1

May/June 2007

Serving the Canadian art industry

www.brushstrokemagazine.com

GOOD DRAWING
IS BASIS FOR

GOOD PAINTING

Dee Poisson

Casey

Dog portraits have huge impact on human Police partners Marketing: Cowboy artist says to watch for pings

Juan Martinez

Maria as Europa

FREE SUBSCRIBE TODAY!

LANDSCAPE COMPETITION!
Details inside

Val Moker

Up N Comers

Publishers Corner
Welcome to the first issue of Canadian Brushstroke Magazine! Ive had about 25 years of publishing experience, so putting out a publication is nothing new to me. What is exciting to me is that I am publishing on a topic about which I am truly passionate. I am an oil painter, and I absolutely love the art industry. This magazine concept was born because I am an information junky, and the topic that I love the most - art - was just not getting the coverage it deserves in Canada. When I asked people who some of the top artists were in Canada, they inevitably hesitated a while and then answered The Group of Seven. Now I sure dont want to take anything away from them - they were incredible artists, but has nothing happened in the Canadian art world since theyve been gone? So, here is Brushstroke. Every second month, we plan to tell the wonderful stories of Canadian artists and share their outstanding images. Whether your brush is a pencil, knife, your fingers, a stick, or what-have-you If youre involved in the visual arts industry in Canada, this magazine is for you. And, if its visual arts in Canada, it will eventually wind up on our pages. We cant cover every medium in every single issue because our magazine would get to be too many pages for an internet file. So, every issue will be a wonderful surprise. What will be in the magazine EVERY issue, is representation from all over Canada. We have divided the country into four: West, covering Alberta, BC and the Yukon; Central, covering Saskatchewan, Manitoba, Nunavut and the Northwest Territories; East, covering Quebec and Ontario; and Maritimes, covering New Brunswick, Nova Scotia, PEI, Newfoundland and Labrador. So, every issue there will be a story from at least one of the provinces or territories in each of the four divisions. Youll see page headings that indicate the four regions. We hope youll love this magazine as much as we love gathering the information and writing the stories. And, please feel free to give us feedback and suggest artists who youd like to see profiled on our pages. Please enter our competitions even if you dont win, you might be the next artist we call to interview. We will have competitions every issue. The first competition (landscape) winner will be announced in the September/October issue. And, please support our advertisers who make it possible to supply this magazine at no cost to you so that we can continue to bring you Canadian art information for many, many years to come. A special thank-you to the very exceptional artists featured in this issue. They have all inspired me and Im sure youll all feel the same.

contents
3 Love of dogs
turns into K-9 commissions
Artist Dee Poisson immortalizes police dogs with her graphite drawings

8 Good marketing
Pings in good art sales
Val Moker says to be inventive when marketing your artwork

- Call for Entries 12 Competition We are looking for artists to fill the pages
of our future issues. So, even if you dont win the competition, your work may catch our eye and you may be one of the next featured artists in Brushstroke Magazine.

15 Toronto artist learns

AND teaches
Juan Martinez says all good paintings are based on good drawing skills, best learned by drawing from life.

21 Genn has the Keys to

the secrets
Robert Genn gave artists some advice for success when he spoke in Edmonton, Alberta recently

25 Healing benefits
PUBLISHED BY JENSU DESIGN PUBLISHER: Susan Blackman
All material printed in this magazine, written or depicted, is protected by copyright of this magazine and/or the artist, and cannot be reproduced in any form without express written permission from the publisher. All views expressed are those of the author and not necessarily those of Brushstroke Magazine. Brushstroke makes no recommendations as to the purchase or sale of any product or service.
2 Canadian Brushstroke Magazine May/June 2007

All letters or contributions to Brushstroke Magazine are subject to editing with no limits or liability. JENSU DESIGN Box 5483, Leduc, Alberta, Canada T9E 6L7 Phone: 780-986-0789 Fax: 780-986-8393 E-mail: info@jensu.ca CANADIAN BRUSHSTROKE MAGAZINE Box 3449, Leduc, Alberta, Canada T9E 6M2 Phone: 780-986-0789 Fax: 780-986-8393 E-mail: info@brushstrokemagazine.com Website: brushstrokemagazine.com

through Art Therapy

President of the Canadian Art Therapy Association Nick Zwaagstra speaks about the impact of art on health.

27 Industry News and

Information

Whos showing where? What competitions can you enter? Who won awards? Heres where you look to find the answers.

WEST

(Yukon, Alberta, B.C.)

Love Of Dogs Turns Into

K-9
CASEY Graphite, 15 x 18 (Member of RCMP K-9)

Commissions
Alberta artist DEE POISSON built her art business by word of mouth after a police dogs death sparked her to commemorate the lives of the K-9 members of police detachments in Canada.

hen most people are asked to describe 'Canadian,' without a doubt one of the first sentences out of their mouths will contain the letters RCMP. Artist Dee Poisson, of Didsbury, Alberta, commemorates the great sacrifices and commitment that specific, four-footed police members have made to our society. And the human handlers have a gratitude that is almost indescribable. I lost my first partner, Gino, (see portrait on next page) in a work-related accident, says Calgary Police Service Sgt. Darren Leggatt. The portrait that Dee resurrected for me hangs behind my desk at home. As I sit here and type I can still feel his presence behind my right

shoulder - like he was in our police car. The portrait just isnt a reminder or a memorial. For me it is like having him here, curled up under the desk, enjoying the retirement he deserved after so many years of service. Typically, a canine member only works for six to seven years because they must be in top physical condition to perform their duties. They live and work with their handlers seven days a week during that time. But, Poisson says, "Animals don't live a long time and it's very difficult for police officers to say goodbye. Somehow, giving them something that's going to last a long time is a fitting tribute to the sacrifices the dog has made." The artist is so busy with canine commissions that she says she won't finish the ones she has now until next fall.
Canadian Brushstroke Magazine May/June 2007 3

LEFT

GINO Graphite, 15 x 18 (Member of Calgary Police Service K-9)

BELOW

SCOUT Graphite, 15 x 18 (Member of Saskatchewan Environment K-9)

Leggatt says the partnership between a canine member and his human handler is a true partnership based on trust. The ultimate goal of safely and effectively locating and apprehending suspects who have committed crimes requires teamwork. Quite simply, a handler and police dog will often spend more time together than the handler and his human family will; at work on patrol, working actual calls for service, training, and hanging out at home on days off. Having a dog (or dogs in my case) as partners has been one of the most rewarding experiences I have had as a police officer. I can never recall one of my K-9 partners who came to work in a bad mood; or were less than enthused to work night shift; or who ever lied to me about something; or ever gave less than 100% when asked to do something. I learned more about myself as a person and as a police officer because of having the opportunity to work with a police dog. For her canine portraits, Poisson works exclusively in graphite, on 140 lb. Fabriano Hot Press paper. She prefers to work almost exclusively with her 8B pencil, saying that others leave shiny areas on drawings. "They don't absorb light at all." With the 8B, Poisson says the drawing "ends up being more like a charcoal."
4 Canadian Brushstroke Magazine May/June 2007

She uses many different types of strokes and says that in the light areas, she uses a lighter touch and in the dark areas a heavier touch. "It's easier than changing pencils all the time." Poisson started doing the police dog drawings after Edmonton Police Service dog, Caesar, died in the line of duty in 1998. That was what she calls "that pivotal moment." Her friend's husband was a dog handler with Calgary Police Service at the time, and the Edmonton dog's death made the artist think about how the friend and her husband would feel if their dog was suddenly killed in the line of duty. "I asked if they had anything good photographs, a painting, a drawing - something to remember their dog by? They said no." Poisson set about resolving that. She created a special drawing of their dog. The friend's husband was so proud of it that he took it to his Christmas party - the rest is history. Her many commissions from police departments and individual members of various police canine units. Sometimes the member wants a drawing of his own dog, and sometimes other members order a drawing as a gift when a member retires or changes departments.

