18 May 2015

Miner, Healer, Instrumentalist - part II

Last week the groundbreaking ceremony for cSPACE arts hub at King Edward School took place.  Here's an article about it in the Calgary Herald.

I went to the ceremony and really enjoyed Mayor Nenshi's address, in which he spoke about the arts being not merely a frill, but an essential part of any community's financial climate.  How wonderful that our mayor has a big picture in his mind!
verna vogel hard hats
a very happy and excited crew
Reid Henry and Dale Ens described some of the history of bringing this project to fruition, which was very interesting.  A lot of people have worked together to make the idea of an arts hub at the old King Edward school a reality.

And the hats made by the other artists were fantastic!  One had a bird's nest on it; another, a carpenter's square embedded in the top.  Reid Henry was wearing a hat with the most amazing wings made from old venetian blinds, and I saw a hat covered in the tied ends of balloons, which I couldn't resist touching.  Every hat I saw was both fun and beautiful.

I also shamelessly took photos with the people who wore the hats I made:

verna vogel hard hats
Cheryl Gottselig, cSPACE board chair
wearing the Instrumentalist's hat

verna vogel hard hats
Deeter Schurig, cSPACE project manager
wearing the Miner's hat

verna vogel hard hats
Carloyn Boston, Construction Manager for cSPACE
wearing the Healer's hat
very appropriate, since she is also a shaman!


In working on these hats and talking about them, I discovered this was not the first project of its kind.  Here's a helmet that artist Lynn Kelly altered:


Verna Vogel

She describes it:
"It has a motor and the dove and sphere both rotate.  
Then there's a maple leaf on the top and the white satin garter.  
I liked inverting the hat liner to make it look like a parachute.  
It was for auction with the proceeds to support the families of Canadian soldiers."

Very cool.


Since the cSPACE ceremony, I've been doing a fair bit of gardening, and getting back into my studio work.  The break was great, and now I'm happily making a few more "Ellipse" pieces.  More about that later.

07 May 2015

the Miner, the Healer and the Instrumentalist

Between other things over the last couple of weeks, I painted/altered some hard hats for cSPACE Project groundbreaking ceremony coming up on May 13th at the King Edward school.  All three hats are finished now, and will leave my studio in a few days.

cSPACE verna vogel

I'm very glad I took on this project.  It's out of my usual practice to work on 3D objects, and it was so much fun to explore, experiment and discover what I could do with them.  They all came out quite different from one another, but still aesthetically related.  

Steel Sky Woman at cSPACE

I am pleased also with the quality of photos I managed to take.  The process for photographing 3D things is a bit different from my usual 2D paintings: different lighting requirements and a kind of staging, as the background is not completely cropped out of the final image.  

You don't need a fancy set-up to get good photos:

verna vogel hard hats

At one end of my studio I set the stage.  A piece of canvas pinned to the wall and draped over my working table creates a seamless backdrop.  Two hardware-store clamp lamps with 150W halogen flood bulbs, positioned on either side at roughly 45 degree angles, creates decent lighting.  A tripod and camera, et Voila!

If you'd like to see more photos and read a bit more about these hard hats, you could visit my website here.

27 April 2015

painting the photographer

Yesterday our friends came by for a visit, and I did an impromptu portrait session.  Sanja and Francis are both photographers, and together they do some very exciting things.  Here's their website.  

Sanja was really excited and pleased to sit for over an hour while I painted, an experience which is quite different from sitting for a photograph.

First, a quick "feeling-it-out" sketch:


verna vogel
Sharpie marker and acrylic on paper
9x12"

Then I began an oil portrait, realized the composition was no good, wiped it and began again.  I really got into the drawing look of this one and decided to leave it alone, no more colours on top.  I like how the ghost of the first try remains visible.  A bit like a double exposure, very appropriate to my photographer friend, hey.  :)

verna vogel
oil on canvas, unstretched
12x13"

Since I had my colours already out on the palette, I made a third portrait.  Started again with drawing:

verna vogel

And thought, "hmmm, not the same thing as last time" so scrapped that and just hauled some colours over the surface.  Pretty rough at first:

steel sky woman

Finished portrait is not a great likeness and... well, I could pick it apart but I won't.  I like the colour palette very much.  Here it is:

verna vogel
Portrait of Sanja
oil on canvas
13x20 inches

verna vogel


steel sky woman

Three aspects of Sanja.  She has a really great personality which I think has come through a bit in each one.

