Paint and Brush

Despite what it must seem like, I have been working on things that are not about photobooths. I’ve had a handful of commissions in the last few weeks; some fine arts, some editorial and personal illustrations and some illustrations for a website and some for print (which I’m excited about but unfortunately can’t share until the clients do.)

These three paintings, each 6x6 were commissioned by a psychologist’s office.

 This tiny pair was commissioned by a friend.

  This design is for printing on tote bags and t-shirts for a concert series in Edmonton.

This was a personal illustration, designed with the client’s specifications. 

 And these are some of the pieces I did for the Coast’s summer guide this past week.
 

"Femme Avec Un Chapeau Rouge" Series

This project requires a bit of back tracking to explain it best. In 2002 I was looking through some old magazines in art class, in a French haut-couture magazine from the early 90’s I found a grainy but captivating image. I wasn’t sure what it was but something about this woman dining with this huge red hat really fascinated me. In 2003 I tried to paint the image to the best of my abilities in acrylic paint. In 2005 I found the image again and thought it would be an interesting experiment to paint the photograph again as a measure of my artistic growth, this time in oil paint. In 2006, I had a university painting class where the teacher had asked us to work with repetition. I decided to test my painting skills, but also artistic range once again and painted the “Femme avec un Chapeau Rouge” over twenty times in various mediums and styles. Above is the original magazine image (I drew on the horizontal and vertical lines in 2003 for reference) and the first and second attempts. On the right are a select few of my attempts from 2006.


In the fall of 2009 I spent a month in France. While I was there I was looking for non-digital photobooths (a personal passion of mine, see old post) and was visiting more booths than normal, though I didn’t necessarily have ideas every time I was taking pictures. A week into my trip, in the children’s section of the gift shop for the Musée D’Orsay I found a mask. Being in France and seeing this red had, I was automatically reminded of the magazine photo from years before. For the rest of the trip the mask and signature pose of the woman became a default pose for me while photoboothing. Since returning to Canada I’ve played around with the background in these photos because the background in the original photo is very non-descript and it was always a difficult formal decision to make when painting. The mask is conveniently light and small so it’s been ideal to bring it with me for my other travels this year. I brought the mask on my latest trip to Ontario, Quebec, New York, Massachusetts and Illinois. I’m also going to bring it with me while touring an improv show across Canada in May and when I visit Australia and Japan in July.

Here are some pictures I have taken with the mask during my travels so far.

The next step in the project is to do a stop-motion photobooth animation, done in a similar style to an animation I made with artist Pamela Norrish last year, which you can check out here.

Back from the Woods

I spent the month of February in Saskatchewan, most of that time I was in a cabin on a lake near Prince Albert National Park, up north. I was there all by myself to work on art in an internet-less, cellphone-less and more or less distraction-less environment. I chose to go this lake because my great grandparents bought a cabin there many years ago and the area has hosted five generations worth of family reunions. I spent many of my childhood summers there and I was interested to return as an adult, this time in the starkness of winter and without the company of dozens of family members. In my art practice I’m interested in origin points, familial history and personal meccas; I felt like this place deserved some time and meditation. While there, I worked on a series of landscape paintings (not my usual medium), sorta as a means of reflection, while simultaneously I brewed about other larger, more conceptual projects. I was also interested in being a “Canadian artist” and what that means in a historical context. I couldn’t help but think of the members of the Group of Seven painting the great Canadian wilderness as a means of understanding it. The experience was a very rich and rewarding one, partially for the paintings I did but mostly for the time I had to think about the direction of my practice.

Here are two of the ten oil paintings I made. I’ve sold all the pieces to fuel the next leg of my travels.