LEFT POPPY 2 Acrylic, 24 x 24 Some of the police departments the artist has done work for include the RCMP, Calgary Police Service, Lethbridge Regional Police, and Medicine Hat Police in Alberta; and the Saanich Police from British Columbia. Canine work has led to other police artwork commissions, and Poisson now has an RCMP musical ride horse drawing to complete. The artist works mostly from photos and mostly in her home studio - Sunfish Art Studio. The studio is an 18' x 13' walk-out with "big windows and my own bathroom." She has a drafting table, a few easels and a computer. She often uses Photoshop (graphic program) to help with compositional problems or to "play' and give her ideas to develop further in her drawings or paintings. In addition, much of her commission work comes in digitally. When the detailed work of the dogs gets to be a bit much, Poisson takes a creative "break" and paints fresh and rhythmic florals and fairly abstract sky paintings in acrylic on canvas. For these, the artist begins with a photo or sketch, "but it ends up being more of a response to what's there." As for her time-developed style; "I love light. I think the biggest thing for me is contrast - between light and dark, rough and soft..." And even her artwork is in contrast to itself. Her highly detailed, realistic dog drawings are contrasted by her large, looser florals and abstracted sky paintings. I like change, Poisson says. I am always changing. The only constant is that I like big and bold colour. I spent a whole day in the Minneapolis Institute of Art and it changed me. I got up so close to some master works that I could almost touch them. The Monets and Van Goghs were phenomenal, but my fascination was with Georgia O'Keefe's work. Even though I don't paint anything like her I loved the idea that someone could paint a flower that big and get away with it. Sort of a contrast to real life. Poisson says she approaches painting by starting with a wide angle hogs bristle brush to start the large areas and eventually whittle that down to a bright that is only about a size two for a small detail. Most of my painting is done with a bright size 12. I start the process by going through reams of photos that I have spent hours taking. Next I draw the image onto my canvas altering it a bit for more artistic style if it is needed. If it is a floral painting, I put in all my background colour which brings the subject space forward. If it is a sky painting, I still paint the background but that ends up being the whole canvas. I paint the shadows of the flower next, then the main flower. Sometimes it will be a case of altering values and blending until it comes together after that.
Canadian Brushstroke Magazine May/June 2007 5

SUN RAYS Acrylic, 24 x 30 (From View from My Deck Series) Sky paintings are usually layers of clouds in translucent to transparent glazes. I like the shapes and sunlight through them. I usually start with heavy body acrylics then layer liquid acrylic with glazing liquid over top for more luminosity. Several layers of glazing liquid mixed with liquid acrylic can really add depth to acrylic painting. I finish with a layer of water and soft gel mixed in equal parts as a separation coat to protect it. I don't varnish because it takes about six months for an acrylic to cure enough to varnish. My paintings are often sold by then. Although family and other commitments occasionally take her away from painting for short periods of time, she says, "I get grumpy if I'm not drawing or painting. It's in me to be creative, but I don't draw the line at the studio door - the creativity goes into my cooking or garden. I see a finished product before it's done." And as for being done, a painting or drawing is done "when it looks right to me. You just know. Sometimes I turn a painting towards a wall and then look three days later and see what my first impression is, or put it in front of a mirror or upside down." Originals have been the mainstay so far, although Poisson says she may one day make a set of prints of police dogs in action. But for now, it's all originals except for Christmas time when she copies a painting onto her Christmas cards. Poisson's concept - Alberta Highway 53, The Artists' Journey - is making headlines in Alberta as she and five others prepare a body of work for shows from August through October. The artists have spent the last year painting a variety of "ordinary" scenes that drivers see as they travel Highway 53 in Alberta. They are now preparing for four Alberta art shows of the Highway 53 works, to be held in Donalda at the Donalda Gallery for the Arts from August 1 to 23, at the Little Church Gallery in Spruce Grove from August 27 to September 8, at the Gallery on Main in Lacombe from September 14 to September 30, and at the Beatty Heritage House in Rimbey from Oct. 10 to Oct. 23. The multi-media traveling show will include a gala opening at each of the four venues where the artists will be present and all are open to the public. Written by Susan Blackman Editors note: Only two weeks after this story was completed, two of Sgt. Leggatts retired police dogs passed away. Our sincere condolences go out to him.
6 Canadian Brushstroke Magazine May/June 2007

DEE POISSON has been an avid artist since childhood and is mainly selftaught. Art wasn't offered in her academic high school, so she took it by correspondence. "That was tough. It was like working in a vacuum with no-one to show you anything." Since then she's taken numerous classes and workshops, read lots of books and "practiced and played." She now teaches colored pencil drawing to her own students. She's been to the school of "hard knocks," but she jokes that she doesn't want to list those. "You just keep pushing and trying and going one step further." Some of those early experiments are still stored in her studio, but she says, laughing, "I'm going to have a bonfire this summer. I have reached the maximum number of paintings in my storage that I don't feel are recoverable. If you have to pay for storage for the paintings that don't work - what's the point?" She has won awards at local and provincial levels, is involved in many art group and organizations and shows regularly at Badlands Gallery in Drumheller. Contact the artist at dpoisson@shaw.ca .

Canadian Brushstroke Magazine May/June 2007 7

CENTRAL

(Nunavut, Saskatchewan, NWT, Manitoba)

Good marketing

PINGS in
good art sales
VAL MOKER of Regina, Sask., believes that being inventive will help artists take advantage of opportunities to show and sell their artwork.
WEATHERED WHEELS Acrylic, 18 x 14 arketing is the key to Val Moker's success. The multi award-winning artist, whose portfolio consists of a significant percentage of cowboy art, says she sets aside a least a couple of mornings every week for marketing. If she is any indication, it is the way to ensure art sales. "With email, it is so easy to market," she says. Although she has shown in several galleries, she targets art shows in Canada and the U.S., and she spends a lot of time on the road with her artwork. Her work is also in Sante Fe Furnishings in Calgary. The shows she particularly targets are the ones with the highest attendance. And, she makes sure to keep in contact with past clients and let them know of any new works. "It seems that they are busy and go from one place to another, but they always seem to check their email." Networking is important, she adds, citing in particular a women's networking group that she attends. "If they need anything, they look first within their network. They really

support each other." "You have to get creative," she adds. She looks for any opportunity that arises, but says you have to be inventive to take advantage of them. Moker calls these opportunities "pings" and says that she finds them by reading the paper, or really paying attention to things in her surroundings. For instance, she says, you may read that "the largest car dealership" is opening up in your area, and if you like painting vehicles, perhaps you can go to the dealership and suggest that they might want a nice shot of the owner and his favorite vehicle against a nice skyline for his showroom. Moker says there has to be benefit to the potential purchaser - perhaps a painting will relax them, make them feel comfortable or be a showcase in their home or business. But, selling artwork won't happen on its own, she says. "You have to put thoughts into people's heads. Sometimes it will happen, sometimes it won't, but sometimes it will snowball and you'll get other business from it."