24 April 2015

new digs, new sale, new project

new digs:

The Front Gallery represents my work in Edmonton, AB.  They've just moved into a new space and it looks gorgeous!  I haven't been up to see it yet, but hope to make the trip within a month or so.

verna vogel

Here's a brief news clipping about the move.


new sale:

Kurbatoff Gallery represents my work in Vancouver, BC.  They have just made the first sale of one of my "Snapshot" paintings!  This is the one which sold:

verna vogel
Intersection
acrylic and mixed-media stitching on canvas
39 x 56"

Hooray!  I had begun to wonder if there was any merit in these photo-based works...  yes, I know artistic merit is not necessarily indicated by sales, but.


new project:

I have been invited to paint/alter some hard hats for a ground-breaking ceremony at cSPACE in Calgary, where construction is soon to begin at the old King Edward School location.  

Today I worked on the first hat:

vernavogel

I've never done anything with hard hats before!  So I had to research a bit about the materials of the hard hat and what I could use on it that would be reasonably permanent.

verna vogel

verna vogel

I decided to sand it, drill holes in it, scratch its surface.  Then I struck out into un-researched territory and rubbed graphite into it and sprayed it with a clear sealing coat.  This is a test run - tomorrow I will do a scratch test.

If this doesn't work out, I will be able to use oil paint to stain the surface, which will be very permanent based on some earlier testing I did.  I hope the graphite works, though, because I really like how its sooty look is reminiscent of a miner's hat.  A rather pretty miner's hat.

06 April 2015

1, 2, 3

Did I already mention this book I've been reading?  I started making the "Ellipse" paintings a few months before I began reading the book, and I'm finding it very interesting, the correlations between the ideas in the book and in this work.  

steel sky woman silence

Silence - and sound - are very important to me.  For example I often work in silence in the studio.  Also I avoid places that have ambient music of the sort that is designed to create a "brand tone".  Do you know what I mean?  Mall music!  It makes me anxious to the point of being physically uncomfortable.  The claustrophobic effect of shopping malls is based largely on their aural atmosphere.  This is true of some restaurants and pubs, too.  And don't even get me started on advertising noise!  *laughs*  

silence verna vogel

silence verna vogel

verna vogel silence

So I am making work which in some way provides a space for silence.  I am trying to make silent paintings.  This does not mean there is nothing there.  It means that there is space, an open space to think and feel, room to move.  Yes?  I hope so.

verna vogel silence







29 March 2015

time

Time, hey.  Sometimes it seems we have a lot and sometimes only a little.  We say "life is short".  But we could also say "life is long".  Or we could just say "here I am, what can I do?"

When I don't have much time for art-making in the studio, I can always make quick drawings in a sketchbook.  They don't take long and they can be quite satisfying, and sometimes they lead to further explorations in the studio.

These drawings were made over the last couple of weeks, with markers and coloured pencils in my 5x7" hardcover book:





They're not, you know, great works of art or anything, but I think I ought to do more of this.  Maybe a sketch or two every evening?  

Lately I've taken on a few extra things and am finding it difficult to organize my work.  Maybe I've taken on too much and will need to scale back, or maybe this is one of those learning curves and I will find a balance if I stay focussed.  Maybe making some wee drawings every evening will help with the focus part.

This morning I photographed the fence paintings:


They've been out on the fence for 4 years now, and today they're looking ready for another cycle of spring.  

17 March 2015

break

Today I needed a break, so I sat around the house reading a book all day.  It was very quiet; no radio, unplugged phone, no visitors.  A superb day.

About 6pm I went into the studio "just to have a look at things".... and wound up making a self-portrait in oils over an old half-begun abstract painting.  I took a few photos of its progression:

verna vogel self portrait

portrait in oils

portrait in oils

This  is a wabi-sabi portrait.  It took about 2 hours to make, and it measures 17x18 inches.

I used a simple palette.  That rolled-up tube is cadmium red; the rest you can see if you click to enlarge the image below:



I was feeling spiritually exhausted today, so reading was a great way to lose myself in another world for many hours, which for me always has a rejuvenating effect.

Then, making that portrait helped me to see that I can in fact paint.  

I've been really missing working with oils.  I miss being able to make large-scale works with many layers of transparent, sophisticated colour, and working on 10 or even 20 paintings at a time.  Here in this home studio, space is limited so I work on fewer paintings at once, and sometimes it feels like I'm in a pressure cooker with nowhere to turn, nowhere to expend what feels like way too much energy for this small space.  

