ELAINE BANERJEE

Born Elaine Chandler 1951 in Winnipeg, Manitoba.

From 1977-1981 I studied ceramic sculpture, woodcarving and life drawing at Symposium School of Art on Clifton run by Wayne Brueckner. At this point I was selling my work as Elaine Bauer.

Five years ago, I began volunteering in the clay area of Artbeat Studio. While mentoring the artists I am able to do my own work which has been on display at the end of each month session.

My objective is to find unique ways to express motion, emotion, design and balance using the human form.  I am addicted to the creative process and enjoy challenging myself and the clay.

About Elaine Banerjee

To request a catalogue of additional works, please contact us at info@gurevichfineart.com.

EDWARD BECENKO

My abstract compositions are a way of expressing my internal thoughts and perspectives on life. Life is layered with feelings, emotions and images. Through my art I try to capture the essence of those images through colour, depth, texture and form. As an abstract artist I create works that are engaging yet personal to me. It is a form of communication without words. I feel art draws one in and that you are always in it its presence. Using acrylic, pigment, water colour, gauche and other innovative media; my abstract variations range from works on paper, image transfer, collage, monotype printmaking to medium and large scale paintings on panel.

About Edward Becenko

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MICHAEL BOSS

I have been obsessed with motorcycles since I had my first ride down the back lane on my uncle Len's Harley at age 4. Since I became a rider, a few years back, the obsession has grown. I hit the road every chance I get. The experience has, naturally, worked its way into my art practice. I have been doing large scale oil pastel drawings of my bikes and those that appeal to me. I find pastel the ideal medium for this work; it is situated between painting and drawing; it allows me to work broadly and quickly; capturing the power and vitality of these machines without getting bogged down in details. There is nothing like roaring down a winding road on a bike, feeling the rush of the wind, being immersed in the sights, sounds and smells around you. I aim to relay a sense of the physicality of the experience in this work; the freedom and inspiration that flow from the "heavy metal thunder".

About Michael Boss

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PHILLIP BRAKE

Phillip Brake is a Winnipeg artist. Originally from California, he came here to marry a Winnipeg girl in 1978. The original plan was to stay in Manitoba for two weeks followed by a return to California. It never happened. Not long ago he ended a long career as an art instructor to do art full time. He doesn’t care much for Winnipeg winters but he’s still married, has some good friends and is doing something he loves. He’s very happy.

Artist’s Statement

Art has always been and continues to be an exploration of my creative spirit. I draw inspiration from the wide world around me. I see beauty everywhere and the variety of themes in my art reflects that. A long career in teaching art has provided me with exposure to a wide variety of materials and artistic processes.  I like working with many materials including wood, stone, plaster, clay, paint, dye, glass, paper and silk.

Some years ago I was exposed to the unusual process of painting with dye on silk. I was instantly seduced by the vibrancies and intensity of colors attainable.  Forests, flowers, faces and rusty old trucks all command attention on silk. It’s a difficult medium to work with, a bit like trying to ride a wild stallion but the results can be worth it.

I also love the scratchboard process that allows the artist to reveal light instead of adding shadow.  Scratchboard is initially all black with a white coating underneath. Each scratch reveals the light hidden below.

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MINI DAVIS

My first and favourite choice of discipline would have to be drawing, since I was a little boy, the prospect of creating a title page, posters, cards, drawings etc. has remained a paramount means to expressing myself.  

Over the years I have maintained an exploration of mediums and materials and a range of themes such as cars, pop culture, landscapes, people and music. This may fall into the context of applying irony and duality in whatever it may be that I'm trying to say. Most of my images created are either invented or interpretations of other artists work, for some time, I was greatly impressed with the American artists Basquit, Herring, R Kitja, Larry Rivers. Lately, it has been artists from the old world, I suppose because of the remarkable skill and ability they disciplined from nothing impresses me more than good drawing and draftsmanship.

I feel as an artist, it is important for myself to maintain this capacity of which I developed from formal training in Fine Arts, after that, producing loose and expressive works on paper is my trade-off, or reward, it simply becomes an exercise in fun and imagination.

About Mini Davis

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DAN DONALDSON

Making art, for me, is done out of necessity. I am addicted to it, and need it like a junkie needs a fix. I honestly find myself going through ‘art withdrawal’ if days go by without painting or drawing, or art-making in some form. I have been drawing since the first day I was able to hold a pencil, and painting for just as long.

If I’m able to alleviate people’s minds from whatever concerns or issues are troubling them, I do it with a sense of whimsy. Humor plays a major role in my work, even going so far as to poke fun at art itself, as though it were a living, breathing entity. It’s my way of keeping art in check, and a reminder not to take myself too seriously. 