8 Canadian Brushstroke Magazine May/June 2007

DUSKRIDE Acrylic, 24 x 36

She stresses the importance of artists promoting their work. "You can't just expect to paint and have a show, although that can happen for some. But, usually there's more to it than that. You have to go out and get people to even look at your art." Moker has won numerous awards for her art, and all of the pieces had humble beginnings right in the heart of her home studio - the family diningroom. "It's messy and I used to spend a lot of time cleaning up for company, but then I decided not to - this is my job. My diningroom has wonderful, big windows - I have the perfect lighting - I have everything I need - images, easel and my computer. Everything around me is all reference material. I usually have about seven canvases on the go because I have to wait for sections to dry." "It's the best of both worlds," says Moker. It's central, so she's always near her family and her art. Much of Moker's subject matter is cowboys and the old west. She says she often gets a very surprised reaction from people when they realize she is a woman creating paintings that are, in her words: "Masculine. It's always from the man's point of view." She describes her work as realism. "If there's a person involved in the piece, the person is in detail. The background might be subtle, very contemporary, loose, more

abstract. The focus is on the people. I've always been a people watcher - not necessarily the faces - the bodies, how they walk, how they move." "I'm trying to work towards the history aspect in some of my pieces - trying to capture some history that hasn't really been documented yet." Doing a figurative piece historically requires a lot of research, and Moker also wants "an energy between me and the subject." She creates all the images "in her head" before ever doing any work with the subject, and then, "I'll get them to set up in the positions I want and take photographs." But she doesn't rely only on the photos. "I've always got the model to go back to." Her models often recur in her paintings, but she says four times is the magic number for her. "It seems that four ends it and brings closure for me." "The cowboys I work with are humble, humble men, and the cowboy world is a small world. I'm so fortunate that they've gotten to know me and they help me out (finding other cowboys who will suit her idea for the next painting). I want to capture the essence of who they are." Moker paints every day and produces approximately 20 works per year. "Each painting is a challenge. Some images I might work in my head for a couple of years. I don't move it to the next level until I'm ready.
Canadian Brushstroke Magazine May/June 2007 9

UP N COMERS Acrylic - 24 x 18

"I taught art (grades 7-12) for15 years and I really call that my practice time. Everything I wanted the students to do, I would do. I always used the impressionists as examples, because I loved the colors and I knew the kids would too." Monet is one of Moker's favorite old masters, and Ken Danby, of Ontario, is one of her current-day favorite artists. Moker started in watercolors, but works mostly in Golden fluid acrylics and Artisan Winsor Newton water mixable oils. Her favorite brand of brushes is the Winsor Newton Eclipse. "They're soft and supple and they do what you ask them to do." Her usual palette consists of titanium white, yellow ochre, cadmium red, indian red, olive green, sap green, viridian green, thalo blue, Payne's grey, French ultramarine, raw sienna, raw umber, burnt sienna and burnt umber. "I love red, there's at least a little red in every one of my paintings. It's warm and warm relates to nature." But, there's no usual way of tackling her paintings. "Every piece has a different formula for color, but white is my basic. I'm always trying to get that transparency and white helps me achieve that. I always use white to build my texture - almost like a fresco thing, and I always work with linen. I sketch out the piece in pencil on the canvas, always starting with the background. I complete it before moving into the foreground or main subject. I guess I would be classed as an odd painter because I totally complete a small area before moving on. I have initially planned all the palette colors in my head or on paper, so I get right to the painting without a lot of questions. When I lay down the color, it is with the middle tones; letting the color dry, then work in my dark tones, (let that dry) then my light tones. By doing this I can incorporate the texture. When one section is done, I move unto to the next. I get so excited with creating that I can't wait to see what each section looks like; it's like a little painting ! You can almost say I paint in puzzle formation. That is the process I use for a detailed background.

10 Canadian Brushstroke Magazine May/June 2007

When the background is loose; I usually work medium, then dark and finally light tones; painting the whole background. In this situation, I'm trying to grasp a certain feeling or moment. When the background is done, I proceed into the main subject. I have a system where I always work from left to right or top to bottom, far to close. Some may think this is very mechanical but it forces me to think it through. For example, if I'm working on facial features, I visualize the bone structure and apply the paint like I'm building the face with plasticine. I keep building with several layers, making sure I let each layer dry. I continue all aspects of the main subject matter. Having taught art, Moker has some advice for novice artists. "I always tell people to do what's in your heart - don't go with what other people say. Look in art history books and find work you like. Combine that with your own ideas and make your own favorite art." "Take your passion and stick with it. You have to have a thick skin and keep pushing to better yourself. Learn the basics - light and shadow, perspective, the body and how it works. After you've done all that, you'll find your own way. Buy good products - the best you can, so you'll gain a positive reputation." And, she adds seriously, but with a bit of a laugh, "Have a job on the side while you're doing it."

Gallery For Sale

Established, successful Fine Art Gallery and Picture Framing Centre in the heart of downtown Fort McMurray, Alberta. The thriving economy of the area promises huge potential for continued growth.

The Business:
Art gallery and picture framing operation founded in 1995 Has shown consistent growth and has developed a loyal customer base Located in an overheated economic area of unlimited potential 1700' of highly-visible, prime downtown retail space, and a favourable lease which is renewable Contracts and corporate accounts will ensure its stability during transition of ownership Significant opportunities exist to diversify and expand into other areas by taking advantage of the exploding housing market $425,000 all-inclusive This is a turnkey operation for a buyer with artistic inclinations

VA L M O K E R displays her passion for, and understanding of, human nature in her intimate, figurative works. Full of character, emotion and atmosphere, her art has been awarded numerous times, including the Academy of Western Artist's Will Rogers Medallion Award, the Canadian Portrait Academys Peoples' Choice Award and the Calgary Stampede Western Art Showcase' Best New Artist Award. Her most notable commissions include works for the Motion Picture and Television Fund's Golden Boot Awards, the Pro Rodeo Hall of Fame and Englishman's Boy Productions Ltd. Moker began her art career in the early '80s as a teacher of visual arts, after receiving an education degree and an arts degree from the University of Saskatchewan. You can see more of Mokers art at www.valmoker.com.

The Gallery:
Represents over 40 local, northern and regional artists, as well as fair trade arts and crafts of the third world (i.e. 10,000 Villages ) Specializes in the retail of artist supplies, fine craft, and home decor items, as handled through its storefront as well as its website Has positioned itself as instrumental in setting the tone of the art scene in this, the largest and growing, municipality in Canada Its related services include high-end, state-of-the-art custom picture framing, corporate accounts and consultation

See our website at: www.artworksgallery.ca

Interested parties can make the first contact by sending an email to galleryinfo@artworksgallery.ca
Canadian Brushstroke Magazine May/June 2007 11

CALL FOR ENTRIES

We want to show off Canadas artists, and our competitions will offer us a chance to do that! Be sure to enter your artwork in our competitions - not only do you have a chance to win

Landscape Competition
Competition No.

