Hello everyone! Tomorrow, Saturday September 17, I am participating in a FREE children’s event at Hillside Mall. The activities are all about nature education, conservation and engagement!
Scroll below to see a list of the activities and times. Find me at the Activity Table with colour-your-own-bookmarks. I had so much fun creating these for the event! I made three different designs: tide pool ecosystem, cetaceans of BC and a fun, folding bookmark that reveals what is hiding below the surface of the water. Bring your children, nieces, nephews and their friends… I have LOTS of bookmarks that need colouring! =)
Here is a list of the activities:
FILM PRESENTATION: The Hundred-Year-Old Whale, Orcas of the Salish Sea, Film by Mark Leiren-Young, Canadian Council for the Arts 12 – 2 PM
HIVE TO HONEY JAR WORKSHOP: Beekeeper Liam will be demonstrating how honey is extracted from the hive! 12 – 2 PM
SEAQUARIA: Touch tanks with live sea creatures, World Fisheries Trust 12 – 3 PM
CHILDREN’S CRAFT: Colour an ocean-themed bookmark created by Artist Natasha van Netten, 12 – 3 PM
It’s finally here…. the TD Art Gallery Paint-In! This is Victoria’s largest outdoor arts festival. The entire length of Moss Street will be closed tomorrow, Saturday July 16, to vehicles from the Gallery to the ocean (that’s about 10 blocks!) from 11am-4pm and both sides of the street will be lined with artists—bringing their studies to you!
My booth is #101 and will be located on the east side of the street somewhere between May Street and Faithful Street. I will be bringing oil paintings, original drawings, wire whales (my regular ones as well as large scale ones), cards, bookmarks, buttons, stickers, and more! I am planning on making wire whales while I am there… so you can see the magic of 3D drawing in action. =)
Click here to go to the Paint-In website where you will find a complete list of artists and all the info you will need for this event.
Today is the first day of the Wild Auction 2022! This fundraiser is for Pacific Wild. Here is their mission statement: Pacific Wild supports innovative research, public education, community outreach and raising conservation awareness to achieve the goal of lasting environmental protections for the lands and waters of the Great Bear Rainforest and throughout the wild Pacific Northwest. If you would like to learn more about their approach to conservation and how they take action, here is a link to their Strategic Plan for 2022-23.
Instagram Takeover….TODAY (Monday May 16 at 2pm)
Check out Pacific Wild’s Instagram page for some beautiful, conservation-based content. They are worth the follow. This afternoon only, check out their story feed as I will be doing an Instagram takeover! I have a few exciting things planned for this… fun whale facts, an intro by yours truly and a few videos of my drawing process and… stop motion animation! =)
Wild Auction: 9am Monday May 16 to 5pm Friday May 20, 2022
Over 120 artists, businesses, and individuals from around the world have come together to share their passion for conservation of British Columbia’s wildlife. Contributions are from Brazil, to Norway, to Los Angeles, and across Canada. These supporters are donating 30-100% of the sale of their contribution(s) to fund Pacific Wild’s work.
I have three works available in the auction. Two seawater and ink limited edition giclée prints from drawings I created in Iceland and an original gouache on embossed paper contour chart based on the southern gulf island network. You can find these items by searching my name on the auction page. I am donating 80% of the sale to Pacific Wild (to help cover my printing and supply costs).
Hello! I just wanted to send out a quick announcement about a market that is taking place this weekend (and that I am taking part in): The Pop-In Market April 30th and May 1st. It is happening inside Mayfair Mall here in Victoria. There will be food vendors, live music, 40 local makers stalls and will certainly be a fun and interesting event to attend (rain or shine!). Bring your family and friends. No entrance fee! =)
Market Hours: Saturday, April 30: 10am-6pm Sunday, May 1: 10am-5pm
Location of Mayfair Mall: 3147 Douglas Street, Victoria BC
My location in the Market: My booth is in the hallway between Lenscrafters and Sirens.
Bonus Fun: There is also a fair happening outside in the parking lot. It will be happening on Saturday from 12pm-10pm and on Sunday from 12pm to 6pm.
This past Saturday I had the pleasure of instructing an afternoon workshop with the Quadra Village Community Centre. This workshop was part of Art Thrive, a program created and run by the QVCC and funded by the BC Arts Council. Art Thrive provides art classes to youth and adult residents of Quadra Village (and beyond) free of charge, including materials. This program helps build a sense of community, while offering recreational, stress-reducing activities and bringing encouragement to individuals.