My latest work has been dealing with random patterns and textures, which I create myself, as well as a sense of detachment from any pre-conceived or planned ideas for works I may create. For years I have been using found imagery such as clip-art, comics, or advertisements as the starting point for my work. Lately, with my “Drawn Collage” series, I have been creating my own imagery, and drawing or painting it in a style that mimics the look of a ‘cut and paste’ collage. You could say, I’m going backwards from my usual approach to art…which is good. Playing around with different styles and mediums is important to me, as it keeps things fresh. I have no desire to become the master of any one particular genre; that is to regimental for my taste, and there are far too many different approaches to art making that I would like to try. The creative ideas in my head are like problems or puzzles that need to be solved… and the answer to these puzzles dictate the style and mediums I will choose to complete them.

About Dan Donaldson

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AGANETHA DYCK

Aganetha Dyck is a Canadian artist who is interested in environmental issues, specifically the power of the small. She is interested in inter species communication. Her research asks questions about the ramifications all living beings would experience should honeybees disappear from earth.

Dyck is using apiary feeder boards and hive blankets to develop her new body of work.

About Aganetha Dyck

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JOHN ERKEL

Biography

John Erkel was born in 1945 in Budapest, Hungary. He now lives and works in Winnipeg, Manitoba, and became a Canadian citizen in 1965. After attending the Illinois Institute of Design in Chicago, Erkel became an interior designer and a self-taught artist. He has taken some welding courses which speak to his work with metal. He has worked in silkscreen, mixed media painting as well as plastic and metal sculpture and reliefs since 1972. 

Erkel’s work has shown in group and solo shows throughout Canada and parts of Europe.

To request a catalogue of additional works, please contact us at info@gurevichfineart.com.

CLIFF EYLAND

[This text has been published in many versions since the early 1990s.]

When I was a student at the Nova Scotia College of Art & Design, I made installations of various kinds in the school's library. In 1981 I cut up Arneson's History of Modern Art into file card sized pieces and then spent two months inserting these cards amongst the file cards of the School library's catalogue.

This project had sources in conceptual art, in an early 1960s file card piece by Robert Morris, and in the work of artists who are systematic about what they do like On Kawara and Daniel Buren. The work also had and has to do with the history of painting. The library projects I did at art school reflected my thinking about the organization of art and documentation in libraries and art galleries, and about how libraries work. 

Before I had made the piece using the chopped-up art history text, I had begun to use 3"x5" file card sized supports for painting.

As I paint I have always tried to make successful individual works. Afterward I think about the cumulative project which, since 1981, is made up of thousands of paintings and drawings the same size.

Jorge Luis Borges' stories "The Library of Babel" and "Funes the Memorious" had a bearing on my original impulse to make file-card-sized paintings in 1981, but if I once thought of myself as a librarian painter -- maybe one of Borges' "Librarians of Babel" -- I now aspire to Funes' atomized vision of the world, in which things represent each other in a precise way.

The beginning of my work in file card sized paintings and library installations coincided with the historical demise of the library card and the replacement of card catalogues by computers; I don't dwell on the metaphor of a file card sized work as a "library" card when I paint.

Sometimes I think of my individual paintings as being like one Cubist facet broken off from a larger painting the way a hologram breaks up: in a hologram, each fragment contains a whole image. Of course, this "Cubist" thinking does not always extend to the stylistic aspects or content of my individual paintings. Many of my paintings are self-conscious dream-works made with an interest in the history of artists who have worked in the same way.

I try to make a whole image as I paint, a painting which can exist on its own. In contemporary culture we get many "whole" images, but it is difficult to make sense of them. As I continue to paint and draw, I keep in mind that first big project in the N.S.C.A.D. library, as if I am making my own art historical grid.

The small format of my paintings has led me to study, among other subjects, English portrait miniature painting, Indian miniature painting, and the manuscript illuminations of many traditions. This small size has affected the way I look at all art, big and small.

I have made abstract "samples" which resemble tiny excerpts from larger abstract or figurative works or the details of paintings reproduced in conservation books; landscape paintings; figure paintings; portraits; collages with photographs and found objects; paintings and drawings of women I have been close to; many drawings of my parents, sisters and brother and friends.

Once I begin painting using a 3"x5" piece of sanded and primed 1/8th" Masonite and acrylic paint, but more recently I have used thicker MDF panels. I also make many drawings on paper. Sometimes I begin by pasting photographs and other materials on supports; I also make watercolours on watercolour paper. I have glued colour photocopies of paintings onto gessoed wood and painted over them, sometimes with added bits of close-value colour. I keep sketch pads bigger than my favorite format, sometimes cutting a sketch down to size or reducing a drawing by means of photocopy machines. Some paintings are reproduced as black and white or colour photocopies for further painting. Since 1999 I have made computer drawings using the Adobe Illustrator drawing program. (I like the fact that a computer vector drawing has no inherent scale and that, big or small, it has the same high resolution.)