1
Landscapes Two dimensional drawing or painting medium $15
(You can enter as many works as you would like)

Subject

Medium

$1000 CDN
plus an award certificate, but we also get a chance to see your work and we just may feature YOU in an upcoming issue of Canadian Brushstroke Magazine.

Entry Fee

Entry deadline

July 30, 2007

*Winners and finalists will be featured in the September/October issue of Canadian Brushstroke Magazine

RULES HOW TO ENTER

DIGITAL FILES ONLY Enter with digital print only - on CD only. Do not send digital images via email to our offices - they will be automatically disqualified. You must print off the entry form on next page, complete it, and send it along with your CD and method of payment. If you have more entries than the space allotted, please print another form and fill it out completely. All CDs
12 Canadian Brushstroke Magazine May/June 2007

must be labeled with the artists name, the number of entries on the CD, each of their titles and this issues Competition Number. All files on the CD must be labeled as follows: lastname/firstname/Entry No. Example: John Smiths Entry No. 2 would be labeled smithjohn2. ELIGIBILITY This competition is open to any artist with residency in Canada. All work

must be original, not copied from any other artists work, photographers work or published work of any kind, and must have been completed in the last two years. The work can not have won previous awards or any distinction of any kind. No works created under supervision are eligible. We reserve the right to refuse any entry, or ask for source material at our discretion.

RULES HOW TO ENTER (CONTINUED)

ENTRY FEE/DEADLINE The DEADLINE for Canadian Brushstroke Magazine to RECEIVE entries is July 30, 2007. You cannot courier material to our box number, so be sure to send it in plenty of time (Address is on submission form below). The fee per entry is $15 CDN, which can be paid by VISA, cheque or money order. the fee MUST be included with the CD and entry form submission. The entry fee is not refundable. COMPETITION JUDGES The competition entries will be chosen by Canadian Brushstroke Magazine, and/or qualified judges of our choosing. PERMISSION TO PUBLISH Signing and submission of the entry form, digital files and payment will constitute permission for Canadian Brushstroke Magazine to publish your artwork(s), your name and information in our magazine, which is released on the internet, and copies archived on our website on the internet for as long as the publisher wishes to keep the archived editions on the site. Submission of the entry also constitutes the entrants acceptance of all competition rules. The winner and finalists will be notified by e-mail, and their work will be published in the specified edition of the magazine. The judges decisions are final. Canadian Brushstroke Magazine does not accept any liability for color variations that may occur as a result of different computer screens. The artists will always be properly credited.

E N T R Y F O R M

Phone number:

E-mail:

PLEASE WRITE VERY CLEARLY

Entry 1
Title: Title:

Entry 2
Title:

Entry 3

Medium: Size: (hxw)

Medium: Size: (hxw)

Medium: Size: (hxw)

I enclose my cheque or money order for the total fee of $15 Canadian PER ENTRY OR, please charge the total sum to my VISA: _______________________________ EXPIRY DATE:_______________________Signature______________________________
I solemnly declare that all the works listed on this entry form are my own original artworks and I own the copyright to the work and to all source material used in creating this artwork. I understand the entry, including the form and CD, will not be returned, and I understand the entry fee is nonrefundable. I have thoroughly read and agree to all competition rules, and I understand I am granting the rights to publish my name, the artworks listed and information in an upcoming issue of Canadian Brushstroke Magazine and that the issue will be archived for an undetermined amount of time on Canadian Brushstroke Magazines website: www.brushstrokemagazine.com.

Address

Please PRINT name clearly

Postal Code

City/Province

Signature

Please mail this form and the properly labeled CD (see Rules - How to Enter) with properly labeled files to: Canadian Brushstroke Magazine, Box 3449, Leduc, AB, T9E 6M2
Canadian Brushstroke Magazine May/June 2007 13

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EAST

(Ontario, Quebec)

Toronto Artist Knows How To Learn And How To

TEACH
MARIA AS EUROPA Mixed technique on paper, 12 x 10

Good painting should be based on good drawing skills says JUAN MARTINEZ, adding that the best way to learn is through working directly from life.
he best way to make it as an artist is to be born rich, marry rich, or get lucky, laughs Juan Martinez, reciting an old saying. But none of those brought him to art. Martinez, who now teaches art at the Academy of Realist Art in Toronto, came the hard way. However, he chose the artistic life with a certainty that it was the only way for him. Martinez started painting when he was very young. His father was an amateur artist and painted with him. Martinez says he knew the human anatomy when he was

12 yrs. old. But, he went to school and got a real job - he was an intellectual property lawyer. It's very hard for me to compare it (to art), he says. Im better at this than law. This was my calling - law was not that for me. It wasnt an easy road, though. There were times when I wanted to give it up because nothing was happening. But, he says when artists feel like that, they should keep networking and painting. Eventually something will happen. Perseverance has a lot to do with one's potential success.
Canadian Brushstroke Magazine May/June 2007 15

ABOVE EGGS & PEPPERS STILL LIFE Oil on linen on panel, 12 x 16 LEFT CREAMER & EGG STILL LIFE OIL ON PANEL, 12 X 9

And, If you're not a likeable person, or youre not good at it, find someone else who can do that part for you. Keep relationships good and people will respond to that positively. Good teachers help form good artists, and Martinez says he had one of the best. My main teacher was John Angel, who has a school in Florence, Italy. He taught me how to learn, think and understand what I am doing. I got a lot better - it opened my eyes to what possibilities there are. Ive learned how to learn and how to keep learning. That is what he conveys to his students. And he believes that students must learn first from life drawing. I think its very important when teaching, to stay away from photos and to work from life. It gives you a greater understanding of what is or isnt in photos. GOOD MODELS ARE IMPORTANT He says good models are important and that sometimes portrait subjects dont know how to sit properly for an artist. They think its inactive - that its a motionless thing, but its not doing nothing - its actually an activity; an activity of motionlessness.
16 Canadian Brushstroke Magazine May/June 2007

HUMMINGBIRDS Oil on board, 15 x 15

Reality is that many artists will have to work from photos, especially for portraits when the subjects don't have the time to sit, but Martinez believes you must first learn from life and you will be better able to decipher the problem areas that photos present. When he paints models, sometimes they tell him that he made them more beautiful than they think they are. Im fine with that, he says. I try to make the most beautiful work of art that I can and, in turn, that seems to get interpreted by models, or sitters, as their being more beautiful. For portraits, Martinez works with a relatively limited oil palette and arranges his colors from left to right, and from cool, to earth colors, to brights. He starts with Lamp Black, and prefers Winsor Newton for that. He then puts his blues and greens - Ultramarine or Cobalt and Viridian Green, which he likes in his flesh tones. He prefers Old Holland Burnt Umber, which goes next and Winsor Newton or Maimeri Raw Umber. English Red or Terra Rosa and Cadmium Red are next, followed by Yellow Ochre Pale, for which he prefers Winsor Newton. Last are his whites - a lead (Flake White) and Titanium White. I use more Flake in the earlier stages of painting and

more Titanium in the later stages. The Flake is a beautiful mixing color and when it dries it makes a flexible paint film. ARTIST PREFERS TONED SURFACE His approach to painting is different depending on what he is painting. In all cases I prefer to start on a toned surface. I havent done it in everything, but I prefer it. Every single color is darker than white. With a toned canvas you can compare your values more readily. For alla prima painting, it doesnt matter so much, but if you aren't going to end up covering the whole canvas, I'd still prefer a toned canvas. His painting is done in layers. Starting with a toned canvas, I start to indicate placement of objects or figures. I use an earth tone to draw, then I start to separate shadows and lights. Even if Ive done studies, I start to work right on the canvas in paint. I go back with color and add the average tones that appear. I keep shadows as monochromatic and monotone as possible and have vivacity in the lights. I dont worry about the ins and outs and creases. Let that dry.
Canadian Brushstroke Magazine May/June 2007 17

