Yes, I love wrought iron and painted doors and red brick with white window trim. So quaint!

All the brick and house styles reminded me of being in London, England!

This image/scene reminds me of one of Natalie Goldberg's paintings.

Didn't really see a whole lot of people riding bikes but I liked this image of the bicycles all lined up parallel to the street.

Beautiful old church.


Inside a cafe, several of which I enjoyed writing my three long hand morning pages. Just loved the old eroded textured walls and - of course - more brick!


Beautiful old buildings. These could definetly inspire paintings!


Yes I'm a sucker for fresh flowers! always !


Love the torquoise and red brick colours together...beautiful.

I love interesting doors and windows.


Another one of hte cafes where I wrote in the morning before walking around. Had some really nice green tea there and met a parking enforcement officer who told me stories of his two little girls and how into playing sports they were. Seems this is a big part of life in Philly - the sports! 

There were these signs everywhere along the street where they would sahre information about a famous person from PHilly and tell you about them.


Most of my walking as in south  Philly area but I made it downtown also.

They are in the backgorund but I love those currogated iron doors with light green blue painted on them in contrast to the brick!

Artist Interview: Heather Craig

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Artist Interview with Heather Craig

This month I'd like to introduce Vancouver fine artist Heather Craig

I became aware of Heather Craig's art works years back when I was still living in California. I would visit Vancouver regularly - every six months or so - to bring my little girl (then a baby) to see my family. During the visit, I would make an Artist's Date for myself and take half day and walk down Granville Street to admire the beautiful galleries and artworks they all had on display. Heather's work was being exhibited at Jacana Gallery and caught my eye. I remember collecting a postcard from her show and putting it into one of my special art books where I keep images of other artist's work that inspires me.

Since those art gallery visits, years have passed, and 3 years ago now I moved back to Vancouver to return to my hometown to live. After settling in and getting a job I began looking for studio space in Vancouver. At the time I was working at OPUS Framing and Arts Supplies [LINK] and thought my co-workers and connections with friends I became aware of an opening at the Old Foundry Building. I walked into the shared studios within the building and low and behold up on the wall in the central ( larger) studio were a series of VERY familiar art works - my mouth dropped in surprise. I knew that I knew the artist and loved the work - I just couldn't remember for the life of me where I'd seen it before. Needless to say, I put in an application to rent the studio space, begged and prayed to be accepted, and then later, when I was in, met Heather and put it all together.

Heather and I shared studio space for a year at the Old Foundry and my admiration for her work and who she is as a member of our community at large - both the arts community and as well in the mental health community as an adjunct professor at UBC Medical school - has only grown and continues to grow as I get to know her better. I am honored to call her a friend and a colleague in the arts and excited to share her with you here.

Alright, Heather, so let's start from the beginning because it seems you were not always an active artist and painter if you have a medical background and work at UBC in the School of Medicine... Please tell us how your career evolved from one predominantly in the health sciences and then into the arts.... How did you passion for painting began?
When I was a kid. I was the kid who was always in the art room and got the prize for the grade 6 poster contest or whatever. In highschool I had a wonderful art teacher who encouraged me and introduced me to oil painting and printmaking and pottery. I loved making things. Art didn't seem like a way to make a living though. I certainly continued to make things but went to UBC to become a nurse. I worked for many years as a nurse, had a nice family and raised kids. And then I was fortunate to be able to go to Art School. I left nursing while I was in mid career and eventually graduated from ECSAD. I discovered while in school that I loved the acedemic part of art so much that I continued on to SFU for an MA. I have been doing art seriously since then except for one day a week. What I do with that one day a week is teach at UBC About ten years ago a very interesting course at UBC Medical school was instituted called Docter Patient and Society. DPAS as it is called is meant to look at the hard issues in Medicine and Health Care like how do we create an efficient system that delivers care to everyone. How do we care for our most vulnerable people; the elderly. poor, mentally ill and aboriginal for example. I was invited to participate and have been loving being involved ever since. So one day a week at UBC and the rest of the week in the studio.

I'm curious how you first came to find the Old Foundry Building, as from what I recall you've now been there going on 11 years?

