Being an Artist Outside the Studio and the Skills Required

Lesley, Lingrid, Laura, Louise

Opening Reception Dualities exhibition, Cre8ery Gallery website, Winnipeg

May 9 to 21, 2019

What began in the studio results in an exhibition with many steps and stages in between. 

Ingrid Lincoln standing by her work at the Opening Reception, May 9, 2019.

Nearly half, if not more of an artist's time is spent doing things other than making art.

Louise Lamb (r) talks about her work to a guest at the opening.

An artist has to like doing all of those other art related things to be able to get the work out of the studio and in front of the public.

 Using cutting, measuring and duct tape skills to make a shipping box.

One can buy shipping boxes from a number of different sources. It is time-consuming to track down the right sized box. If it is only just big enough there is not enough room for padding to protect the work. If the box is much bigger than the work the cost of shipping is more than it needs to be or it is too big and the company can't ship it.

I prefer to make my own boxes from recycled cardboard. Yes, I have been known to dumpster dive when I see large flattened boxes sticking out of a bin. I have a large collection of boxes, cardboard and recycled packing materials in my studio's packaging room.

The box needs to be made so it can be opened when it arrives at its destination then filled again and resealed ready for the return trip. Every piece of packing material needs to be named and I often add my email to the larger padding pieces and the box. Labels need to be printed for both journeys. 

The work in this box was in an exhibition until the day before I flew to Winnipeg for Dualities. I took the work with me on the plane. At the airport there was a hiccup - it was too big to go through the x-ray machine.

The box had to cut open, the work physically examined then returned to the box and resealed with special tape with words saying the box had passed inspection. With all of that, I forgot to ask for fragile stickers for the box. As it disappeared down the conveyor belt I wished it safe travels and hoped it would be unmodified when I saw it next.

Several weeks earlier I had shipped two large boxes of art to Ingrid's place in Winnipeg. While the smaller box was within the dimensions Canda Post will ship the larger one was not. I needed a courier. Previously I have successfully shipped large, heavy boxes at the lowest prices using Greyhound buses but that company no longer exists on the island. The new company is still setting up its parcel delivery services and is not yet fully automated. I found that and their new name, Box on a Bus, slightly unreassuring. However, all was well when all three boxes were safely in Ingrid's house waiting to be hauled to the gallery.

The next step was to get the boxes from the vehicle up to the second floor of the gallery.

This was a fun part because we got to use an ancient freight elevator. The Cre8ery Gallery is in the old Exchange District of Winnipeg where there are many buildings over 130 years old.

Bob (left), the gallery art installer and Bob (right) Ingrid's husband who has enviable woodworking skills, are manually operating the elevator working it to get its floor to stop in line with the building floor.

When the artwork, tools, and equipment are all in the gallery the installation can begin. This a stage requiring another whole set of different skills the artist needs to have mastered: agility and balance shimmying up and down a ladder, steady use of the hammer, a good eye for leveling or use of a level against the art, strength to repeatedly move plinths until they are in the right place, stamina to keep working steadily for however long it takes to get things perfect. Depending on the gallery the artist will hang their own work or there will be a curator. Cre8ery's owner, Jordan Millar is an experienced and well-qualified curator and installer and she has Bob to hang the work. Her decisions and Bob's experience made for a quick hang this time with 7 people working for 3 hours.

The promotion of an exhibition is another arena where the artist needs to have knowledge and develop skills. Image management, promotion materials design, and keeping up with effective social media developments are all time-consuming activities necessary for a successful exhibition.

If the artist is the exhibition's project coordinator, as Ingrid was for Dualities, there are a lot of administrative tasks including liaising with the artist group and the gallery staff.

I do enjoy all the activities required of an artist but I have to admit some days I wish they didn't keep me out of my studio for so many hours.

Dualities Exhibition at Cre8ery Gallery Winnipeg May 9 - 21, 2019

'Dualities' is the brainchild of Ingrid Lincoln. She invited three other artists to join her in expressing this concept: Laura Feeleus, Louise Lamb and me.