DRAW MORE CAREFULLY AT THIS STAGE Then put in local color - a red shirt or green shirt. I use no medium at this point - maybe just a little mineral spirits to thin my paint. Let that dry. Now I get more particular, more careful with my drawing and my color. I might add a bit of medium. At the end of this stage, from 20 feet away, your painting should look finished. And at the final stage I do the more delicate blending and small nuances and details. For medium he uses one part stand oil, one part linseed oil and 1/2 part mineral spirits. The medium lets you blend one paint into another more easily. After everything he has done dries, he says he may still darken his darks or lighten his lights in small passages, to better harmonize the whole. He may spray on a thin coat of Winsor Newton gloss (retouch) varnish after a month or so. And finally, about six months to a year later, he varnishes with Gamblins Gamvar picture varnish. ABOVE BARBARA AROON Oil on linen on board, 24 x 20 Awarded Certificate of Excellence, 2006, Portrait Society of America - Art of the Portrait Conference INDICATE WHAT YOUVE DONE In talking with conservation experts, Martinez says the best thing artists can do is say on the back of the painting what has been done, ie: painting finished May 1, 2006 varnished May 1, 2007. Even if you end up having to varnish much earlier, putting the date on the back of the painting allows conservators to later clean or care for your painting easier than the alternative, which is guessing what you might have done. Martinez is an efficient and relatively fast artist, but says he isnt as prolific as other professional artists because he spends a lot of time teaching. I dont spend 100 percent of my time on my own work. I do lectures, writing, etc. I do my computer work in the morning, I work out after that at the gym, and by noon I can start painting - but it could be on my own work, or teaching. He works steadily, but with regular breaks. I dont work for eight hours with my paint brush glued to the canvas. I paint, look, take a rest, contemplate. I paint fairly efficiently when I do paint, so every hour or so I take a break. ACADEMY OF REALIST ART At the Academy of Realist Art, Martinez says all students, whether seasoned artists or rank beginners, they start off the same way with the same drawing exercises, working from casts, and they apply the lessons they learn working from life. We build on the strength of drawing.

BELOW IL PROFESSORE Oil on canvas on panel, 36 x 26 Winner - Grand Prize Best in Show , 2003 Portrait Society of Canada - International Portrait Arts Festival & Competition

18 Canadian Brushstroke Magazine May/June 2007

This is crucial, he says, because, We don't admire a painting as much if its beautifully rendered but out of proportion. His students thrive on the atmosphere in the school, and on Martinezs instruction. Student Kate Stone says, The classes are characterized by a lot of bustle, dueling classical music blaring from opposite ends of the studio, and spontaneous lectures from the instructors, for multiple or individual students. Juan is a very fun teacher. Hell quote Saturday Night Live and tell you to fix your values in one breath. Recently he moved his personal studio into one of the private studios at the back of the school, and since then hes been able to teach by example. I pop in quite often to see how he develops his paintings. Before being a teacher, though, Juan is an artist, and it is inspiring to the student body in general to watch a professional at work. Chantal-Andre Samson has been studying with Martinez for many years and says there is a strong sense of camaraderie at the Academy. Juan plays a key role in creating this atmosphere. He is very generous with his time and eager to share his extensive knowledge of materials and of the artistic process. Always cheerful and enthusiastic, he is extremely supportive when we are discouraged. His use of humor enlivens the classroom. As Juan likes to remind us, a key skill of the artist is the ability to see, and he spends much of his time pointing out subtleties in form, tone and color that our untrained eyes overlook. In this way, rather than simply telling us what to do, he involves the student in solving problems through a better understanding of the form. The Academy is a place of learning, where students exchange information and engage in discussions about art, but also occasionally open a bottle of wine and unwind together. Martinez says most students get through the program in about four years. The Academy is currently not an accredited program, but Martinez says that talks are in the works to try to make that possible in the near future.

KINGSLEY OWEN Oil on linen on panel, 18 x 15 JUAN MARTINEZ is represented by Andreeva Gallery in Sante Fe, New Mexico. He does a significant amount of writing and did a six-part series of articles on the 'Academy Way of Painting' in International Artist Magazine recently. Unlike what he would have done as an intellectual property lawyer, happily there's no retirement in the picture for Martinez. "As an artist, I'm basically going to work until I die." For more information: juanmartinez.com

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Canadian Brushstroke Magazine May/June 2007 19

Get outside and paint!

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Watercolors, acrylics, oils, pastels, drawing and more! And when youre finished, pack all your supplies together and roll it home! Made of strong Canadian Fir, this unique easel allows the artist the choice of sitting or standing while doing their artwork. The handy storage compartment holds all necessary supplies and the detachable wing tables make for easy access to your mediums while you work. Adjustable front leg allows for accurate balance on uneven ground and tested for individuals up to 250 lbs.

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Pictured below: Canadian artist Jack Ellis demonstrates the Banff easel

20 Canadian Brushstroke Magazine May/June 2007

ARTIST APPEARANCES

SELF-PORTRAIT WITH EMILY CARR 24 x 30- Acrylic on canvas

Secret?
Mediocrity loves company, says Robert Genn. So, he recommends that artists go to their rooms and spend time alone, learning more and discovering their uniqueness.

Genn has the Keys!

obert Genn, of Surrey, BC may very well be the art worlds own stand-up comedian. Perhaps thats a bit of an exaggeration, but the renowned, very prolific artist keeps his audiences laughing when he speaks publicly about his artwork and The Painters Keys, a book he has authored. Genn, hosted by Alberta Society of Artists, spoke at the Edmonton Public Library last month.