Usually I compose images out of my imagination as I paint and draw. I also paint from life, but more often I work with an image that gets formed before my eyes in the painting without using models of any kind.

I have a discipline about work which permits me to produce art no matter what my circumstances. Sometimes I work on a painting for several years, but sometimes the work congeals into something acceptable in a few minutes. Work on individual paintings is absorbing enough for me to quickly forget that my 3"x5" format never changes.

I never forget that this project is absurd. There is negation in my work, a Dada impulse that grows out of my veneration for a fractured European tradition that includes everything from Renaissance art to Marcel Duchamp.

The paintings are given titles (or not) after they are made. I often group works thematically for exhibitions. I have also made new versions of paintings to illustrate poems and stories. (Although I rarely accept illustration commissions, I am interested in challenging high art proscriptions against illustration.)

Titles are always post-facto things, and the uses I put paintings to in exhibitions are also post-facto. For me, the work of public display and interpretation is curatorial work, whether I do it or someone else does it. Arranging my paintings in an exhibition is an opportunity for work on other levels. I have encouraged curators to show the work in ways that interest them: Susan Gibson Garvey at Dalhousie Art Gallery in Halifax once showed all the paintings in their storage cabinets. Michael Lawlor of Struts Gallery in Sackville, New Brunswick, jammed the paintings together on one wall; in Saint John's, Newfoundland, Marlene Creates placed the paintings in Eastern Edge Gallery above and below eye level. I usually show the paintings unframed along one line at eye level, with generous space around them, but I have also installed the paintings in other ways, for example as points on a wall, or even as captions to works by other people, as I did in 1994 in an exhibition at the Confederation Centre Art Gallery & Museum and in 2000 at the Art Gallery of Nova Scotia.

About Cliff Eyland

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CAROLE FREEMAN

Born in St. Boniface (now Winnipeg), Canada, Carole Freeman holds degrees from the University of Manitoba (BFA Honours, Dean’s Honours), and the Royal College of Art (MA), School of Painting, London, England, tutored by Peter de Francia, E.H. Gombrich, Norbert Lytton, Phillip Rawson, and John Golding, with a residency at the Cite Internationale des Arts, Paris.

Noted exhibitions include Selections 2012 – 2016, Walnut Contemporary, Toronto; Portraits of Facebook, Edward Day Gallery, Toronto, opened by Jordan Banks, Director of Facebook Canada, with Facebook executive and public participation at the Portrait Painting Party during the run; Women’s Art Now, with works by Helen Frankenthaler, Elizabeth Peyton, plus, opened by Judy Larson, former director of The National Museum of Women in the Arts; Classical Values: Modern and Contemporary Drawings, with included work by Picasso, Matisse, Klimt, Hockney, plus. Three exhibitions of celebrity portraits were featured during the Toronto International Film Festival (2010 and 2011). Participation at ArtToronto (2014 and 2015), Canada’s largest international fair, included paintings featured in talks by art historian Holly Mazer, Fox (BA, Yale University, MA, Courtauld Institute of Art).

Freeman was invited to present her art practice to The Canadian Arts Summit (2012), a national leadership forum that yearly brings together the chief executives, artistic directors, and board chairs of Canada’s 50 largest not-for-profit cultural institutions, on the panel Making Art in the Age of New Media, moderated by Janet Carding, former Director CEO, Royal Ontario Museum, The Banff Centre, Banff, Canada

Commission work includes Jeremy Chilnick, commissioned by film director Morgan Spurlock, Leslie Sacks, commissioned for the publication “African Art from the Leslie Sacks Collection”, Skira Editore, Italy, and Nine Drawings of Man Friday, Collection Lord and Lady Glentoran, Dublin, Ireland.

Surprise Appearances, a sixteen-page profile of Freeman’s paintings written by Gary Michael Dault (former art critic Globe and Mail), was published in Arabella, Summer Issue, 2016. Freeman’s work has also been featured in The Globe and Mail, and The National Post, as well as blogs and websites such as Artoronto, ArtDaily Newsletter, ArtSlant, Akimbo Art and Tech Blog, ArtStars, Berkshire News, Los Angeles Magazine, Visual Art Source, and the Canadian Art Database.

Freeman is the recipient of grants and awards from the Canada Council, University of Toronto, and Royal College of Art. Her work is represented in private, corporate, and public collections throughout the U.S.A., England, Ireland, Italy, Australia, and Canada including Canada Council Art Bank and York University.

Freeman presently lives and works in Toronto, Canada.

About Carole Freeman

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Sue Gordon

Winnipeg artist Sue Gordon's ethereal encaustic work bares the weight of her nostalgia for the prairie horizon. She now seeks to tell stories of longing associated with the increasingly disconnected world of social media set against her dramatic landscapes.