The four of us are exploring two very different geographical locations - the vast expanse of the Canadian prairies with its continental climate of extremes and native plant cover of prairie grasses contrasted with the Pacific Northwest coastal region with its moderated climate and native plant cover of vast rainforests. Yes, these are both big places.

Ingrid and Louise live in the middle of the vast Canadian prairie. Laura and I live on a forest covered island next to the vast Pacific Ocean. Louise grew up on this west coast but now lives in the prairie city of Winnipeg while Laura grew up in Winnipeg but now lives in Victoria on Vancouver Island. Ingrid's childhood began in the interior continent of Europe while mine began on another temperate forest-covered island in the southern hemisphere. These experiences of contrasts in place and geographic shifts are reflected in our distinctively different art practices. 

There is also a duality in the different media and techniques within our individual practices. For Laura, it is textiles and paper she paints and waxes. Ingrid's stitched textiles are often based on her drawings. Louise uses printing inks and paints while printmaking and referencing her photographs. I work with worn domestic textiles and organic processes adding hand and machine stitches. The resulting works explore the duality of media and place.

Laura - Laura's website here

Ingrid - Ingrid's website here

Louise Lamb

Lesley - Lesley's Gallery here

Another aspect of this duality concept involves how each of us approaches our work and the methods we have chosen to resolve an idea visually.

   As we explore the duality of our own geographical childhood memories and current homes we also visually express concepts either as internal or external dialogues. Imagine an X-axis geographical line intersecting with a Y-axis dialogue line forming four quadrants:

• coastal forest + internal self-talk - Laura
• coastal forest + external dialogue - Lesley
• continental grasslands + internal soliloquy - Ingrid
• continental grasslands + external conversations - Louise

 Ingrid’s work, while identified with the prairie city of Winnipeg, expresses her inner voice as a soliloquy. The conversation she holds with herself about her adopted city includes references to its people, the climate and the surrounding environment.
  Laura grew up in Winnipeg but now strongly identifies with the waters of Coastal B.C. Her art expresses a visual monologue between the two locations.
  Louise Lamb’s external conversations with her chosen materials and painting processes are influenced by her childhood home on the West Coast as well as her present home on the prairies.
 My textile work is firmly grounded in British Columbia’s maritime rainforests where I undertake external dialogues with the trees to develop a more intimate relationship with the place I currently call home. I reference childhood memories of growing up in New Zealand's temperate rainforest, an earlier home I knew well.

Each one of us intuitively works within a defined quadrant providing context for our work, which is highlighted by our different choices of media and processes.
We will be arriving at the Cre8ery Gallery, website here  to install our work together. We have never exhibited together before and not all of us has yet seen each other's work. I am really looking forward to searching for the commonality and duality in our individual bodies of work once it is up on Cre8ery's walls.  It is going to be so interesting to see how the multi-layered concept of duality will be expressed in this exhibition.
We do hope you can come to see the exhibition while it is on May 9th to May 21, 2019.
The Opening Reception will be on May 9 from 7 to 10pm. We four will be there and would love to meet you and talk to you about our work.

   

   

Pathways Exhibition by Vancouver Island Surface Design Association - VISDA

During the Vancouver Island Surface Design Association (VISDA) 'Pathways' exhibition in the Portals Gallery, Duncan, a member sat in the gallery each day.

When it was my turn to sit with the exhibition I had a lovely day. 

When I wasn't talking to visitors I had time to look at every work, then I had knitting to get on with.

'Memories of Place: A Chromatic Narrative,' Sarah McLaren, left.

'Life is s Spiral Pathway, Not a Straight Line,' Donna-Fay Digance, right.

'River' Laura Feeleus, left.

'Deer Trails,' Jean Cockburn, right.

'Colour: A Personal Response' Exhibition is Hung in Place des Arts, Coquitlam

Sarah McLaren and my 'Colour: A Personal Response' exhibition is on the road again.