Canadian Brushstroke Magazine May/June 2007 21

CHATTERBOX FALLS 30 x 34- Acrylic on canvas

About 10 years ago, Genn says he held a workshop in Kelowna, BC. It was a 10-hour workshop - five hours each day. A woman at the workshop had recorded the whole workshop. I listened and I thought - this is fantastic. He knows what hes talking about and hes funny as hell. So Genn got someone to type it all out and then read it. I thought - its terrible, hes opinionated, its totally confusing. So he had a friend in New York pull it all together and it was eventually published. Youre looking at a guy whos never had a job, says Genn, who painted his first painting at four years old and has never looked back. He averages a painting a day, every day of the year and paints in oils and acrylics. Now, with many years of creating artwork under his belt, Genn says that the most common question he gets asked is, Whats the secret? The usual response to that is: There is no secret. But, Genn says, There are some secrets. People want to know how to get away with murder - how they can make a life out of being an artist. A person like myself has been blessed. Im tremendously curious about what I did yesterday, and Im tremendously curious about how to fix it. Genn got paid for a painting for the first time at age 15 yrs. I couldnt believe I could get $15 for something that gave me such joy. Im going to tell you what I think the secret is...Go to
22 Canadian Brushstroke Magazine May/June 2007

your room. He believes that much of what an artist learns, they must teach themselves by constant practice. While courses can help build technique, Genn says the best way for artists to develop is by themselves. Mediocrity loves company, he says. Every great artist is a perennial student to his own work. The most valuable thing we have in our studio is our own personal process. Find something thats unique - that is the thing that drives you into your studio. Canada is one of the greatest countries on earth for artists, Genn maintains. A lot of people say Canada doesnt support its artists. He disagrees, saying that we are a blessed country in that we have lots to create, with the diversity of the country, and that we have the freedom to express what we want to. Art collecting in Canada is alive and well. It is a very healthy free-for-all, commercial gallery-oriented country. Weve got no reason to complain. He says that he believes research was done that indicated more than 90 percent of what happens in visual arts in Canada happens in commercial galleries. As for how to become a great artist, Genn has a sevenstep plan that he believes will help all artists. 1. Strategy: Plan your year, your week, your day. 2. Work: See yourself through your work and your work becomes you. 3. Set or series: If you get an idea, follow it through and explore it as far as it takes you.

MYSTERY POINT COUNTERLIGHT, LAKE OF THE WOODS, ONTARIO 30 x 34- Acrylic on canvas 4. Clock: Have structure to your day - be conscious of the magic of time. 5. Alone: Anyone can walk into your studio and tell you what is wrong - you have to fix it. Youve got to learn to carry the ball yourself. 6. Rejection: Remember that, although there can be a fair bit of rejection, theres also going to be some acceptance. 7. Distribution: In order to be successful, it has to be good art and there has to be somebody else who thinks its good art. And, preferably, this person should be in a position to sell it. He also recommends a couple of ways to better evaluate your art. The first is to leave work on the easel overnight. Even if its close to done, dont put the finishing touches on it until morning. This will help get you motivated easily in the morning, rather than facing a blank canvas. Genn uses a second easel in his studio and he says this is a good means to continue to evaluate your art as you work on your primary easel. When you rest, or catch the work out of the corner of your eye as you paint, you may solve issues that you werent able to see before. Use great reference materials from different aspects of your life, and the best reference material is that which the artist gets himself, he says. Paint on location, and draw stuff right out of your imagination. Your work becomes stronger.

Genn also writes a twice-weekly newsletter for artists via the internet. You can visit his website at www.painterskeys.com.

Canadian Brushstroke Magazine May/June 2007 23

Gallery starting recovery process after roof collapse

When the dust settled and inspectors deemed it safe, all artwork was able to be removed from the Prairie Art Gallery, where the roof had collapsed in March, and Director/Curator Robert Steven says there is not expected to be permanent damage to any of the artwork. But the crisis is not over, he says, it's just beginning. Stevens had arrived for work at the gallery in Grande Prairie, Alberta and noticed a crack in the central beam of the main gallery. He quickly cancelled a pre-school tour scheduled for that day, made sure the building was evacuated and notified all the proper safety personnel and the City of Grande Prairie, which leased the historic building to the gallery. He also was responsible for saving a large amount of the artwork on display. Although it was reported he was a hero for saving lives, he humbly says," I'm very confident no one would have been hurt. But I still do feel good that I did save the art." The permanent collection on the lower level was trapped for a week. All works on the upper level were trapped for two weeks after the collapse. Without heat in the severely damaged building, the winter temperatures threatened the artwork. But Stevens says all of the handling of the artwork was handled by a professional conservation company. "I felt we did everything the best we could given the circumstances." All the works were loaded onto trailers to warm them gradually. Stevens says, "There was some damage to a few works, but not many. There should not be any permanent damage to any works." The permanent collection is still safely in storage on a trailer, and the exhibition works are all now being returned to their owners or sent on to the next exhibition locations. The art gallery is now dealing with what to do next. It is now located in a small office space that the permanent collection just fits into, and, although it's not perfect, they are trying to make it accessible to the public in the interim while the new location is being dealt with which is expected to be at least 16 months. The collapsed historic building that the gallery was located in had been originally restored by the gallery. The City was going to build a brand new facility including the gallery, public library and a multi-use and leasable space, and parking. It would have incorporated the historic building as "the cornerstone of the major new city complex." So, Stevens now wonders if it is possible to incorporate any of the damaged building, or if that will reduce the space they were hoping for in the new facility. For the time being, all artist exhibitions have been delayed, but they will be invited back in the future when the gallery gets back to business as usual. While they wait for that to happen, Stevens says they are "looking at non-traditional exhibitions that don't require traditional venues - parks, internet, etc. Perhaps artists, etc. might be interested in suggesting options, because we're wide open at this point."

William Rodgers Workshop

Long Pose Nude Figure Painting in Oil Aug. 16-20 2007, Thurs.-Mon. Limit 12 students

Cost - $600 US
This extended pose will teach the artist the full process of executing a finished painting in a studio situation. In the first session Mr. Rodgers will explain and demonstrate how to set up the model, lighting and materials. Next an explanation of how to begin the study of the model and then moving on to initial block-in and gesture, drawing techniques, refining the study to begin painting, and modeling the form in the final painting. For more information call (after May 22) Shairl - 499-8730 email: shairlhoney@interbaun.com or Cindy Revell - 662-3088 Email: cindy@cindyrevell.com To find out more about William Rodgers go to www.americanclassicalrealism.com

24 Canadian Brushstroke Magazine May/June 2007

MARITIMES

(NFLD/Labrador, PEI, Nova Scotia, New Brunswick)

When people have a hard time expressing themselves in words, art therapy can open the floodgate to healing.

NICK ZWAAGSTRA President Canadian Art Therapy Association

THE IMPACT OF ART:

Healing benefits through Art Therapy

rt Therapy can help people to express their feelings, solve problems, increase self confidence, and deal with issues that are hard to discuss, says Nick Zwaagstra, President of the Canadian Art Therapy Association. It can also be the path to emotional growth and to reducing anxiety. Zwaagstra, who lives in Halifax, NS, says some art therapy is done as a group concept, and some art therapists work individually with clients or with families. In the group concept, says Zwaagstra, Part of what might go on would be to provide children with ways to learn new assertiveness skills and increase selfesteem. We help them imagine themselves to be

confident and welcomed. the children might use the art to create a vision for what that would be like or how it would feel. The therapists also arrange and participate in community projects, such as murals, or art-creating workshops in a safe environment for street people or people with mental health issues. With individual clients, the therapists might be working with them to find the inner meaning of their art on a deeply symbolic level, Zwaagstra adds. Although all therapy is extremely confidential and he cant release too many details, he cites his experiences with a developmentally challenged young girl who was limited in her ability to express herself verbally.
Canadian Brushstroke Magazine May/June 2007 25

(Art therapists are also artists. This Mandala was created by Zwaagstra in acrylic. Mandalas have cross cultural significance and are often symbolic of wholeness and integration. Zwaagstra says a mandala is also a very important archetypal healing image. )

Therapy with respect...