Borrowing from cinematic or photographic mood, Gordon employs purposeful shifts in value and contrast as layers of wax and ink are built up and removed. This body of work can be seen as the visual form of Pathetic Fallacy, John Ruskin's term for the literary device which attributes human emotion to nature, often anthropomorphizing landscape.

About Sue Gordon

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Robert Guicheret

Graduating from the University of Manitoba with BFA in 1977 Robert Guicheret paints oil on canvas. Heavily influenced by Matisse and Picasso his works, though seemingly simplistic, contain a boundless energy. His choice of rich colour pallets create a parenthesis within the real world - a forgotten paradise. Currently Guicheret resides in Texas. 

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KYLE HERRANEN

Canadian interdisciplinary artist Kyle Herranen studied Classical Animation at Sheridan College (1997) before earning a BFA at York University (2004) and receiving his MFA from the University of Regina (2008).

Kyle produces a range of work including: installation, paintings, performance and sculptural objects. His work is invested in notions and concepts of material. Using materials as signifiers, he subtly interrogates hierarchical and dichotomous categories, including urban and rural, public and private, real and representational, masculine and feminine, modern and contemporary.

Kyle was included in Mind the Gap! (Dunlop Art Gallery), a National touring exhibition featuring prominent emerging artists.  In the fall of 2012 Galleries West named Kyle one of Canada’s “Who’s Who of Collectable Artists”.  Herranen has exhibited both provincially and nationally, and his art is featured in numerous corporate, private and public collections across Canada and the United States including the Mosaic Corporation, the City of Regina, and the Dunlop Art Gallery.

Kyle currently lives and works in Regina Saskatchewan and is represented by Darrell Bell Gallery in Saskatoon, Gurevich Fine Art in Winnipeg, and SLATE Fine Art Gallery in Regina.

About Kyle Herranen

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LISA JOHNSON

Lisa Johnson graduated with honours from the Ontario College of Art and Design, where she also won the prestigious Mrs. W.O. Forsythe Award for 4th year women painters in 1996.  Lisa Johnson’s work has been shown in solo and group shows throughout Ontario and she has over 200 works in private and corporate collections in U.S.A., Europe and Canada.

"She is a modern romantic poised halfway between the world of purely painterly dreams and visions of grand mysterious Canadian places." 

--Robert Kameczura, Chicago
Big Shoulder's Magazine

About Lisa Johnson

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Japanese Kimonos

Kimonos are ancient Japanese robes, but they are still popular in Japan today. These vintage women's Furisode and Kakeshita style kimonos were traditional formal attire worn by young unmarried women. Imported from Japan each silk kimono features intricate oriental scenery and floral patterns which acted as indications of social status and personal identity. The customary butterfly sleeves are weighted with a touch of padding at the hem and again along the bottom to ensure the piece trails slightly and lies properly. Authentic and charming, each kimono is a piece of living art and rich history.

To request a catalogue of the works, prices or additional information, please contact us at info@gurevichfineart.com or 204-488-0662.

Words and Photography: Brett Howe

Make-Up: Sarah Gurevich

Hair and Head Pieces: Meghan Kinita

Stylist: Daniel Gurevich

Model: Michelle Beltran for Panache Model Management

Kimonos and Location: Gurevich Fine Art

See The Feature From Charcoal Collaborative
 

MARIELOUISE KREYES

Born in Lobberich, West Germany, Marielousie Kreyes came to Canada in 1951 and by 1957 was a Canadian citizen. She studied at the University of Manitoba, School of Fine Arts, 1959-63, under Professors Robert Bruce, Swinton, Bjeljac, Eyre, Williams and she was awarded her diploma in art in 1963. She held solo shows at the Albert White Galleries, Toronto (1965) and the Yellow Door Gallery, Winnipeg (1965). Kreyes exhibited in the Second Annual McLaren Acquisition Show (Winnipeg, 1966) and the Travelling Show of the Manitoba Society of Artists (1967). She won the Gold Medal and Grand Prix Du Salon International de Vichy (France) 1961 and an Award in Sculpture from the University of Manitoba in 1960. Kreyes lived in Selkirk, Manitoba until she passed away on September 2, 1983. 

BILL LOBCHUK

Bill Lobchuk is not only an artist but he also a facilitator for other artists and their work. From 1972 to 1975 he was President of the Canadian Artists’ Representation, Manitoba and National Representative of Canadian Artists’ Representation from 1976 to 1978 and the National Director from 1978 to 1980. He was a member of the Manitoba Arts Council from 1974 to 1976, President of the Canadian National Committee of the International Association of Art, (1977 to 1980) and was on the Advisory Committee to the Gallery Oseredok in Winnipeg. 

Bill’s work, and the work by many other artists produced out of the Grand Western Canadian Screen Shop, have received much notoriety in Canada, and have been exhibited nationally, as well as in Poland, Yugoslavia, Holland, Norway and Japan.

