4/11/2018

THE NANOOSE BAY THANKSGIVING STUDIO

Summer has left Nanoose quite abruptly, which makes getting ready for the Thanksgiving studio tour a lot easier!
This year, a very dear friend and visual artist from Ontario, Ann Sutherland Gruchy is joining me for this 3-day open studio event, October 6-8, 10am to 4pm. 

Ann Sutherland Gruchy,
Scotland Coastal Studies
Ann, who works in watercolour, acrylic, oil, mixed media and printmaking, is known for her COASTAL STUDIES: watercolour paintings inspired by her trips to the north coast of Scotland and the west coast of Newfoundland. She is now eager to feel and express the landscape of the west coast of Vancouver Island.
Ann Sutherland Gruchy,
Newfoundland Coastal Studies
The fabulous complicity that grew between us over the 12 years I lived south of Ottawa is still alive! So Ann and I are getting ready to spend a few days in Ucluelet and Tofino, end of September, where we will try to capture in watercolours, inks and drawings, the fluid essence of the west coast and its rain forest. I secretly hope we will also find time to explore the Beachcomber Peninsula here in Nanoose for a few more paintings! 


The VANCOUVER ISLAND COASTAL STUDIES will be on display –and for sale- alongside my clay objects and brushwork. Ann Sutherland Gruchy will be present during the 3 days of the studio tour.

Please, note that as the paintings are created, some of them will be posted on our respective websites, on the studio tour
website and on the Facebook page.

http://www.nanoosebaystudiotour.com

OCTOBER 6-8, 10am to 4pm 
STUDIO #15
CLAY and BRUSH STUDIO
250-240-2366
1372 Pilot Way (corner of Marina Way)
Beachcomber Peninsula in Nanoose Bay

11/08/2017

OPEN ALL...MOST YEAR ROUND!



1372 Pilot Way, corner of Marina Way
 (Beachcomber Peninsula)

You are always welcome to visit my studio/gallery. My display is a permanent one, in continuous growth as I play in  the studio. There are almost always new brush work on the walls, new clay objects on the shelves as well as desk or wall calendars and original art cards.
OPEN BY APPOINTMENT 
OR BY CHANCE 
ALL...MOST YEAR ROUND!

mariepaquette@shaw.ca 
250-240-2366


9/26/2017

MY LAST BRUSH EXPLORATIONS OF AN OLD JAPANESE TECHNIQUE

CONTEMPORARY NIHONGA


In July 2017, I attended a 5-day workshop with Judith Kruger at MISSA (Metchosin Summer School of Arts): ABSTRACT ALCHEMY/ BLACK, WHITE AND WARM METALLICS.
It was a serious introduction to NIHONGA, an ancient Asian painting technique and its contemporary form.


"ONCE"
Japanese ink, natural pigments and ingredients,
 acrylic ink and paint and oxidized silver leaves
 on Japanese paper, mounted on wood panel, 12" x 12"; NFS

Japanese ink and oxidized silver leaf 
on Chinese paper mounted
on a wood panel, 12" x 12" /$150


Japanese ink on Chinese paper
mounted on a wood panel 10" x 10" / $100
Natural pigments with natural binder, silver leaves/oxidized
on Wc paper mounted on wood panel covered with textured paper, 
6" x 15" /  $200
Natural pigments with natural binder, silver leaves/oxidized
on Wc paper mounted on masonite, 
wooden frame, 9" x 14" / $200

Japanese ink and acrylic ink on Chinese paper 13" x 15.5"; 
black metal frame with glass, 17" x 21" / $250
"ARCS EN CIEL"
inks on Japanese paper; 12' x 12" / SOLD
"DRIFTING MEMORIES"
Sumi ink and pigments on Stonehenge paper, 12" x 36" / $400

"SWIRLING"
triptych, inks on Stonehenge paper, 3 x 10" x 10" / $300


10/28/2012

DÉMARCHE ARTISTIQUE - CLAY PROCESS


(POUR UNE VERSION EN FRANÇAIS, VOIR PLUS BAS)

I approach clay with attention rather than intention and only have a vague idea of what the final object might look like. It is by paying attention to how clay responds to manipulations that I can see the new object coming to life, the form suggesting itself through the different stages of the shaping process. I like to think I work in collaboration with clay.


Details are addressed with care, taking the time needed to resolve any issues the best I can at this point in time. Glazing is also a very important step: each object, in its uniqueness, requires a surface decoration that –hopefully- will add up to a harmonious whole, taking into account the atmospheric reduction of a wood firing kiln as well as the large part played by toasting flames and melting ash. Finally, I surrender my clay objects to the fire never knowing what to expect while hoping, all through the intense hours of stoking, for unpredictable surprises!