The therapy is done in a safe way, with respect. I honored her and invited her to say a little - as much as she was able and when she was ready. She had been abused by her fathers friend. She had a particularly stylized way of creating people. Somebody trusted was conveyed differently than somebody who wasn't. Somebody she was scared of could be bigger. Other things can give great indicators to trained art therapists about issues of greater concern, he adds. If there is lots of repetition, jagged lines - I might wonder about anxiety, but I get hunches about more serious issues indicators because of my experience and working closely with many clients. Often, people are referred to art therapists by other professionals who, in their work with the clients, have found that the clients best express themselves visually. Some of the pertinent issues that art therapists help people work through include grief and loss, sexual abuse, dealing with disabling injuries, and the list is endless.

A new vision...
The process of the therapy usually involves simple art materials such as pastels, pencil crayons, tempera paint, clay, etc. We invite a person to create something. When finished, they might pin it to the wall and I might ask them to tell me what you see. I might suggest they pretend I am a blind person - how would you describe it. I ask what kind of feelings they had while creating it, and Id pay attention to their facial expressions, posture and grimacing and so forth. I would encourage the person to honor the image and metaphorically let it speak - give it voice. Zwaagstra worked with a man who received a head injury while working in industrial -type employment. After the accident, although he was reasonably functional he wasnt able to work a full day, he experienced fatigue, and a high level of anxiety and frustration.

Let the image speak...

When they first worked together, says Zwaagstra, The art that he did was partially about grieving the life that he had known before the accident. Later, his art represented a new vision for new possibilities and challenges he wanted to take on. While there are many methods of getting help with issues, Zwaagstra believes art therapy is a viable mode of expression for those who cant talk about their problems readily. It simply goes beyond what words can convey. For more information, visit the Canadian Art Therapy Association's website at: www.catainfo.ca.

No good art allowed...

Sometimes in art therapy it can be beneficial for the clients to have a bit of an art background in order to closer relate the image that is in the mind's eye, but it is usually possible for the process to work without any formal training. In fact, says Zwaagstra, When I work with people who have a lot of fine arts background, I have to negotiate and give them permission to not be perfect by suggesting No good art allowed. Sometimes a quick sketch can be just as meaningful in giving them some realization of themselves.
26 Canadian Brushstroke Magazine May/June 2007

news & information

BRITISH COLUMBIA
The Elliott Louis Gallery in Vancouver is featuring Barbara Heller's tapestries until May 20. Barbara Hellers unrivaled tapestries expose discreet struggles between cultures, politics and expression. ....................... Until June 2, Bjornson Kajiwara Gallery in Vancouver is featuring an exhibition of new paintings by Jay Gazley, completing his MFA at Emily Carr Institute of Art & Design; Dougal Graham, founding member of the group Dormice, working out of Italy; Jennifer Lefort and Mark Neufeld, winners of recent Joseph Plaskett awards; Katie Pretti, a successful Toronto artist with a current solo exhibition at Simon Blais Gallery in Montreal, QC. ....................... Daphne Odjig, one of Canadas most celebrated Aboriginal painters and printmakers, was awarded $25,000 for the 2007 Governor General's Award for artistic achievement recently. The jury described Daphne Odjigs work as "groundbreaking", noting her unique voice and her role as a "real champion" of Aboriginal artists. She lives in Penticton. All winners (also listed under other provinces) were also presented with original artworks created by New Brunswick ceramist and sculptor Peter Powning. ....................... Ceramicist Paul Mathieu received the Saidye Bronfman Award for excellence in the fine crafts at the 2007 Governor General's Awards recently. The jury described Mathieu as "accomplished," a "risk-taker" and an artist whose work is based in innovation. Mathieu lives in Vancouver. ....................... Comox Valley Art Gallery in Courtenay is inviting artists to participate in a unique art fundraising exhibition called Fabulous Fakes. The size requested is 8" square to accommodate more artworks in the exhibit. This is an opportunity for the buying public to own a "masterpiece" or a portion of one.

ALBERTA
Trout Unlimited Canadas selection for 2007 Artist of the Year titled "Just Me and the Morning", an 18" x 24" pastel painting, by Joseph Cross, fetched $6500 at auction, the highest amount paid for an Artist of the Year painting. Josephs pastel piece was chosen for its vibrant colors and its depiction of a serene river scene. ....................... Webster Galleries (Calgary) will host the 2007 Mary A. Tidlund Charitable Foundation fundraiser June 6 at 6:30 p.m. The artists of Webster Galleries will donate a percentage of art sales to the Foundation. The exhibition will run from June 6 to 30. ....................... The Art Gallery of Alberta, in Edmonton, AB, has temporarily relocated for several years as its old building is demolished and reconstructed as a state-of-the-art new facility. Its last show - the Free For All - was the talk of Alberta. The gallery invited Alberta artists,

Cindy Revell

Susan Box

Johnson Gallery
7711 - 85 St., Edmonton, AB 465-6171 www.johnsongallery.ca
Canadian Brushstroke Magazine May/June 2007 27

ALBERTA CONTD
of every age and every level of ability, to bring in their art and show it in the facility as its closing show before the wrecking ball hit. It had thousands of art pieces of every medium, size, and subject matter imaginable. The works hung from ceiling to floor and drew steady crowds every day of the threeweek exhibition. .................... Picture This Gallery in Sherwood Park is having their annual Masterpieces in Miniature Show and sale until May 24. A portion of all proceeds of the sale will be donated to the Alberta Cancer Foundation for the Cross Cancer Institute 'Arts in Medicine' program. .................... Newzones, in Calgary, is presenting a solo exhibition of abstract paintings by Saskatchewan artist Jonathan Forrest. The exhibition runs from May until June 30. Forrest's work has been widely exhibited within

Canada and can be found in many public collections. ....................... The University of Alberta Fine Arts Building Gallery and the Department of Art and Design is presenting the exhibition: A Trace of Passage: Kyla Fischer until June 9.

Robertson until July 7. Robertson ponders Christianitys corporate makeover in a series of multiples, rubbings, paintings, hand-tinted photographs, and a modular church. .................... Aganetha Dyck took home a $25,000 Governor General's Award for artistic achievement recently. The jury described Dyck as a "remarkable artist" whose work shows "a great sense of humour and wit." The jury also noted her tremendous influence in the Manitoba visual art community: for 16 years, she has been involved in the Manitoba Arts Councils artists in the schools program, and has mentored nine emerging female artists in their transition into the professional art community. The Governor Generals Award in Visual and Media Arts is her second major award this year: she was recently named the fifth recipient of the Manitoba Arts Councils annual Arts Award of Distinction. Aganetha Dyck lives in Winnipeg.

SASKATCHEWAN
Wendy Parsons work will be touring Saskatchewan until April of 2009. Through a series of large, high and low relief paper clay wall sculptures, she is examining our attachment to farm animals and the land. One Hundred Horizons, A Prairie Centenary Exhibition is also touring as part of the Arts on the Move Program.