There was a group of us who had space in a building that was torn down. So we looked for new space that would accomadate us all. We kind of wanted to stay together as it is good to have a bit of a community happening. One of the members just drove by the Old Foundry Building and saw that it had a for lease notice. He called us all to see it and we thought it would be okay and so we leased it. We had to do a bit of work ro make it into studio space. But it all worked out well and we have been there happily ever since.
From what I know and see working next to you I understand you treat your painting like a job and show up to the studio daily and put in time. Can you share with us how this discipline for your art work came about.. How do you stay inspired and motivated? What feeds your work?

I do treat it like a job (a great job). It is really important for me to be disciplined. But I think you are really asking me about the creative process. Most people who create things will say, I think, that discipline is required. For me that means I take what I know about technique and art history and looking and thinking and transform all that into images. I read and write and draw everyday and the work that emerges is about the insights I gain from learning and thinking. Art and especially abstract art is silent in a way . By silent I mean there are no words. In fact one of the problems I am always trying to solve is how to keep the words/recognizable images out of the work. For example, if I put a line about a third of the way up a surface, the line says horizon. So no matter what else I paint, the image has become a landscape. What I try for is to use lines and shapes and colours to just say 'think' or 'conscious'.
Looking at your portfolio online I can see that you work in predominantly in the abstract, but it seems you also have a talent for drawing - as there are many lines and sketches throughout your work (beautiful). Can you please tell us why you choose this particular style that you enjoy the most.

I am not really choosing a style, I am using what I know to produce what I think. What I think seems to be a collage of lines and shapes and colours in a particular size on a particular surface. As I said I think that abstract art is meant to be silent but it is impossible to keep the words out. The viewer automatically looks for meaning. Sometimes I actually put words in the work–usually just any word, to nail it down somehow but I don't think the words are needed.




Would you please share with us about your painting process. How do your paintings evolve? do you follow certain steps, or?

The steps are many as I have said. I read. right now I am reading 'Ill Fares the Land' by Tony Judt which is about how we create a just society. Kurt Varnedough, a MOMA curater wrote a book called 'Pictures of Nothing'. I return to it often because he talks about abstract painting and what they mean. Varnedough thinks they are about Liberal Democracy.


What's your favorite all time favorite art piece of yours and why?

Impossible question actually because I paint a series and then move on. I don't think in terms of good/bad or favourite. I think in terms of what is the next problem to solve.


What is your favorite painting of another artist?

Again no favourite but I can mention some artists I respond to. Betty Goodwin and CyTwombly are right up there.

I noticed that you were recently accepted into the Vancouver Art Gallery Sales and Rental Program - Congratulations. Where else can blog readers see your work? What else are you currently involved in with respect to your art? New work/ projects?

I guess I should be doing some things to promote myself and be in more places but I do nothing. I am only interested in producing so I take on projects that happen but otherwise….. (I have someone to feed me.) I have work around Vancouver like in the Vancouver General Hospital's art collection.

For you, What the best thing about being and artist?

In a way it is totally indulging my need to create.

For you, What 's the most challenging thing about being an artist?

Well it is a bit of a challenge to not get much recognition in a world that is devoted to recognizing and consuming.

How would you define success for yourself as an artist? What are some success you have achieved thus far on your journey, and what has been a key factor in you achieving your success?

Mostly that I keep doing art and that it is immensley satisfying and at the same time continually challenging every thing that I am and what I can do.

What 3 pieces of advice would you give to other artists -- specifically to other painters?

get an education (and it doesn't need to be formal), find a way to keep working, and throw out half of what you do.
I am, as you know, a big believer in self care - especially for artists! What do you do to nourish your self and soul? to re-charge your batteries so to speak?

I am a big advocate of doing what ever it takes to keep a healthy self. I exercise, eat really healthy, have healthy, substantive relationships, spend very little time with the mindless things our society has to offer and continue to learn from the rich things our society has to offer.