The day before we loaded up the car...it was really full...

...and caught the first ferry the next morning.

We drove through Vancouver's persistent rain to Place des Arts Art Centre and Music School in Coquitlam. Conveniently there was dry underground parking with an elevator beside the entrance. It didn't take long to unload the car and get the work up to the main floor.

We laid sheets on the ground against all of the walls where our work would be hung. As we unpacked each work we placed it according to our layout plan.

There are 3 galleries in Place des Arts. We had been assigned the light-filled Atrium Gallery, much to our delight because it suits our body of work's concept so well.

Marziya and Jimmy are Place des Arts student volunteers who were ready to do anything needed. Once Sarah and I had decided on putting the 3D parts on plinths under glass, Marziya and Jimmy got to work putting them in position and removing the plexiglass covers.

The took on the challenge to assemble the colour cards on turntables which tested their colour wheel knowledge.

Then they replaced the covers.

The turntables full of colour cards and the framed collection are presented differently this time around because of the nature of the gallery space. The Atrium is a multifunctional largely unsupervised space used for musical events, dinners, a waiting room for parents and siblings while children attend classes, a meeting space... All of the small 3D items need to be protected which makes them no longer interactive but still interesting for people to look at.

Marziya cleans every single mark off the covers.

Challen and Joseph are a volunteer team that has worked together for 2 years hanging all Place des Arts exhibitions according to the Canadian National Art Gallery standards.

And they are good.

They hung every work perfectly and with well-rehearsed speed.

Don't you love the way their t-shirts match the artwork?

View from the upper level as we were about to leave. 

Sarah and I left the staff, Bali, Josephine and Lidia, to spend the rest of the week making and mounting labels, adjusting lighting and setting up the gift shop. Sarah and I return to the galley on Friday for the official opening which is going to be fun - Friday, January 12, 7 - 9 pm.

We reloaded the car with the empty boxes...

...and caught the next ferry back to Victoria.

All of the Place des Arts staff were so helpful and supportive things went smoothly and we were home again by early evening very happy with the way the day had gone. 

Do check out Sarah's blog to get her take on the day here

Colour: A Personal Response Exhibition at ArtSea Gallery in Tulista Park, Sidney

Opening Reception of Colour: A Personal Response - Lesley and Sarah.

Thank you, Louise, for thinking of and taking a photograph of the 2 of us on the night of the opening.

The gallery waiting for the first viewers.

Each of the works is monochromatic, made using only one colour.

We hung the work with Sarah's making a colour wheel going clockwise around the room.

And my work making an intersecting colour wheel going anticlockwise around the room.

The result was each work was hung in a group with its complement.

At the small books table, we asked people to pick a colour and write their thoughts or feelings about that colour. It was a popular centre on the opening night and throughout the week.

I love the little drawings the children made.

Sarah and I spent our time while sitting the exhibition talking to people about how the work came about and what our concept was. There were lots of conversations in front of the works over the week also.

People stopped to read our artist statements and bios.

Sarah at the front desk keeping track of visitors, sales and answering questions.

Sarah had cards for each of her works for sale and did a brisk business.

Each work had its colour book. Sarah's were a result of her research on each artist she studied and made a work on. My books were marks showing the energy of each colour in a different medium - paint.

The fabric colour cards were displayed on turntables grouped by temperature.

The cool colours of the colour wheel.

The warm colours.

We sold a good number of individual fabric colour cards but the packs with all of the colours were the most popular.

The tally of visitors to the show tell it was a successful exhibition. For Sarah and I, we know it was successful because of the interest shown in our work by so many people over the week. They wanted to hear all about everything to do with how the idea started to how we worked, how we made each work and how we hung the work. There were people who came back again bringing other friends with them. Our viewers wrote lots of encouraging words in the guest book and have sent us emails of thanks since.

Sarah and I want to thank everyone who came to the exhibition and also all of those who have supported us while we worked to produce this body of work.

The exhibition is going to be travelling for a while. I'll keep you posted on where it will be stopping.