Wednesday, October 15, 2014
Monday, October 13, 2014
SA: What can you say about this body of work on display?
CC: The Birthday Party Paintings is a body of 17 12"x12" oil paintings on board. They took 3 years to complete. Many if not all of the paintings are the result of multiple repainting. Sometimes repainted with new imagery, sometimes painted over with colour blocking, the final images and/or portions of the final images are layered and textured. I think this is a result of time. I gave myself enormous amounts of time to complete each piece. I've been reading a lot of contemporary American writers recently (Wallace, Franzen) and they often write or speak about the importance of devoting long periods of time to specific "problems". The importance of thinking about and around a single concept for a long time. I was very conscious of this idea and chose to make this commitment to the work. I gave myself unlimited time to wrestle with problems related to the image, the use of paint as an art and the source material. I think this approach makes for a strong, honest and thorough body of work.
SA: How did you feel about the opening?
CC: I was very happy about the opening. People came and the paintings were well received.
SA: Why these particular images?
CC: The source material was a series of birthday party photographs taken by my mother. Although we have a younger sister, the kids are primarily my brother and myself as well as our various friends and cousins. I chose these images for several reasons. One is that I don't at age 44 have any children of my own. And so I've missed out on the transition from child to mother somehow. I've had to come to a place of compassion and forgiveness for my parents not through the apparently difficult experience of having children, but by other more abstract means. Also, when I started these paintings I was in early recovery from alcoholism and I found the sweetness of the images and the obvious sweetness of the woman who took those photos a fascinating contrast to what I remembered about my childhood which was marked by my father's alcoholism. These paintings are not solely a reflection of my childhood, but more a consideration of everything I sacrificed because of my alcoholism. I won't go into specifics about those sacrifices, but anyone who has struggled in the same way will know what I mean. Primarily I'm referring to the loss of self that happens with excessive use of alcohol. Alcohol becomes a mask or a disguise that at first is very comforting and very freeing, but it eventually becomes a trap and is very difficult to remove. Alcoholism becomes who you are and it effects your entire life.
SA: Did you choose to display which pieces and arranged them in that order yourself? I noticed image repetitions which I thought was very clever. Are there more works in the 'same collection' that did not make it in the gallery space?
CC: Yes, I chose the arrangement and I'm glad you noticed the repetitions. There was one other painting that I did not hang. I felt it was too negative and since a member of my family was attending the opening I didn't want to upset her.
SA: When do you know when a piece is finished?
CC: I don't know. A piece is finished...at least in this group of work...after a lot of struggle. I think it might be finished when I look at the painting and it feels right in a way that is electric.
SA: Are the pieces for sale?
CC: The pieces are for sale.
SA: Where is your favourite place? - to create?
CC: Somewhere private but also where I can have friends stop by for coffee and talk.
SA: So what about birthdays?
CC: Birthdays are a celebration of life!
SA: What happens now?
CC: What happens now is that I am getting ready to spend the winter in France with my partner Steve. We're very excited but also nervous because of course our French is atrocious. I plan to write, probably documenting my experiences in a blog. I'm thinking I will also concentrate on making drawings, but we shall see.
Exhibition runs through Sunday, October 19th, 2014
Xchanges Gallery | 2333 Government Street, Suite 6E, Victoria | Tel 250 382 0442
Gallery Hours: Saturdays & Sundays 10 to 4pm or by appointment
Monday, October 6, 2014
Communities in Resistance and the Art of Solidarity
Thursday, October 16, 2014 - 12:00pm to Thursday, November 6, 2014 - 12:00pm
Spoken word/performance event is 7:30 pm Friday Oct 24 at 1923
Little Fernwood gallery
1923 Fernwood Road
Thursday, October 2, 2014
Welcome into the art of Edmir Fernandes (EFernandes), a Brazilian born painter, who has been fascinated by the abstract form and movement of colours from his days: as a child, playing with his brightly painted toys or as a scientist, using the colorimetric to determine concentrations by colour intensity; or as a mature artist meticulously painting and arranging pistachio shells in patterns that reveal unspeakable beauty. Wherever he goes and whatever Edmir experiences, he extracts into sensations and patterns of light. In Shiny Happy People Edmir assembled 1,800 individually coloured pistachio shells in a 4'x8' diptych, representing the diversity of people and the colours of skin in search of their ‘planets’. (*)
Painting connects Edmir to the world of colours allowing him to express his loose painting style freely. He works on oils and acrylics, both canvases and wood panels. The work is rich in colours, textures, with hues emanating from multiple layers of paint. He concentrates on getting into a state of “readiness”, creating and conceptualizing the colours and brushstrokes needed to execute his work by setting up the desired variety of materials, which occurs within a state of mind, during which time the artist is oblivious of what is being created. Edmir’s passion is to create paintings for the enjoyment of others and himself.