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TOM LOVATT

No statement by an artist should be read without caution. Even the most sympathetic viewer confronts the fact that statements most often measure the distance between what the artist intended and what has been achieved. Into this space the unwary artist too often puts one foot, then the other, into his or her mouth before disappearing entirely in a void of grandiose claims and hyperbolic expression. 

Bearing that in mind: 
I believe art comes from art. For this reason I have a great interest in the history of art; and in certain artists and even more specifically, certain paintings by certain artists. Part of this interest is in technique; it can be nothing more or less than understanding how an artist painted a hand or a piece of drapery. The other part of this interest is in the process of how meaning is created by the artist. And even more importantly, how that meaning changes over time.
In some ways it’s like taking an image apart to see how it works- as if it were a clock. And in the process of putting it together again, it’s meaning changes along with its appearance so that it is never quite what it started out to be. And this process is of great interest to me.

What it is to the viewer depends on their view of history. If the past is merely ‘over’ then the work will offer very little. But I think the historical past is no more ‘over’ than the personal past. What would any of us be without our memories of what has come before? And if that holds true at a personal level, by extension, does it not also hold true at a cultural and historical level?Are we not all involved in figuring out the past at some level and giving it meaning?

That’s what I’m trying to do. And because I’m an artist I do it with paint.

About Tom Lovatt

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JILLIAN MCGILLIVRAY

Artist Statement

My paintings are an attempt to transcend our physical world. I have chosen to use snapshot photos of personal nostalgic places of the past and present to inspire my paintings. Through painting these moments, I can monumentalize the memories, hopefully shifting them beyond the familiarity of the photograph. The play between abstraction and representation is evident, as I continually search for the unfamiliar to surface. 

My paintings allow mistakes to exist in a visual space. I aim to produce art that meets its viewer on a plane of equality; to link us or draw us closer to a sense of our own daily lives. My interest is less in a historical critique than in an attempt to construct a language, creating a fresh encounter with painting. 

 I am extremely interested in how painting has the ability to slow down our thought process, breaking down representational imagery into abstraction.  I love the softness and fluidity of paint and continue to experiment with the physicality of the medium.

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MILOS MILIDRAG

www.milosmilidrag.com

There was an important period in my artistic education when I realized that the strictly representational held little to satisfy my creative curiosity. If I had to pinpoint some of the earliest and most important influences in my work, they would be the following: French Fauvism (mainly Matisse); the Russian Creative Experiment (Malevitch, Kandinski); and the Modernist trailblazers, such as Picasso, Mondrian and Klee.

These influences inspired the last major cycle of Minimalist painting produced in my native Yugoslavia under title From White to Whiteness – a title drawn from scriptural quote “From White we come, into whiteness we disappear.”

Since arriving in Canada, I have been exploring new avenues in my work, inspired by a combination of tough new challenges. There is mixed emotions of saying goodbye to my homeland; the difficult memories of the war I have been through; and the day to day struggle of finding a place for myself in the artistic life of North America.

Recently, my work is a product of my contemplation about colour as a painterly phenomenon. Starting, sometimes from real, but more often imaginary landscapes, colour has led me towards the new, the unknown and the never-before-seen. I have not endeavored to describe; rather, my venture was to create. Freed from all influences, my works have evolved into purely tactile and visual experiences.

About Milos Milidrag

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SONJA ROSENBERG

Born and raised in Winnipeg, Manitoba, Sonja studied Jewellery Design and Metalsmithing at the Nova Scotia College of Art and Design University (NSCAD) in Halifax, where she received her Bachelor of Fine Arts in 2012. Her work at NSCAD was inspired by elements of erosion, decay, and regrowth in urban and rural environments, with her initial interest in sculptural concepts continually influencing her work. One of her current endeavors deconstructs her undergraduate work and is represented by a limited production line.

Sonja has showcased her work in Halifax, Winnipeg, Toronto, and Arizona, including regular exhibits with the Manitoba Craft Council (Annual Members and Juried Exhibitions, 2012, 2013), a Winnipeg Art Gallery Trunk Show (2013), Toronto International Jewellery Festival (2013), Rough Cut Solo Exhibition (2012), and at the Society of North American Goldsmiths Conference (2012, 2013). Her work has been published in the Opine Canadian Juried Student Exhibition Catalog (2013) and “Larks 500 Art Necklaces (500 Series)” (2013). She has been a recipient of the Millennium Scholarship (MB, 2008) and holds professional memberships with the Society of North American Goldsmiths (SNAG) and the Metal Arts Guild of Canada (MAGC).

Sonja currently resides in Winnipeg, where she houses her studio, actively creating pieces for both exhibition and private commission. She plans to take her production lines to the One-Of-A-Kind trade shows, and continue building an independent body of work in preparation for graduate school.