Heather, Thank you so much for taking the time to partake in this interview!

with much gratitude, Deb





Postscript. ARTIST BIO. Heather Craig earned a Bachelor of Fine Arts at the Emily Carr Institute of Art and Design. She continued her education at Simon Fraser University where she received a Master of Arts in Liberal Studies. Her first career was in health care, practicing as a nurse in numerous capacities in various parts of Canada and the USA. Along side the practice of art Heather is active in other fields. Currently she is working to change the way we treat people with mental illnesses by raising funds for research in depression, through speaking engagements, through writing and as an educator at the University of British Columbia in the School of Medicine. Her continuing studies, her observations about life, and her engagement with volunteer and professional work informs her artwork. Heather lives and works in Vancouver, BC. www.heathercraigsart.com

Artist Date: exploring an antique shop

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This week I wanted to share a few photos I snapped when I serendipitously found this super cool antique store a few blocks from where I live - downtown east side of vancouver. The whole store and it's layout were fun and inspiring to explore and there were a few items that really caught my eye. Enjoy the photos of my little artist date.

Outside the first thing and caught my eye were the wrought iron gates.

Peeking in through the large wooden main doors lots of treasures to see!

Lots of buddhas and cement status of chinese/tibetan looking people :)


Need the letter 'P' or a buddha head? they've got it.

Brightly coloured old chinese looking chest of drawers.


Looking down from upstairs and a zillion chandeliers.

Love these saddle type wooden stools, baskets and wooden buckets.



This chair looks like a regular chair in this photo but it's actually doll sized. Super cute.


Good old coca cola vintage memorabilia.


Like the look of this place and want to visit?
Here's the scoop:

Antique Market
Warehouse Sales
1324 Fraklin Street
East Vancouver

604-875-1434



The world's messiest art studio!

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In my soon to be released book (I'm in the final editing/proofing stages currently) entitled: The 68 Secrets of an Illuminated Artist - how to stay in your creative flow despite any obstacle, I mention in one of those 68 secrets how we have to learn to trust the mess that is often part of the creative process.

Well, a few weeks back my studio was such a mess it was difficult to walk through it! I thought I'd share the super studio mess with you here!

Painting in process, cutting in
process, figure out demos for lessons, organizing sanding paper rounds.....


Collage box in disaray, stamps all over the floor, vacuum at the ready -
if the floor was at all accesible.


Oh yeah, then Kate came by to borrow some Kroma paint for her class - hence the stepping stool and box of tube paints added to the floor.
Don't ask about the phone books, can't remember.


Stuff out for paintings in process.
(I'm finding it hard to belive I was painting in amoungt the mess!)


Box of hand-stained collage papers ready and taking up some counter space.


Funny thing is also I was reading Jenny Doh's new book called A Creative Pilgrimage and within the books are interview of various artists and their creative process and I remember distinctly one of the artists saying, in her interivew, that cleaning and tidying up her studio mess was an innate part of her creative process and it helped her figure things out with her projects.

I like cleaning up too and sorting through stuff. It's very calming and helps me get clear as I clean up and de-clutter. Interesting I am not alone here...

So, obviously, being a working artist, and at some point breaking point arrived, more like I could no longer walk through the studio, nor find anything, so I did end up tidying up.

Fairly tidy in-process studio.

And I got inspired to work on a commission painting I've been working on for a client in California that has been in process wayyy tooo long!


And then the fog cleared and this amazing beautiful rainbow appeared! I took it as a good omen for that commission painting being almost completed to the client's liking (fingers crossed) :). You can't see it in this photo but the rainbow was a double! Super beautiful.

Mess or tidy I am so grateful for my studio space and love it, love it, love it dearly.

What is an Illuminate Artist?

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As you know if you follow my work and this blog, I will soon be releasing my new book: The 68 Secrets of an Illuminated Artist - how to stay in your creative flow despite any obstacle. So the big question that propels itself to be answered is what the heck is an illuminated artist? This is right out of the book and a little preview and a thank you to all you dedicated blog readers ...


What is an illuminated Artist?

Great question. Before we start this adventure of reading, learning, and integrating the 68 secrets of and Illuminated Artist it might be good to get clear on what an illuminated artist is.

So what is an “illuminated artist”? I consider an illuminated artist a soul whose inner light has been lit up and who is creativity alive, inspired, and conscious of it.

The best example I can give you of how you may experience this would be the shift that I see occur in many of my workshop or retreat participants. At the beginning, participants arrive and their eyes are often dull; they could be tired of life, stressed out, uninspired, confused, leery of me and my sometimes pretty out there ways, Whatever it is, often they are somewhat closed down. After a few hours, or for some after a day or two, there is this shift that occurs and the only way I can describe it is their eyes get brighter. Sometimes goes off and they might start dancing while the paint, or humming while they work, or actually talking about loud in the course of the workshop and really expressing themselves authentically. It’s like a switch kicks on and voila, they become what I consider an illuminated artist.

