Do you remember the first time you created something?
I did a drawing in grade school and I don't remember it specifically, but I remember the reaction to it. It was my first narrative and it was involved and unusual enough that I was asked to explain it.
What are you working on right now?
I am working on Botticelli's La Primavera. I try to copy a favorite painting once a year to keep those skills sharp. I let my mind go and do studies in watercolor or gouache on the side. I come up with some of my best work when I take the time to reproduce an old masterpiece. This approach is mysterious to me and I don't understand it, but it really works for me.
What do you like the most about working in your medium? And what are some of the challenges of working in this medium?
I am currently working with acrylics and gouache. Both mediums allow me to work fairly quickly, which is a huge plus. I am able to meet tight commissioned deadlines through these mediums. I don't like that acrylic against acrylic can stick and peel off from one canvas to another. It's just the binders and the way acrylics are manufactured. Storing acrylic paintings can be a challenge in a small studio. The strike against gouache on paper is the framing. Frames become easily scratched, they add a lot of weight and become hard to transport. Frames give me a lot of grief! I also work with oils. I love the richness and history behind it. The slower process of working with it is almost meditative. It's so luxurious that I prefer it more than any other medium. Sure it takes much longer to fully cure, but I don't see that as a negative.
What moves you as an artist?
It's limitless as a form of expression and I am moved by how empowering it is. As a female artist, I appreciate being able to express myself without boundaries. You only need to look at Charlie Hebdo to see how strong visual art can be. A visual narrative picks up where with the written word ends.
Do you think about the relationship between artist and viewer when creating?
I don’t think about it when I am creating a piece but I do think of it before I start a new project. Each piece communicates just enough so that the viewer must interact and complete the story for themselves. I make these decisions very early on. I am an art historian and trained to read paintings and architecture. It's my education and training to try and decipher what is being communicated. It's impossible for me not to view my own sketches and studies in the same way. Once I have decided what I will be communicating, I don't go back as a viewer. Once I pick up the brush, I don't question or overthink my narrative direction.
What are your thoughts on exhibiting art in non-traditional platforms, outside the formal spaces of art museums and galleries?
Museums and galleries are visited by people who appreciate art. When I lived in Paris, I visited the Musee d 'Orsay or the Louvre almost every day. When I lived in Asia, I visited every temple, shrine and art gallery I could find. Art, culture, and travel are a very natural part of my life. I realize it may not be so natural or easy for others and that is why non-traditional platforms are essential. There are many innovative and unexpected ways to share artwork with people who may not respond to traditional platforms. Strolling into a store on Robson and finding artwork hanging on the walls is such a delightful surprise. Cars have been turned into mobile sculptures. Art is everywhere.
In your view, what are some ways that artists can impact their communities? Artwork can lead communities to separate or unite. You can find art about very complex and sensitive themes such as death, illness, diversity, privacy, and improving medical training procedures. I see themed shows that are so specific and challenging that I am overwhelmed by the end results. How do you participate as an artist in your community? I'm a BC certified teacher; I teach adult fine arts and creative writing classes. Whenever possible, I donate my time and skills to the young and elderly. "Donation" can be tricky. I run into many artists who donate paintings and then feel exploited. I do a lot of photography as well and I know that Vancouver can be a manipulative city for visual artists. There are a lot of people who want free photographers, models, and artwork, so you have to consider the source and its intentions. You also have to look at your own motives and doing something just for potential exposure may not be the best course. For me it's about switching gears and gaining or maintaining perspective. I am a prolific painter and I can work for 12 hours without taking a break. I can spend days in my studio and not leave when I am inspired. It's important to stop and interact with people. I try to participate in themed exhibitions to challenge myself. I enjoy experimenting and producing something I normally wouldn't, but I do it primarily to connect with people and be a part of the dialogue. At Papergirl, we are all about the art of giving art. What is the greatest gift you have ever received? My husband gave me a Leonard da Vinci workbook and Mona Lisa pillow case. The book was to inspire me and the pillow case was for me to create in my dreams. He was not my husband at the time. In fact, we had only just met, but he went out of his way to find meaningful gifts that he believed reflected something special for me. He was trying to impress me too and of course it worked! Tell us about the piece you have donated to Papergirl Vancouver. I was commissioned to do a series of these hemp leaves with intricate patterns. At the time, my sister-in-law was in Hudson Hope on business and she sent me photos of leaves fossilized in rocks. It was enough to get my imagination moving so I created a few gouache paintings and studies for myself. Somehow the concept of rocks, mountains and plants as one and having memories of all was an idea I took a step further with Memory Bird 1 and 2. To wrap up the interview, if you could be a bike what kind of bike would you be? I brought back a folding bike from Japan and I cherish it. It's so compact and clever that it can fit anywhere and go everywhere. I could be a very happy folding bike. |