About Sonja Rosenberg

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MIRIAM RUDOLPH

Artist Statement

My prints are visual diaries that narrate my experiences and perceptions of different places I have been to. It is important for me to experience my surroundings very consciously, to be aware of details and to render the essence of a place in my artwork. Beneath the narrative of memories and perceptions lies the concept of my search for belonging that I experience after living in three different countries and cultures. My work shows places that I feel connected to and serves to document, to evaluate and to remember. I use a mapping method which has a lot of symbolic meaning for the search of belonging, because maps facilitate searching, way finding and revisiting. The map-like structure of my prints allows me to build up a narrative of different experiences simultaneously. Also inspired by maps is the repetition of similar shapes that resemble cartographic symbols. 

While the prints about Winnipeg have become an important element in my connection with the city in making it my home, the prints about Paraguay illustrate all I don't want to forget and all I want to hold on to. Some of work is more about the physical experience of a place, while the more autobiographical series is about my psychological and emotional experience of a place. 

Biography

Miriam Rudolph was born and raised in Paraguay, South America. In 2003 she came to Winnipeg to study Fine Arts at the University of Manitoba where she did a double major in painting and printmaking. She graduated with a Bachelor in Fine Arts with Honours in 2007 and Bachelor of Education in 2010. Miriam received several awards from the School of Art, including the Lynn Sissons Memorial Award (2006), the Heintz Jordan Printmaking Award (2006), and the Shanski Award in Fine Arts (2005). She also received several production grants from the Winnipeg Arts Council and the Manitoba Arts Council. Miriam currently lives and works as a printmaker in Winnipeg where she has had four solo shows and numerous group shows. Most recently she has shown her work at Martha Street Studio, Winnipeg, in Montreal, Washington D.C., and Ottawa.

To request a catalogue of additional works, please contact us at info@gurevichfineart.com.

BUFFY SAINTE-MARIE

I love to make music, paint, draw, I even like to paint the walls in my house. I paint every-thing. Furniture, flower pots. There’s something about feeling drenched in color that I can just about taste, that’s how much I like it, and it’s not like work: it’s a rich experience, like melty chocolate.

Digital painting… ahhhhh! It started to become a passion with me in 1984 when I first played with MacPaint on my firstMacintosh, a little 128k machine that I’ve always kept. I could save multiple versions, combine this with that, cut and paste, save and carry around on a floppy disk and take on the road. I haven’t stopped being happy ever since.

This collection of paintings were done between 1984 and 2011 Some paintings started out as paint on paper or canvas. Some started out as a photograph. Some started out as an attempt to paint something with a mouse instead of a brush. All of them contain more than one technique. I go in and out of the wet studio and the digital studio. Paint and scan and print and paint some more, etc. Another thing, inside my computer I can make my digital brushes any shape or softness I need, and my digital paint any colour, and consistency, and any pressure is available to me, just like my wet studio, only with custom tools I can make myself.

These paintings unintentionally represent kind of a history of digital art programs including MacPaint, SuperPaint, Painter, PixelPaint, and Photoshop. None were made as advertisements, but all as fine art: i.e. for the passion of doing it for hours and hours, just like mu-sic, and while you’re doing it you find lots to like, lots of lessons learned.

Sometimes I fall in love with a painting while I’m doing it. Something about the colours, zooming in and out of so many levels, the way that pixels work together to create some colour you never would have thought of… multi-dimensional, like an orchestra of pixels all blending together to create a whole new colour experience which none could do alone. It’s a nice metaphor for building anything.. a world, a family.

For me, both images and music can be full of both philosophy and emotion. Sometimes emotion is the whole point: it’s what powers the vehicle that carries the content. It’s the propulsion, the magnetism, the attraction the listener feels to the song or the painting. I feel it too.

One thing all these works have in common, they all combine layers of different realities as well as techniques - photographic, scanned objects, digital painting, real world painting, and layers of ideas and emotions too. Some of my paintings of elders look shattered, as if we can half-see them like ghosts through several levels of their shattered worlds. Pink Village can make me cry. I felt certain feelings whenever I’d work on it. Elder Brothers too. I felt so honoured to work on that painting, like I was with them and their relatives. I scanned in my own eagle feather fan that Ed Calfrobe gave to me when they gave me my name, as a gift to the two brothers from long ago, passing the scanned image of the real feathers into their digital universe and time. In the image, it’s like they are between their own past world, and our world now as we look at them, and the future world of new technologies enhancing our access to past generations… all at the same time.

Paintings are more or less the same thing as songs. Same brain, different toys. Some have deep meaning, but some don’t. Some are just playing with line and colour and design. Cooking up something with the ingredients you have, sea shells, fishes,paint, ideas.