I have been anticipating this workshop for about a month — prepping materials, putting together a handout, gathering supplies (some at the store and some at the beach) and borrowing tools for this workshop. Needless to say I was excited when the day finally came to meet the students and see the workshop in action.
I was asked to teach this class on drawing with wire. I started the class by talking about drawing. What is drawing anyway? What can it be? Drawing is not like painting. In painting there is a specific medium that is referred to in the word itself: paint. However, the word drawing is more open-ended. It does not refer to a medium, but rather to an action. To draw, meaning to pull or to cause movement. It is only in relative recent history that drawing has even been considered an art form in of itself. In history, drawing was always a preliminary tool used to prepare for the “real thing”, like sketching a composition before making a painting or sculpture. Drawing is one of the oldest ways we humans have made art, but it is only now finally coming into its own identity — which is why it gets me excited and is one of my favourite things to do.
In this workshop a student told me she couldn’t draw. I explained that drawing is in her nature, it is part of being human. In fact, we do it all the time without even realizing it. Can you write? Yes. Then you are drawing. Art is not about doing something you cannot do, but about trying something that maybe you haven’t done before. Maybe you haven’t given yourself the freedom yet to make something that is not “perfect”. Learning to give yourself this freedom is such an important lesson – something that art has been, and is still, teaching me. Perfection will rob you of the joy of exploration and might hold you back from making exciting discoveries. So, if drawing is an action, as long as you are doing that action, you are drawing. You have overcome. Of course, patience is a virtue. If you want to fine-tune and develop your control and techniques, then, just like any other thing you can learn, it comes down to time and practice.
We started by first making drawings on paper with a single line. This type of drawing is called a ‘continuous line drawing’. You can make a drawing like this by putting your pen on the paper and not loosing contact with the page as your pen moves across it. This is the same concept as drawing with wire. A long, single line that loops and twists into a shape to create the impression of an image, an animal, a portrait or an abstracted object. After this drawing exercise, we moved on to talk about wire and practice some techniques to get a feel for the different ways you can manipulate wire.
Wire can be difficult to use. It is spring-loaded and can have a mind of its own. Learning how to work with wire is a process and the students in this class all managed brilliantly. They also remembered to employ safety techniques as they worked, such as curling the loose end of the wire so it doesn’t surprise and poke them. This was a two-hour workshop, and by the time we started making drawings with wire, there was just over an hour left of the class. Some students gravitated towards creating words in hand-writing with wire, others tried a variety of smaller projects and some spent the entire time working on a single, more complicated drawing. I brought in a collection of small driftwood pieces and showed the students how to attach their drawings to a wooden base and used the light on my phone to show them the incredible shadows their drawings cast. I should have taken more images of their works, they were truly wonderful, but honestly it was hard to remember to take pictures with so many great discoveries happening all around me.
The afternoon was a beautiful two hours spent with nine amazing students, and the lovely Carol and Marissa from the QVCC. I walked away from the old gym building feeling a greater appreciation of the value and importance of drawing. During the class some students commented on a deep sense of inner focus and body awareness as they drew. It is a wonderful feeling to enter into this headspace of deep concentration. When we started using the wire I heard comments about the process being more difficult that expected. When our time came to a close I heard exclamations of pleasure and satisfaction. At the end I asked if anyone had drawn with wire before. No, not one. It is exciting to have a room full of people trying something new, pushing past difficulties and making personal breakthroughs.
Art Thrive is about bringing the community together, but I was able to witness this on a larger scale, on a scale that reached beyond the classroom. In order not to go over my supply budget, I put out a call to my family and friends to ask for tools to be lent for students to use during this class. I was overwhelmed by the response and the support of my community. It is a beautiful picture of one way that art never ceases to surprise me — in how it brings people together.
I am very excited to share a few events and exhibitions I have coming up between now and the new year! Below you will find a list with links to the various venues. If you have any questions, please contact meand let me know.
The Magic of Christmas Artisan Fair
This is a weekend-long market, but I will just be there on Sunday November 21from 10am-4pm. If you were in the area and wanted to come over and check it out it would be awesome to see you there!
Over 100 vendors will be joining us at the Magic of Christmas Artisan Fair! Held at Eagle Ridge arena at City Centre Park in Langford. Come shop local and find 1000’s of unique gifts for the whole family! Vaccination passport required for entry along with a matching piece of identification. Masks mandatory. $3 Admission. 14 and under free.