He says: "I play with contrasts and colours and invite the viewer to feel the painting as a whole, and enter my World of Colours."
Why EFernandes uses Pistachio Shells?
It is because he likes working with their hollow and rounded shapes and their interesting differences. Every little shell is different, but among the diversity, there is one which is similar; like the original principle of twin shells. Other shells can be diversity or unity, discrepancy or harmony, depending on the colours, lines, movements. Every shell piece purposely arranged has its own meaning; which is led by the viewer’s eyes. The delicateness of the shells may be enhanced when they are painted in a diverse range of colours, contrasting light and dark, soothing your soul, enhancing your senses and your imagination. When Edmir chooses bright colours, this is the expression of his cheerful, lively, and radiant personality and the way he prefers to connect to people and to thank Mother Nature for its unspeakable beauty.
|Edmir has a home-based studio under the name EFERNANDES, which is also the signature of his paintings. His paintings are in many private and public collections, to mention Singapore, France, Philippines, Canada, Chile, USA and Brazil.|
You are welcome to visit his comprehensive website full of interesting information at www.efernandes.ca as well as at www.gagegallery.ca
By Craig Spence, Writer (*)
Tuesday, September 30, 2014
September 26 to November 1
Reception Thursday October 2, 6-8pm
Exquisitely rendered oils by Salt Spring Island artist Naomi Grindlay transform the meaning of still life. Her attention to detail captivates the magic of the moment. Awareness of light and beauty of form illuminate her breathtaking paintings juxtaposing floral elements from her
garden with a timeless sense of style.
G E T I N S P I R E D
Life-size photo collages, installations and artefacts show the
beauty and magnificence of these amazing creatures.
G E T I N V O L V E D
Help save elephants: join Friends of Elephant
Earth (FrEE), sign petitions, make a donation.
Panel Discussion - Oct. 5th, 4 - 6 pm
100 Miles for Elephants Trek
G O T H E D I S T A N C E
Would you go the extra mile for a cause you believe in?
Team members of Hidden Places fundraising
treks tell stories of their adventures in Africa.
Limited seating. Dales Gallery - Call to register: (250) 995-3003
G E T I N S P I R E D - G E T I N V O L V E D - G O T H E D I S T A N C E
Opening Night : Oct. 4, 2014 at 4pm
Exhibition Oct. 4 to 21, 2014
October 18 to November 1, 2014
five states of freedom
Christina Battle & Adán De La Garza
multiple video installation, 2014
five states of freedom operates as both documentation of performative actions and a critique of larger political issues. By drawing attention to our distancing of military actions from our own geographical landscape, the work increases conversations about the physical byproducts our military engagements have on domestic spaces. With a high percentage of land contaminated by military development, five states of freedom draws attention to the mainly invisible residues that still preside over the land. Fireworks have a direct tie to the history of artillery and in turn to notions of perceived American freedom. As we continually distance ourselves from directly engaging in battles at home, the celebratory acceptance of fireworks seems almost to be a reminder of this disengagement with the physicality of war.
Shot at various active and abandoned military installations in the United States, the work consists of a series of videos actively seeking out landscapes with histories of missile-based military presence. Focusing on visualizations of the residue of the military industrial complex upon the environment, five states of freedom is an ongoing project.