You’re lucky. You don’t need the workshop or retreat to get illuminated. If you really let yourself soak up and apply what gems are within the pages of this book, chances are you will get your illumination on - and then, watch out world!

Artist Interview: Deborah Bakos

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I'd like to introduce Parker Studios Vancouver based Visual artist Deborah Bakos. Deb Bakos and I met via Artists in Our Midst and we got to know each other better during their annual Roundhouse show in Yaletown, 2011 in which she was curator. Deb can you tell us how you first got involved with AIOM? How did you evolve from simply painting and exhibiting your work to curating shows?

I think the way Art is presented is almost as important as the Art itself. I am a “big picture” person, bit I am a bit excessive about details as well. Artists in our Midst’s hands-on mandate provided me the opportunity to put my visions and organizational skills to work. I have been involved in the curatorial component of this artists’ collective since I joined them 4 years ago and I have served on their working Board of Directors for 2 years. It has been my good fortune to have met, worked with and admired many, many local artists because of this.

Deb, I notice you call your studio "ripe studio" can you tell us about this name and the meaning behind it please…

At the “ripe”, not-yet-rotten age of 40, I resigned from my 12 year career as a high school Humanities teacher and enrolled at Emily Carr University. My first commission in 2006 was a large painting of drippy, cherry cheesecake.

Though I rarely paint representational images like this now, the whole Art as the “fruit” of my imagination idea still works for me.

Looking at your portfolio online I can see that you do work in a number of styles - still life, abstracts, landscape, etc. Is there one particular style that you enjoy most? Why?

Most of my work falls between the boundaries of representation and abstraction. Abstraction is the most challenging for me and for this reason I gravitate towards it. I am very interested in color theory and the language of brushstrokes. Abstract painting allows me to work larger and to focus on the emotional connections we have with essential elements like form, color and movement

Deb, looking at your most recent works, I see a lot of textures and perhaps the use of a palette knife. Would you share with us about your painting process?

This past year, I worked almost exclusively with palette knives to free myself from the careful “fixing” that can happen with small brushes. I think my newer work is larger, looser and more expressive because of the tools I use. My process begins with a solid color on my canvas or panel, followed by thick layers of paint and glazes used to carve out forms. I use a limited palette and focus on tonal contrast to create drama.

Can you tell us how your passion for painting began?

I have always had a pencil in hand to document my world, but I started painting full time when I moved to Istanbul, Turkey in 2006. I worked in studio and exhibited with local and international artists for over 2 years. I had a little home studio with a marble patio and a magnificently ancient culture to inspire me. By the time I returned to Vancouver in 2009, I couldn’t imagine doing anything else.

I understand you have worked as a teacher and raised -- still raising!--- two kids, obviously you lead a very busy life...How do you make time for your art when it's never urgent nor a priority to take time for our creativity?

It’s always a balancing act. But my art is a priority for sure. I am at my studio (430-1000 Parker Street, Vancouver)

5 days a week, mostly during school hours. I definitely have to be organized and self motivated, though; particularly when it comes to the “business” component of my art career.


What's your favorite all time favorite art piece of yours and why? of another artist?


Truth is, I rarely like any of my paintings and that is what keeps me motivated to work harder. Painting is like problem solving for me. It is an on-going struggle and complete solutions are rare! I do think I am making progress with my abstract work, though. “Conversations After School” is a liberating shift away from my earlier representational work. This painting is part of a series called “The Road to Excess”. It has a conceptual element to it that relates to my experiences as a mother, a teacher and an artist. I painted this piece in 2009 during a very tumultuous time in my life when my family and I were transitioning from 2 years travelling abroad. It is grounded in the familiar, but has a disjointed, aerial perspective to it. I like that.

With regards to my favorite works by other artists, Robert Motherwell’s paintings have had the most profound effect on me. I saw his work in person for the first time at The Museum of Modern Art in NYC last summer. Pure color and form! I also can never get enough of Turner’s seascapes or Lucien Freud’s raw figures.

What are you working on currently (a new series, calendar, other) and please tell us about it...