For more information, please click hereto visit the Facebook event page.
The Hillside Holiday Artisan Market
This is my second time at the Hillside Holiday Artisan Market and I am so excited to be back! I will be there both days: December 4th from 9:30-5:30 and December 5th from 10am-5pm. This is such an approachable and welcoming market, I am sure you will enjoy it!
75 Local Makers will line the halls of Hillside Mall in Victoria. You will find 1000’s of locally crafted gift ideas and stocking stuffers, something for everyone on your list!
For more information, please click here to visit the Facebook event page.
Art Gallery of Greater Victoria Winter Small Works Show & Sale
You will find two of my paintings in this wonderful exhibition of local art.
The annual Art Gallery of Greater Victoria‘s Winter Small Works Show & Sale is back! Featuring works from over 70 local artists, this year’s Winter Small Works range in style, medium, and price — there’s something for everyone! The show will be in person this year, displayed in the Massey Sales Gallery at the AGGV.
Winter Small Works opens November 19, 2021, and runs until January 29, 2022.
And finally, just incase you happen to be in London, England over the next little while…
Sketch for Survival Exhibition
My drawing of a Right Whale has been selected as a Finalist in the Sketch for Survival 2021 and has also been shortlisted for Wildlife Artist of the Year Award. If you are not able to visit this exhibition in person but would like to see the fundraising auction, you can find it online here.
The 100 finalists will have their work exhibited alongside our Invitational Collection at the gallery@oxo in London between November 17th – 28th. Their artwork will be sold via our online auction concluding Sunday 28 November with all proceeds supporting the 21 For 21 Project Fund.
It is finally here! The Hillside Artisan Summer Market is happening this weekend. I have been prepping for over the past month or so (okay, maybe a bit longer) and finally have a neat stack of boxes ready to go. =) I will be bringing a pod of wire whale species, some mobiles, bookmarks, drawings, baby milestone cards, greeting cards and buttons (including some brand new button and card designs!).
The market is happening this Saturday and Sunday, August 7 & 8, from 10am to 4pm. There will be live music and more than 80 local vendors! It takes place in the Hillside Mall parking lot by the entrance near Marshalls (on the corner of North Dairy and Shelbourne).
Below is a little sketch of the location, showing where my tent will be located. =) Hope you will pop by!
Here is a list of the vendors (click on the links to view their Instagram pages):
Over the past six months I have been working towards a project that, at times, has felt a little like hiking in flipflops. Last fall I submitted an application to the Victoria Print Society‘s PRINT gallery call for proposals. My project idea involved creating prints of British Columbia’s north coast using embossing and linocut.
Looking back now, this seems like a long time ago—the start of a journey. The past few months have been a flurry of printmaking tutorial videos, linoleum shaving bits (on the table, in my pockets, in my purse… I am sure I will be finding them for months to come), conceptual location research, and developing relationships with some incredible, local printmakers.
I made more mistakes than I care to admit here. Having to do and re-do until getting things right. These are the things that help me learn and grow. These are the points I look back on now with a smile when I think about the process. I thought I would share some of my process here with you as printmaking has been a learning curve for me and something I have enjoyed stepping into.
For images of my print, ‘Aggregation: Inside Passage‘, and to read about my concepts behind the work, please click here.
What is the PRINT gallery? The PRINT gallery is a printed “venue” for print artists to show and talk about their work, to help make printmaking more accessible to the public. It is printed in a brochure format that unfolds to reveal a full-page image inside of the feature print created by the artist. 50 brochure are left blank on the inside for the artist to then create a hand-pulled, limited edition print series. The digitally printed copies are free and the hand-pulled originals are available for $15 each (or $10 if you are a PRINT member).
If you are interested in ordering either type of PRINT gallery, please click here.
My Printing Process
My print journey started when my boss gave me some pieces of orange linoleum from an old apartment building.
I started by researching the design I wanted to carve. Using a variety of map and chart sources from the internet I was able to isolate the area of coastline I wanted to portray. The location I chose is where the Inside Passage intersects with the entrance waters heading towards Kitimat.
I used graphite transfer paper to lay out my design. It didn’t take long before I realized that the image will be reversed when it is printed. I then had to mirror my design format before drawing it onto the lino so the final print would be the correct orientation.
