I AM LOUSY AT ABSTRACTION

I am a realist/impressionist/representational painter. I like painting subjects to look like recognizable subjects. In recent weeks I have been faced with an uncommon task, painting a theme. A client asked me to paint two trees with interlocking branches and roots as a symbol of a marriage union. This will be a wedding gift soon. That is, if I don’t destroy my two attempts first. If they survive and if my client likes one of them well enough, we will complete the sale. I am sure that I am harder on myself than the client will be, but I can’t be certain of that either since Christine, my resident art critic keeps pointing out features needing improvement. It’s been an exercise in self-realization. I am less able to imagine images to convey concepts than I thought I was. I have greater respect now for aboriginal artists who capture the spirit of nature and creatures, and for cartoonists who visualize thematic interaction between people. There has been some artistic enjoyment in this work and a strong dose of frustration. Since I was told that the engaged couple are deeply committed to their Christian faith, I have painted subtle symbols such as the Holy Spirit superimposed as a dove in the foliage of the joined trees, and the tree roots sunk into the foundational principles and truths of the ten commandments and the assurance of Christ’s divinity with the open tomb underground. The paintings are coming along, with more fine touches to be added. Yes, I did two paintings and that will give my client a choice. She can have them both but she can choose the one she will gift to her friends. Upon completion, I can hardly wait to get at my next two commissions, true subjects that reflect light and create shadow. I would be a lousy and dissatisfied abstract painter even though I often appreciate some other artists’ work.  

I PAINTED IN FRANCE

A NEW LEARNING
Inexperienced as I am with plein air painting, I didn’t do much on the spot work while Christine and I were in France. I believe she expected me to paint more during our seven weeks. I took acrylic paints along, a small watercolour container, a sketchpad with heavy watercolour paper, brushes, one 11X14 inch frame on which to mount canvasses, and twelve 11X14 in. canvas sheets which I cut from a large sheet of primed canvas before the trip.

Here are pictures that I completed while I was in France and they are described on my website.






I think part of my reticence at plein air painting is not only inexperience but the need to be less exacting. I must reassure myself that it is okay to paint simply and without great detail and to do it quickly. Usually such paintings serve as resource for later more developed paintings, but most artists are willing to sell these uncomplicated works and I have them modestly priced on the website as well. Someone has already asked for one of these precisely because it is minimalist. I daily learn something new.

I think that I will try more outdoor painting now that I am home. Carrying the necessary equipment is easier here. Murray Phillips, one of my accomplished artist friends has made a practice of painting outdoors, often an overnight as frequently as once per week. His paintings give indication that he knows his subject matter, pristine BC woods, rivers and fields. Barbara Boldt, a Fort Langley artist has established a reputation based on her exploration of coastal island rock formations. Robert Genn is a prolific Crescent Beach based painter whose videos tell the idyllic story of a man and his paintbox sitting in a forest or on a seashore and bringing back beauties. Come to think of it, just about every local artist I know is better at it than I am; Darren Perkins, Jack Turpin and Perry Haddock.

IT'S CLEARING 20X24 in, acrylic on canvas, $300 unframed; $400 framed

A NEW LEARNING
This is a scene of the White Rock marina at the end of the pier. It was an overcast morning but the skies were promising fair weather and at least a couple of sailors were out early preparing to leave their mooring.

Technically this painting was one severe pain. The perspectives were ridiculously challenging. At one stage it sat for weeks untouched on my easel because I couldn't summon the courage to try to correct what I didn't like. In fact I couldn't identify what was throwing me off. It is as finished now as I will make it but I am still not satisfied with the outcome. Doing it again I would do it differently, design it differently and use different strokes. I suppose that can be said about most paintings other than the exceptional ones, which are perfect and you know it. Other people have said they think this is nice work so I will live with it. My challenge was the angle from which I was trying to render this scene, standing on the deck of the pier looking down and with the dock slanting away from me at an angel toward the far shore and the many boats tethered together. It was too complex a painting for me at this stage. I will do a better job next time I am certain but I will limit my subject.

On Display in MP Suhk Dahliwal's Office

A NEW LEARNING
Surrey Arts Council invited artists to offer to hang paintings in some public offices. I inquired further and was told that Member of Parliament Suhk Dahliwal’s Surrey Office suite required eight paintings. So, I have my paintings on display in this moderately busy office where many from the Indo-Canadian community in particular come for consultation and counsel.

One of the themes that I have chosen to paint is the agricultural work being done in the lower mainland. In recent decades farm ownership has changed. Many Asian families and more predominantly Indo-Canadian families have purchased these produce and fruit farms. This is noteworthy to an artist because of the striking imagery of bamboo hats and turbans among the vines and fields and atop tractors working the land.



I recently painted three paintings that capture these diligent workers and enterprising businesspeople. Painting them has also caused me to do some research on who these new farm owners and workers are, where they have come from, and what kind of Canadians they are. This information is exhilarating and encouraging. We are a pluralistic country and proudly so.

I was told that quite possibly someone coming into Mr. Dahliwal’s office might want to purchase these paintings. I would of course love that.