-- Buffy Sainte-Marie

About Buffy Sainte-Marie

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KAE SASAKI

In my work I seek an imaginative revitalisation of the narrative and atmospheric potential of painting. I use the commanding ability of painting to create visual worlds that are both familiar and extraordinary, rooted in everyday corporeal and spatial experiences. I am drawn to overlooked moments and seemingly uneventful places of lived experience, from where I strive to create a heightened sense of the visual and cultural specificity of painting and its evocative and persuasive powers. 

With subjects from real life as well as literature I begin by first considering the composition and approach to colour; as the psychological component takes over, symbols and other elements are added to bring them forward so that the paintings would open up in a multi-vocal way. Gold and silver leafs have been dominant choice for my painting surface, and patina-as-paint method cultivates multi-cultural imprint while its rustic appearance suggests yet embraces decay of cultures. 

About Kae Sasaki

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TIM SCHOUTEN

Tim Schouten latest series is aski nipay. Working with KC Adams they spent time on Treaty 5 land, Tim painting the landscape and relating to events surrounding and words in the Treaty. KC Adams produced powerful portraits of Ki-tah-pah-tumak aski ethinewak (keepers of the land)

Tim also spent time travelling to Spirit Lake Dakota Nation and living off and on there for short periods getting to know people and searching for ways into this project as a non-native Canadian artist. He had never lived on or even visited an American reservation before. He had only a passing knowledge of American politics, history and geography and the American Indian Movement.

Schouten’s encaustic pieces are unflinching and determined in their presentation. Typographic and landscape works highlight his experience of how life is lived today, stripping away nostalgia, racism, and history-based anger. The work considers the joys as well as the difficulties faced by northern reservation inhabitants. His large encaustic paintings survey the Spirit Lake Reservation’s Northern Plains country. It is this contrast that makes Schouten’s work illuminating and heartbreaking at the same time.

About Tim Schouten

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EVA STUBBS

Biography

Eva Stubbs was born Budapest, Hungary in 1925 andimmigrated to Canada in 1944.

Through drawing and sculpture installation, Eva Stubbs incorporates the human figure into much of her work as she expresses what has been described as "her intense concern for humanity" (Shirley Madill, 1987). This concern has ranged from feminist to technological issues, to an interest in the forms of ancient civilizations and their place in history.

Silent Voices (1982-83) is a series of crude female forms, features carved on their faces and bodies with a series of scratches and marks that cause them to resemble ancient or primitive carving and sculpting.

Memories for the Future (1987) consists of ten monumental seated figures and five large carved and painted clay columns. Painting her sculptural surfaces with oxides and colourants, and incising them with lines Stubbs's surface treatment underscores the affinity her sculpture shares with archaeological findings.  In an interview with Robert McKaskell in April, 1993, Stubbs described this work as "a strong female carrying the burden of society on her back." Also in 1993, Stubbs held an exhibition in Hungary with Caroline Dukes, entitled Pillars and Arches: The Art of Caroline Dukes and Eva Stubbs, exhibiting Memories for the Future and subsequently donating it to the Vasarely Museum in Budapest. Multiples (1995) is a sculptural installation consisting of phallic and womb-like forms and reflects the artist's exploration of contemporary issues regarding male-female relations, and the implications of scientific developments for fertility and reproduction and its impact on the family unit. Using pieces of piano wire, an old paddle and a sock darner, Stubbs initially fashioned these sculptures out of clay and later cast them into plaster.

In 1984 Stubbs was commissioned to do a series of bronze panels for Winnipeg’s Law Courts building. In addition to her sculptural practice, Stubbs has taught art at the Winnipeg Art Gallery and Lakehead University and was a founding member of SITE, a gallery cooperative. She was also a mentor in the advisory program for Manitoba Artists for Women’s Art.

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DIANA THORNEYCROFT

Diana Thorneycroft is a Winnipeg artist who has exhibited various bodies of work across Canada, the United States and Europe, as well as in Moscow, Tokyo and Sydney. She is the recipient of numerous awards including an Assistance to Visual Arts Long-term Grant from the Canada Council, several Senior Arts Grants from the Manitoba Arts Council and a Fleck Fellowship from the Banff Centre for the Arts.

Her work has been the subject of national radio documentaries and a CBC national documentary for television. Thorneycroft's photo-based exhibition, The Body, its lesson and camouflage was on an eight city tour from 2000 to 2002. A book by the same name was published.

Thorneycroft's work has been included in the 2002 released Phaidon Press publication Blink, which presents the work of 100 rising stars in photography. They have been selected by 10 world-class curators, each proposing 10 photographers who they consider to have emerged and broken new ground in the last five years.

Canadian Art Magazine selected Thorneycroft's most recent body of work "Group of Seven Awkward Moments" as one of The Top 10 Exhibitions of 2008.