Once the design was transferred, I re-drew the lines in permanent marker so they wouldn’t rub off while I was carving. Then I made decisions about where I would cut and what areas I would leave. I decided to cut away the water areas and leave the land forms. When printing in this way, the areas that are carved away will be left the colour of the paper, while the areas that are left will hold the ink and transfer the colour onto the page.
I cut my lino block to size with a utility knife so it would be easier to handle and then started carving. It was tough work and I quickly realized how important it is to sharpen the carving tools often. This process is labour intensive and it took me a few months to complete (among my other projects). I started by edging around the land forms and then carving out, into the water areas. Once everything was roughly carved, I then went back again, and again, to continue smoothing out ridges and bumps. The final steps were to complete the small boarder around the edge, cut away the excess lino around the sides and carve away the delicate river systems that lead to the ocean. Carving is hard work and it is important to take breaks for your hands and wrists. When the lino is warmer it becomes softer and easier to cut.
Once the plate was complete, I created a test print to check and see if any areas required more carving. After making the final adjustments to the carved lino plate, I was ready to move into the printing studio. I am incredibly grateful to Alison, Desiree and Tara, the founders of PRINT, for their support, for getting me get set up in the studio, for assisting me with the printing process and for sharing their knowledge and printing passion with me.
Before trying printmaking myself, I used to think it must be a pretty straight forward process. After all, now that my plate is made the hard part must be done. Not quite. Even when using a press, it is still a human process. I was surprised how much sensitivity one must have towards the press. The pressure is adjusted by manually tightening both sides of the roller independently. Being able to “feel” the tension, make sure the pressure is even and that it is not too tight or too light.
Then there is the inking of the plate. Again, sounds fairly straight forward, but I quickly learned this means more than just coating the block with ink. When you load the roller, one must lift the roller between going back and forth to allow the roller to spin and get even coverage. To load it properly there is a particular sound you want the ink to make as the roller passes over it and a special texture/gloss that you are looking for. Again, it comes back to getting the “feel” for it. This took me a few days before getting comfortable recognizing the signs.
At this point I thought it would be time to start pulling prints. The time I have eagerly been waiting for and have spent months preparing for! Well, not exactly. Printers often pull 5-10 or more test prints before pulling an actual print. Every time carefully loading and reloading the roller, covering the plate this direction, then that. Moving the plate to the press, delicately laying down the paper on top, then covering it with soft wool blankets, and pulling it through the press. All the while trying to keep everything clean and tidy. The reason why it is important to make test prints first is that the ink builds a layer on the plate in a more even way each time it is pulled. The, when you are ready to make “real” prints, you will know the ink coverage is good.
I am very grateful for Tara’s offering to assist me when it was time to create the prints. We spent 12 hours at the studio together inking and pulling prints (and laughing, sharing stories, and listening to pod casts). I realized through this experience that this is something unique and special to printmaking—it often becomes a communal activity. People gather around the press, excited to see the print lift off the plate, brainstorming together and tackling printing issues that come up (and they do come up, trust me). There is a team spirit to printmaking. It is a quieter spirit now, only two people in the studio at a time and masked (of course), but that communal energy is there!
After the prints dried, we went back to the studio to layer the print with embossing. This type of embossing is called blind embossing, because it does not use ink. The paper is ran through the press overtop of a prepared relief plate. You can see the embossing lines in one of the final prints in the image on the left. The embossing is within the white areas, mimicking the undulating submarine contours of the ocean floor. The result leaves subtle meandering lines pressed into the fibres of the paper. This took another studio day to add to the finished prints.
After we were done, I carefully gathered the final 50 prints together to sign, title, number and date.
Some prints did not make the cut. Some I inked and pulled through the wrong direction, some I forgot to ink an island or two, some I embossed the wrong direction, and one I even printed on the wrong side of the paper (see image below). The end product of this project is a limited edition of 50 linocut and blind embossed prints, which I am proud to have created. Learning a new skill can be hard (and even frustrating), but the payback is the satisfaction of having completed it. I have been thinking about this project since last September (when I applied for the PRINT gallery). One of my favourite parts about being an artist is to create a physical “thing” from a picture in my mind, and when I look over at my neatly stacked pile of prints I can’t help but smile.
I should warn you that I have been feeling a bit thoughtful lately. If you would like to skip over to see images from the exhibition, please clickhere to be redirected to the DRIFT page. You are also welcome to keep reading (I will put another link at the bottom of this page).