J’approche l'argile avec attention plutôt qu'avec intention. Je n'ai au départ qu'une vague idée de ce dont l'objet aura l'air en bout de ligne. C'est en portant attention à la façon dont l'argile répond à la manipulation que je vois la forme de l'objet se suggérer aux différentes étapes du façonnage. J'aime croire que je travaille en collaboration avec l'argile.

Je soigne les détails, prends le temps nécessaire pour résoudre les problèmes au meilleur de ma connaissance. La décoration est une étape très importante : chaque objet est unique et sa surface demande donc un traitement qui, je l'espère, en fera un tout harmonieux. Je garde en tête la réduction atmosphérique du four à bois, les flammes qui caresseront et rôtiront l'objet et les cendres qui, en fondant, se transformeront en une glaçure naturelle. Je confie mes objets d'argile au feu sans jamais vraiment savoir à quoi m'attendre mais espérant, tout au long des intenses heures de cuisson, d’heureuses surprises!

8/24/2012

BRUSH EXPLORATIONS

UN TRAIT DE PINCEAU / ONE BRUSH STROKE



"SINGING BOW" / NFS

(ENGLISH VERSION FOLLOWS)
"NUIT BLANCHE" / SOLD

Quand on arrive à faire taire le mental, c'est fou ce que l'encre et le pinceau peuvent créer! Il suffit d'un page blanche et d'un pinceau -idéalement fait main d'écorce de cèdre- trempé dans l'encre de Chine merveilleusement noire, un temps d'arrêt, un silence, et puis le pinceau se met à danser sur le blanc du papier. Un seul trait de pinceau et c'est fini avant même qu'on s'en rende compte.

J'aime bien ce que Jack Wise, artiste canadien, disait en toute humilité: "If a (...) composition has some really raw bad stuff in it, then I take responsibility for that but if something comes through that's creatively unique, then as the Japanese say "Muga" / "It's not I who do this", it's a larger self which we are all composed".



"MYSTERIOUS WIND" / SOLD
When you succeed at shutting off the mental process, it's amazing what the brush -ideally a handmade cedar bark brush- dipped in the unbelievably black Chinese ink can achieve on the whiteness of the page! Hold on, wait in silence and the brush starts dancing on the white of the paper. One brushstroke and it's over before you know it!

I like what Jack Wise, Canadian artist, was saying: "If a (...) composition has some really raw bad stuff in it, then I take responsibility for that but if something comes through that's creatively unique, then as the Japanese say "Muga" / "It's not I who do this", it's a larger self which we are all composed".


PURE ABSTRACTION
(POUR UNE VERSION EN FRANÇAIS, VOIR PLUS BAS)

I never imagined that I had any abstract fibers in me until I was exposed to Lila Lewis Irving’s  powerful and moving “non-objective abstractions”.

"GOLDEN POND" , 18" X 18"/ SOLD
Acrylic, with its textural viscosity, is the perfect medium to support such abstraction. The paint is barely diluted before being poured on paper or canvas, which allows me to move it and shape it following my intuition and paying constant attention to what is happening rather than imposing and pursuing my own intention.

The essential –and the challenge- of this approach which so strongly attracts me is to empty the mind and maintain this meditative state so the gesture can manifest itself  freely.


NOTE Since my signature is in the back of the paintings, you can hang them the way you want.


"MAYBE", 10" X 20" / SOLD
Je n’aurais jamais cru que j’avais au fond de moi un quelconque potentiel d’abstraction jusqu’à ce que je découvre l’émouvant pouvoir des “abstractions non-objectives” de Lila Lewis Irving.

Par sa viscosité, l’acrylique se prête merveilleusement bien à cette exploration texturale abstraite. La peinture est à peine diluée avant d’être versée sur le papier ou la toile, ce qui me permet de la déplacer et de lui donner forme en suivant mon intuition et en portant une constante attention à ce qui survient plutôt qu’en cherchant à imposer et poursuivre ma propre intention.

L’essentiel –et le défi- de cette approche qui m’attire tant est de faire le vide mentalement et de maintenir cet état méditatif pour que le geste puisse se manifester sans contrainte.

NOTE  Étant signés à l’endos, mes tableaux pourront être suspendus
comme bon vous semblera.

"LE BATEAU IVRE" "MY BOAT HAS BEEN DRINKING",
20" X 30" / SOLD