“Vanitas 01”. Licensed under Public domain via Wikimedia Commons
Over the past couple of weeks I’ve received solicitations from a well known/notorious New York vanity gallery and a web marketing company based in the UK. Apparently there is a critical shortage of painters in both places so they need to import them from Vancouver Island. Although the less charitable side of me speculates the shortage isn’t so much painters as such as it is painters prepared to fork over lots of money for the dubious privilege of having their paintings parked in a “prestige” location for a couple of weeks.
Nonetheless, I have to say I’m impressed. Not with the offers, which I will ignore. I’m impressed they were able to track me down at all. I mean, I’m pretty obscure. You have to beat the bushes pretty darn hard to flush me out.
And now they have, and I’ve joined the (admittedly large) ranks of the elect who have been singled out for such attention. Not everyone gets such offers, just the ones they can find 😉
Sketch for Refinery
One of my paintings will be in the CACGV End of summer show, opening tomorrow evening at the Bay Centre and running through the first week of September. I completed it last month. It’s based on the thumbnail sketch above.
Once you start thinking about something, you start noticing examples of it everywhere. I seem to recall there’s a word for this phenomenon, but I can’t remember what it is.
In this case I’m referring to the possibility of constructing alternate histories of Modernist painting, on which topic I wrote a post a couple of months back. Subsequently I made reference to it in the context of a series of book reviews I’m writing, and it seems to me the same impulse is evident in some commentary over at Painters’ Table, namely a post entitled “Justice to Pissarro” by Dana Gordon. It appeared on PT a year ago, but was originally published in 2005 in the journal Commentary.
In fact, the editor’s note that leads off the piece sums it up pretty well:
Painting is a conversation, and talking about the future always involves new ways of discussing the past. As inspired by our canonized masters as we may be, we must recognize when their influence begins to hold us back as much as it once spurred us on and look beyond the old heroes to previously unrecognized or overlooked models.
So there you go. I couldn’t agree more.
“Paul Cézanne 025” by Paul Cézanne – The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.. Licensed under Public domain via Wikimedia Commons.