Yeah, boo hoo right.  *laughs*

In fact my home studio is lovely and I am often very productive in it, and having to work in acrylics has opened up all sorts of interesting avenues of exploration, and most of the time I feel very lucky to be where I am.

But what can I say, sometimes I fall into a pit of melancholic despair and then, well, then nothing charms like a good book; nothing soothes like a little oil painting.



15 March 2015

focus

Variations of colour and composition on Arches 160lb watercolour paper:

ellipse, abstract

Circular templates and sunlight and work in progress:

verna vogel

A lot of things are happening, a lot of things are needing attention.  No time for a long meandering blog post this week.  In precious moments of studio time, focus trumps all.

08 March 2015

a long slow current

In the autumn of 2014 I began making purely abstract work.  I should say "began again" because a couple of decades ago I was making abstract paintings, but you know how life has its detours.  

verna vogel ellipse

Over the years my love of abstraction endured, and finally I took the plunge.  So I've spent about 18 months now focussed on abstract work; it has been the main thrust of my studio endeavours and I've enjoyed participating in the unfolding of this renewed direction.


verna vogel ellipse

I tend to make blog posts about all the stuff that happens - the plein air paintings and portraits and little side projects - but in reality those things take up maybe 15% of my creative output.  They are a break from my "real" studio work so to speak.


verna vogel ellipse

Yesterday I had a fantastic day, finishing two more "Ellipse" paintings.  One of the paintings was a real struggle while the other just seemed to come together effortlessly.  I love that balance of struggle and flow.

verna vogel ellipse

I now have got 8 finished works and 2 which need some improvement.  My plan is to have 10 finished works of an excellent quality by the end of this month, because I have an important visitor coming.  Therefore I need to have made 15 pieces by then, of which I can reasonably expect 2/3 to be of sufficient quality.

I think I can do it.  I think I can...  

:)

01 March 2015

peek back

A couple of decades ago I was really into figurative work, running life drawing sessions at several schools and studios in Vancouver, BC.  Three to four times per week for 6 years I did this, and wound up with a big stack of works on paper.  Some of the works sold and some were lost in a series of moves, but I still own a few favourites.

I had just one showing of these figurative works at Basic Inquiry, where I also ran a couple of sessions per week.  It was the old location of the Basic Inquiry studio, with 5 big walls which I basically papered with my drawings!  Here are a couple of images from that exhibition:

basic inquiry studio verna vogel
This has all come up because I'm in the process of updating my website.  I've got some of my portraits on the site, and I thought it would be good to show some of the history of that work.  It's been an interesting trip down memory lane, as I have not looked at my old life drawing photos in years.


For the last decade or so my work has been focussed on urban and now abstract work, but here is a little peek into my history.  It is important to remember who we are.

15 February 2015

cubic

There are always a few older unfinished paintings in the storage part of my studio.  Sometimes I begin working with an idea that is ahead of my skill level, and although I remain interested in the idea, I cannot resolve the work yet.  Other times the original idea is simply not worth pursuing.

It's good to have these odd unfinished works around.  When I need a break from my usual studio routine I sometimes rework some of them; the results are not so important, it's just fun to explore with colour, pattern and shape.

Today was one of those days.  

cubic abstract paintings

I began by loosely brushing a white border on some abandoned abstract paintings.  Then I collaged a bit of white rice paper, and added layers of paint in varying transparencies.  My only parameter was to work in repetitions of loosely square shapes.

Six hours and many layers later, they look like this:

cubic abstract paintings

It was a fine studio day, doing something a bit different and re-visiting those little abstract pieces and, I think, improving them quite a bit.

I like that there are many aspects to my creativity in making images.  
There's the side of me that likes to explore things which are very deeply felt but cannot be expressed in words; not necessarily emotions per se, but a kind of mostly-wordless philosophy.  

There's the side of me that really enjoys the meditation of plein-air landscape painting.  There's the side that is intrigued with technology, making portraits through online video connections.  

And there is the side of me that likes to explore purely decorative work, playing with the formal visual elements, experimenting with materials and making no attempt whatsoever to imbue the finished work with any sort of meaning.

Today was one of those days.

cubic abstract paintings

cubic abstract paintings

cubic abstract paintings

cubic abstract paintings

cubic abstract paintings

cubic abstract paintings