PROUD OF ALEX COLVILLE

A NEW LEARNING
Alex Colville does not expect anything beyond this life. In the end we are all dead would summarize his view. Perhaps he might say that he has received honours and tributes enough to compensate for an afterlife. Do I wish that Colville embraced a biblical view of heaven. Of course I do. Colville is 89 years of age, has struggled with prostate cancer and bowel cancer and has a valve replacement in his heart.

He has said that his lifework is his effort to ask one question: What is life like? As Colville puts it, "You spend your whole life telling people what it's like to be alive." In order to affect this Colville has examined his surroundings of the Annapolis Valley, the shores of the Minas Basin, his home and his family. His children have been some of his models and Rhoda, his wife of 60 years has been the subject of many paintings.

He is very much aware of his age, the imminence of death, the legacy he lives and the manner in which his mortality inspires his paintings. He understands that his work has stirred interpretation and sometimes controversy, telling the CBC's Life and Times "what troubles people about my work, in which they find mystery and intrigue, may well be the idea that ordinary things are important."
CBC has done an impressive interview with Mr. Colville recently and I felt privileged to watch it on my television. Canada is proud of this artist of provocative pieces which are recognizable around the world.

Days Old , She Sleeps.

A NEW LEARNING
JWW Turner believed that poetry and painting flowered from the same fountain. I think he was correct, at least in my case. Here is the painting I have just recently completed to commemorate the birth of my granddaughter two years ago to my much loved daughter in law Gina. The poem describes what I saw as I painted it.

DAYS OLD, SHE SLEEPS

Long awaited she came, first a wife for a son
Then a daughter for them both
A sister for their boy.
She let me enter that chamber
Where birth happens and is seen,
Not usually by fathers in law
But on this occasion I was there.
I saw Kadence come into the world
A new sight for older eyes
Another life to love and nurture.
And now on one of those following days
The two girls sleep
Gina and her child.
'Kadence' meaning “with rhythm”
Is rarely given
So Kadence with a K she is
A strident girl, a girl with a voice
A girl who will be heard
A girl who will sing and laugh
And make parents proud
And give grandparents joy.
They sleep now, one only days old
But soon we will wonder where the years went.

Kadence this Christmas is two years of age.

Starry, Starry Night - Vincent van Gogh - I wish I had known him

A NEW LEARNING
Of course many of us amateur and semi professional painters identify with Vincent van Gogh on some levels. We know what it is to think and dream about painting, to struggle over the composition and achievement, to be elated at a satisfying result. We know the disappointment of rejection for a juried show or of seeing our works unsold for months and years. Teachers try to prepare us for rejection. Vincent was ill prepared by temperament, experience and influences. Tortured man. All of his life he struggled with his fluctuating emotions and his lack of confidence. We all know of his insanity and his suicide by which he ended his life at age 37. Did you know that he was born in 1853, the son of a Dutch pastor and that he himself served briefly as a preacher in a dreary mining district of Belgium known as the Borinage but he was dismissed for being overzealous. He wanted to evangelize the poor around him. By age 27 after pastoring, clerking in a bookstore and selling other artists’ works, he made the decision to embark upon an artistic career. He studied art in Belgium and in Paris. His earlier paintings were somber and dark exemplied by "The Potato Eaters" (1885). After studying in Paris and spending time with notables such as Pissaro, Monet and Gauguin his palette became lighter and his brushstrokes shorter resembling the Impressionists. In time, van Gogh’s paintings became known for their bold use of colour. Interestingly, one year before he died, he wrote the following to his brother Theo. “…the painter of the future will be a colourist the like of which has never yet been seen.” He was so sure that a great painter of the future would appear who would know how to use colour. During a nine year span between 1881 and 1990 when he gave up on life, he painted over 900 paintings, yet sadly during his life he sold only one painting, “The Red Vineyard,’(on the right) which sold for 400 francs a few months before his death. Van Gogh suffered from more than poor sales, but actual mental illness, associated with various types of epilepsy, psychotic attacks, and delusions. His great fame and collectibility came well after he was gone. In 1990 one of his most revered paintings, the Portrait of Dr. Gachet fetched a record price of $82.5 million.
Did you know that Don McLean's composition "Starry Starry Night" was based on one of van Gogh's most famous painting by the same name?You will enjoy listening and watching this visual of Vincent's paintings set to Don McLean's song. Or, you can hear Josh Groban do it.

Local Newspaper Article - The Cloverdale Reporter

A NEW LEARNING
I spoke with a friend the other day who retired earlier than I did yet he is still working almost fulltime in ministry areas and he is deeply satisfied. For over 40 years I have enjoyed the satisfaction of helping people, comforting, counselling, and teaching. Leadership has been a major concentration. During all these years I have received strong affirmation and appreciation. For this I have been grateful. For the past three months I have devoted my attention to predictable activities of a retired guy, sports car driving, beach walking, garden chores, golf or nothing in particular. I have also spent a lot of time painting. Imagine my pleasure to receive a call from a news columnist requesting time to interview me for an article. The piece would describe my transition from pastoring to painting. The article by Christine Lyon of the Cloverdale Reporter was published on September 21st 2008. What a neat experience for me to receive recognition of my revived painting interests. It has been good exposure within our community.