I am working on my “Futile Attraction” series which is really a continuation of the piece above. Conceptually speaking, these paintings are about universals: messy relationships we share but never truly own. And about “desires not met . . . not yet”.


Romeo’s Rival

Juliet’s Window

Romeo’s Doorstep

I am also working on visual representation of my 2 favorite poems by E. E. Cummings:


“In Just-Spring” and “may I feel? said he”.

Though the style of these works seems completely different from latest my abstract work, they contain similar elements in paint application and in color palette. They are set in the past but they represent the same universal ideas about the nature of our relationships as my current abstractions.

This is a very personal project that will likely be a long time in the making.

In Just-Spring – in progress

For you, what is the best thing about being and artist?

Having a voice.

For you, what is the most challenging thing about being an artist?

Having an authentic, unique voice.

How would you define success for yourself as an artist? What are some successes you have achieved thus far on your journey, and what has been a key factor in you achieving your success?

Success for me is about critical acclaim in the art world. While I am happy to sell my work so that I can practically maintain my profession (I have sold about %80 of the work I have completed), I am not really motivated by sales. I want to know, eventually, that what I have to offer has significance. I’m a bit of an existentialist by nature, so, of course, this is an absurd goal.

What 3 pieces of advice would you give to other artists -- specifically to other painters?

Travel to gain humility and perspective; see lots and lots of work by other artists; be ruthless in your commitment to learning.

I am, as you know, a big believer in self care - especially for artists! What do you do to nourish yourself and soul? To re-charge your batteries so to speak?

Hmmm . . . I think I should work on this more. Exercise always provides a lift for me, though. Wine works, too.

What recent or upcoming shows/and or gallery representation can we look out for or go and see of your work?

I was only recently juried into The Federation Gallery on Granville Island and will be submitting work for their landscape, figures, and Painting on the Edge shows this year. In the meantime I will be exhibiting at the Roundhouse with Artists in our Midst on May 16th, at the Centre for Peace on May 19th. Laura Jewitt Jewelry Gallery on West 10th often features my smaller piece and participating in The Eastside Culture Crawl in November is a given for me. All of these shows will be listed on my blog www.deborahbakos.com well ahead of time.

Deborah Bakos, I really enjoyed hearing your responses to my questions. Thank you for taking the time to partake in this interview!

My pleasure, Deb. Thank you for the opportunity

Breathing Space: Whidbey Island

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If you follow my blog you'll have read many weeks ago that I skipped out an having an opening at Havana Gallery and opted for a 4 day weekend away with my family on Whidbey Island. Yup, time for some breathing space and re-connecting with nature - and my family! Here are some photos my Dad took during the weekend away. (thanks Dad!)

My little monkey girl hanging around!

4 days of stellar sun drenched crisp winter weather. could not have asked for more.

Looking towards the Olympic Peninsula.



Mt. Baker in full view. Looks like a big ice cream cone!

Bald Eagle.


View as we walked down the beach. Never gets old.






Ruthie inside the fort we made. Super cool fort! Oh yeah!


Mum and I attempting to sleep in while Ruthie was telling us it's playtime. (That's when we went out and made the fort)



Creative Inspiration: 5 Abstract Artists to check out!

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Sometimes it's fun and inspirational to simply troll the net for other artists and check out their work. Here are 5 abstract artists I found that really inspire me...

Karen Laborde (sample of work above)
Just love the first image on her website under "new work"



Nell Tilton (sample of work above)
Particularly love this piece with a strong horizontal composition but so much play and texture that draws me in again and again.




Timothy Dodge (sample of work above)
Love this piece particularly because of the contrast and play he creates between opaque and transparent colours.



German abstract expressionist painter Ralph Gelbert (sample of work above)

The name of this piece is ' Fjordland' which to me speaks of the Fjords in Iceland so he has immediately won me over not only by the work but this name.

http://www.hicksgallery.co.uk/artist_gallery.php?id=51




Gerhard Richter (sample of work above)

Just love the mainly white pieces with etchings and marks. gushhhh...

http://www.gerhard-richter.com/art/paintings/abstracts/detail.php?13809




By the way, and lastly, while I was looking around online I came across a blog that deals solely with abstract works. Check it out: http://www.abstraktion.org/