Preparing for an exhibition can feel a bit like a whirlwind or a marathon. It is a to-do-list count down to the opening: making sure everything is ready, having a plan about how to hang the work (sometimes I even build a tiny scale model with mini artworks to see how it could look), making a list of things to bring (painters tape, picture hooks, a hammer, level, pencil, eraser, labels, etc. etc.), designing a poster, walking around town asking shops if I can put the poster in their windows or community bulletin boards, ordering lettering for the front window, and the list goes on. I find myself filling with eager anticipation, and admittedly a bit of anxiety, as the countdown draws near.
If you google “how to make an art show” you will find a variety of approaches and lists for how to go about putting together an exhibition. Often these lists include helpful points, such as “make and install artworks”, or “hold an opening” and use words like “easy”, “successful” or “simple”. But something that these websites don’t mention is what happens afterword the exhibition is set up. They are missing the main point.
There is a huge variety of venues that hold exhibitions, but the one type I would like to highlight are “artist run centres” (arc). If you are not familiar with this term, it refers to welcoming and engaging, art focused, community spaces that are operated collectively by a group of working artists. These spaces are often multi-purpose, from exhibitions, art classes, artist studios and music venues. To exhibit at an arc means an opportunity to be in partnership with these artists, to become more personally involved in the operation of the exhibition, to spend meaningful time with the work and with people coming to see the exhibition.
I wasn’t sure howthis exhibition would unfold with this new world of restrictions. There are no more art openings. People in the gallery space were limited to 3 (myself included). Masked faces, hats and foggy glasses make it harder to immediately recognize people. Going out into the world takes more effort than it used to.
If you have known me for a while, you may have head me talk about how important you are to the activation of art. Much of an artist’s time can be spent on their own, in their studio, with their work. Artworks are an accumulation of decision making, time, thought, trying one thing and then trying another, processing, contemplation. Sometimes an artist may have created numerous other works before eventually making it to the final one. The one that represents the accumulative process. As long as that work is in the studio, behind closed doors, or carefully wrapped and stored away it is not alive. I believe that it is not activated until it is viewed by other people. When you go to a gallery and you are viewing an artwork, questioning what it is you see, what could the artist be trying to say, is there a meaning, does it make you feel uncomfortable, do you connect to it? Now there is an engagement. Now the art is activated.I am incredibly grateful to all of you who were able to come and see DRIFT. You activated my art.
I know that these are strange times, which made it even more meaningful to see you at the exhibition. Thank you for the effort to coming to see the show. Also, thank you to those of you who were not able to come but followed the exhibition online. Your support is very much valued and appreciated! When I mentioned that these “how to make an art show” lists are missing the main point. That main point is you! I am so glad to have this opportunity to show my work at an artist run centre because it meant I was able to see you, hear what you saw in the art and enjoy our conversations. Many of you I have known for years, and some of you I had the pleasure of meeting you for the first time. Thank you so much for coming!
After a few busy months preparing, sitting in the gallery over these past few weekends has been a welcome change of routine and, between people viewing the exhibition, an opportunity to quietly reflect and slow down. If you would like to view the exhibition on your computer or phone you can click here for photos, statements and a video of the work.
I would like to say a most heartfelt thank you toarc.hive artist run centre for hosting my exhibition, for being supportive, welcoming, helpful, encouraging and professional. It was a wonderful experience (and if you are an artist, I absolutely recommend sending your exhibition proposal to arc.hive)!
I would also like to say a special thank you to Meghan Krauss, a local photographer, visual artist and good friend, for documenting me in DRIFT (the images above). I also recommend checking out Meghan’s amazing art practice on her website here.
In DRIFT, I explore the continual movements of the ocean: from the glassy barrier of the surface to the soup-like complexities of the seawater below. The show will contain new works in and new mediums (for me), experimental paintings made with winter weather in Iceland and a series of conceptual seascapes that explore the flux of the ocean’s surface. These works will be exhibited along with other pieces that probe our relationship to the sea.
When: Open Saturdays and Sundays 12-4pm from March 6-21, 2021
Where: arc-hive artist run centre located at 2516 Bridge Street, Victoria, BC, Canada
Covid protocols are in place. Please wear a mask. Three person limit in the gallery space. The washroom is not available to the public at this time.
Please send me a message if you have any questions about the show or to arrange a private viewing if the opening times do not work for you.