MANITOBA
Plug In Institute of Contemporary Art in Winnipeg will feature artist Mitch

Susan Abma

Johnson Gallery
7711 - 85 St., Edmonton, AB 465-6171 www.johnsongallery.ca
28 Canadian Brushstroke Magazine May/June 2007

ONTARIO
The Ontario College of Art & Design (OCAD) welcomes internationally acclaimed artist Rirkrit Tiravanija as its first artist in residence of its new program Nomadic Residents. Tiravanija launched OCAD's new, 1200 square-foot Professional Gallery in April. .................... Prime Gallery in Toronto, ON, is presenting Mitchell Fenton: Lake O'Hara landscapes until May 29. .................... Agnes Etherington Art Centre in Kingston, ON, will feature 16 artists in the exhibition 'Crowd Conscious,' until Sept. 30. Inspired by recurrent images of crowds in recent additions to the Art Centres holdings of contemporary art, Crowd Conscious presents artists imaginings of the social subject. .................... Murray Favro was awarded $25,000 for the 2007 Governor General's Award for artistic achievement recently. The jury described Murray Favro as a "master of transformation" who has made an important mark on Canadian contemporary art. Murray Favro lives in London. .................... From May 31 to June 17, Christian McLeod exhibits a dozen new works, alongside several recent works at Craig Scott Gallery in London. The artist says the title he selected for the show speaks to the tendency of many of his canvases to move in an upward sweep and to painting itself as a language of communication. .................... David P. Silcox was given a Governor General Award for outstanding contribution for his work as a writer, educator, cultural administrator and arts volunteer. He was awarded $25,000. The jury described his contributions as "remarkable and with purpose," and noted his efforts in paving the way for young artists. Silcox lives in Toronto. .................... David Sorensen's colourful abstract work will be in London at the Michael Gibson Gallery until May 26. In the show, "Alluring Horizon," Sorensen paints a landscape that is not filled with trees and water but a scene that expresses a feeling through vibrant colour and shifting light.

MARITIMES - CONTD
Shine,' is comprised of oils and watercolors and one monotype. .................... Recent work by members of The Art Galleries Association of Lunenburg will be featured in a fundraiser to restore the Lunenburg Opera House. The opening reception is May 25, and the show will continue until May 27. Work from 19 contemporary galleries and artists from Lunenburg will be shown.

NORTH - YUKON/NWT/NUNAVUT
The Odd Gallery in Dawson City, Yukon presents a solo exhibition of new mixed media works on paper by Inuvikbased Artist Paul Fortin till June 15. The artist says his paintings are brief glimpses into landscapes and moments that may not ever fully develop into what they truly are. .................... Winners of the Northwestel competition each receive $1500 and their art will be featured on the 2007-2008 driectory covers. Selected works of art are... 1. Oil painting on canvas, entitled "Trees in the Winter at Dusk," by Aidan Cartwright of Yellowknife - NWT directory cover. 2. Acrylic painting on canvas, entitled "Northern Melody," by MarieHlne Comeau of Whitehorse - Northern BC/Yukon cover. 3. Lino-cut print, entitled "Hoo-Hoo," by Toi KubluHill of Iqaluit. It appears on the Nunavut cover.

Joan Bolen

QUEBEC
Abstract painter Fernand Leduc, a major figure in Quebecs contemporary art scene for the past 50 years, was awarded $25,000 for the Governor General's Award for artistic achievement. The jury described Fernand Leduc as a pioneer in contemporary Canadian painting, noting his "total commitment to abstraction." He lives in Montreal.

Johnson Gallery
7711 - 85 St., Edmonton, AB 465-6171 www.johnsongallery.ca
Canadian Brushstroke Magazine May/June 2007 29

MARITIMES - NS/NB/PEI/NFLD/LABRADOR
Until June 3, Paul Healey's work will be exhibited at Gallery 78 in Fredericton, MB. This latest solo exhibition, 'Chroma Heart

Perfect for elementary schools, resident & day camps, youth groups, child care facilities.

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CLASSES AVAILABLE:
Plaster Mask Making Kit (Each artist will make a timeless memory of their own face!) Sculpture Fun (Embellish a picture frame with relief sculptures!) Drawing Exercises (Over 6 different drawing projects!) Sticky Art Fun (Using adhesive colored shapes, create a stained glass effect!) Foam Printing Kit (Make custom greeting cards and lots more!) Learning about Colour (3 Exercises to learn how to mix colors)

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30 Canadian Brushstroke Magazine May/June 2007

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Canadian Brushstroke Magazine May/June 2007 31

the last word...

So you've read through Canadian Brushstroke Magazine and formed your first impression. We have several very renowned Canadian artists in this first issue. Are we covering the stories you are interested in with respect to visual arts? If so, tell us. If not, tell us. We would love your input. This is a brand new product and we want and NEED your input. We are released on the internet, which creates some limitations for size, so we can't have many more pages ever. It would simply become too cumbersome to navigate. That means we have to keep rotating topics that we write about all year long, and it means if we have more advertising support than pages, we'll have to come out monthly. For now, we will release every second month. This issue, we don't have a watercolorist, or a sculptor. That is something that we're working toward covering in upcoming issues. And, we've been looking for someone who is proficient in silverpoint and/or 'scratch art' for future issues. And, of course, that's not all. We want to provide full coverage of art in Canada. We want letters to the Editor, we want your technical questions, and more. If you know of something or someone who you think we should consider for future coverage, please let us know. This magazine is for you - we want it to serve you well. When we sent out the initial information on this magazine to companies (galleries, art supply, manufacturers, etc.) we had a landslide of response and we spent two weeks of full-time days catching up on answering the emails. Faster than we could answer, more were piling in. So, if you email us and don't get an immediate response, please note this is the reason and we will be working diligently to catch up very quickly. The amazing response, though, makes us more convinced than ever that this magazine is needed and wanted in the Canadian art industry. If you think someone else you know would be interested in Canadian Brushstroke Magazine, please feel free to forward it to them. If they like it, they will be able to get their own free subscription in the future by visiting our website at brushstrokemagazine.com, clicking free subscription, and filling out the form. Welcome to our first issue and thank-you for spending your limited time with us. We appreciate and value you as a reader and hope you'll be back every issue.

advertisers index
Artra Art Supplies Co. Ltd. (Educational kits) . . . . . . . . . . . . . .30 Artworks Gallery & Framing Centre (Gallery for Sale) . . . . . . . . . . . . . .11 Artra Art Supplies Co. Ltd. (Banff Travel Easel) . . . . . . . . . . . .20 City of Cambridge (Public Art Project) . . . . . . . . . . . . .7 Faux Depot (Strip FX) . . . . . . . . . . . . . . . . . . . .7 Johnson Gallery (Cindy Revell, Susan Box) . . . . . . .27 Johnson Gallery (Susan Abma) . . . . . . . . . . . . . . . .28 Johnson Gallery (Joan Bolen) . . . . . . . . . . . . . . . . .29 The Paint Spot (Fine Art Materials) . . . . . . . . . . . .14 William Rodgers Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . .24 CLASSIFIEDS . . . . . . . . . . . . . . . . . . . . . . . . . . .31

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Canadian Brushstroke Magazine is free to anyone involved in the art industry in Canada. Whether you are an artist, gallery owner, curator, collector, art supplier, etc., feel free to ask us for your free subscription. We hope youll support the advertisers within the magazine, because their advertisements allow us to give you this product at no cost to you. Contact us anytime at: info@brushstrokemagazine.com Website: brushstrokemagazine.com
32 Canadian Brushstroke Magazine May/June 2007

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