About Diana Thorneycroft

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DALVIS TUYA

Dalvis Tuya’s works involve taking a step back to see the full picture emerge, and a step forward to see the tiny, repeated patterns of smaller images that form the whole. Recreating mass behavior and ordinary objects of everyday life Tuya expresses humanities preoccupation about time and immortality and how the individual is inseparable from the society. Using simplistic tools, his minimalism pieces evolve into a sketch that goes from a micro icon into its macro form creates a dialogue about our place in society.

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MARIE DORIS VALOIS

Marie-Doris Valois has been painting and showing her work since 1992. Trained in an intuitive approach to drawing and painting, for several years now she has been fascinated by the techniques of the great masters at the fine arts school MISSION RENAISSANCE in Montreal. These techniques have helped her to enrich her own artistic language. She has also studied color and painting with artist Francine Labelle in Montreal. Previously, she created a line of ready-to-wear women’s clothing and bed linens, all hand-painted. For 17 years she exhibited her creations at salons in Montreal, Quebec City, Ottawa and Toronto.

Her passion for artistic creation, her dynamism and her highly-developed organizational sense served her well in the establishment of the ÉCOLE D’ÉTÉ, arts et métiers d’art de Mont-Laurier in 1998. She worked for seven years in this unique setting combining creation and exploration.

She now organizes workshops where the unique expression of each participant is recognized and valued.

Artist’s Statement

A landscape rendered by spontaneous figurative strokes, a piece of live Nature that dances and sings at the touch of the artist... this is what my work is about. I like to transpose and reinvent what I see, what I feel. By my perception of things, I renew the landscape that I have appropriated. My work seeks to show life in all its movement. I leave myself open to the effects of the light as it falls on a particular element, to the play of its shadows…

A rapid stroke of the brush, elaborate colors inspired by Nature, my constant source of inspiration, plunge the spectator into a visual poem. These same colors, with their naïve dimensions and connotations, find their place spontaneously in the composition. The dabs and splashes applied to the canvas become masses of color that assume recognizable shapes: the subject is figurative without erasing completely the trace of the strokes that gave it life. Like reality, the oberver’s perceptions change, according to the mood, or to the light.

My technique is inevitably based on early as well as more recent training and practice.

Beyond this, I feel the influence of several contemporary figurative artists. The works of the great masters have also inspired and nourished my artistic development.

By exploring and experimenting outside the bounds of a preconceived visual notion, I aspire to a personal, original style. By keeping my feet on the ground and my head in the clouds of my imagination, I hope to take the spectator on a trip to a world where anything and everything is possible, the world where I explore the instantaneous of the changing image.

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ADRIAN WILLIAMS

Not known for following traditional art rules, Adrian Williams is recongized for his quirky drawings and paintings that point toward the ridiculousness of North American culture. A founding member of Winnipeg’s Royal Art Lodge (1996 – 2003), Williams has become a staple for Winnipeg’s flourishing arts scene.

Working primarily in ink and paper as well as collage, Williams’ works are as humours as they are anxious. Created from folklore, historical objects and vintage print material his drawings offer philosophical and fantastical narratives of characters caught within their own discontent. Through a host of faceless characters each piece becomes its own morose and humorous reality. 

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KEITH WOOD

After exploring the width, breadth and depth of acrylic and oil paint for almost 30 years, in 2006 I started using the “encaustic” medium (pigmented molten wax.) I wanted to explore a new medium and apply its attributes to my work.

Encaustic is light – a key element of my work. To take advantage of the attributes of the medium it is best to work in transparent layers. Unlike oil or acrylic, the added pigment is suspended in the molten wax as opposed to being emulsified. The refraction of light through the layers of wax creates the appearance of light coming from within the work.

I work in the abstract genre, broad natural forms with evidence of the process and stages of development the work has emerged from. I rarely do preliminary sketches or drawings. If I want to capture or retain a thought I usually write it as opposed to drawing it.

Every painting has an intent which one must sense, then act on. Just as a jazz musician dialogues with his instrument, creating a work of art involves an intense dialogue with the work throughout the process.

About Keith Wood

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BETTE WOODLAND

The paintings begin with a response to a particular experience of the landscape, figure or still life. The works are not descriptive in the photo-realist sense, but evolve intuitively, guided by an involvement with a certain quality of light used both to reveal objects, and as a way of making certain feelings intelligible.

About Bette Woodland

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SHANNON YASHCHESHEN

My current work is figurative, and heavily influenced by new media and digital technology, such as computers, the internet, cell phone photography, print technology, and social media. It is also pays close attention to the ways in which we communicate online today, celebrity and popular culture, and art historical and contemporary definitions of portraiture. Many of these influences stem directly from my personal background in fine arts, commercial photography, social media, graphic design, and new media, which are areas that I have direct experience working in, and have studied comprehensively.

About Shannon Yashcheshen

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