VIEWS
March 2016
President's Message
Board of Directors
Carol Watamaniuk
President
Miles Constable
Vice President
Lisa Liusz Senio
Director
Bruce Allen
Director/Facility Management
Peter Gegolick
Director/Planning
Rick Rogers
Director/Fund Development/
Webmaster
Carroll Charest
Director/Exhibitions
Staff
Danielle Gauther
Executive Director
Peg McPherson
Program Coordinator
Authentic Art
Aurora Leclair Janitorial
Services Coordinator
Committee Chairs
Shirley Vandersteen
Exhibition Coordinator
Frank van Veen
Exhibitions Volunteer
Coordinator
Heaven forbid there be blank walls at VASA! When you have a building
full of artists and a membership with many talented artists it somehow
doesn't seem right that we have bare walls in the corridor leading to the
north studios. Well thanks to the brain child of Executive Director Danielle
Gauthier, Vice President Miles Constable and Facility Management
Director Bruce Allen, as of April 14 the walls will be filled with colourful
images in the new Corridor Gallery. It is another great perk for our
members who wish to exhibit their work more often than bi annually in the
main gallery. There is room for approximately 15 paintings. Artists may
hang 1 to 12 pieces (depending on size) for 2 months at a time. Another
great reason to become a member of VASA!
Of course with any exciting idea that makes our organization better there
is always the question " Do we have volunteers to manage this?" Yes we
do! Two enthusiastic VASA supporters, Helen Rodgers and MaryLou
Olsen have stepped up to the plate and have formed the Corridor Gallery
Committee. Thank you Helen, MaryLou, Miles, Bruce and Danielle and of
course thank you to our visionary Board of Directors for their
endorsement.
Don't you love it when a plan comes together?
Let's see your masterpieces everyone. Time for more show and tell at
VASA.
Carol Watamaniuk
Heather Howard
Supply Inventory Coordinator
Victoria Armstrong
Newsletter Editor
Jaime Gordon
Events Coordinator
Cheryl Moskaluk
Horticultural Coordinator
Rick Rodgers and Miles Constable
embracing cubism?
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VASA Gallery Presents:
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Words of Art — great reads at the St. Albert Public Library by Luise Mendler –Johnson
Alternative art surfaces: mixed media techniques for painting on more
than 35 different surfaces by Darlene Olivia McElroy (2014)
Indulge your creative curiosity and take your art off the canvas, off the board, and into
the brave new world of Alternative Art Surfaces !
Mixed-media powerhouse duo Darlene Olivia McElroy and Sandra Duran Wilson
blaze new creative territory with more than 100 techniques for working on more than
35 unique surfaces in this, their jam-packed fourth book!
You'll find something new and exciting on every page: More than 35 alternative
surfaces, including galvanized tin, mica, rawhide, nylon, unsanded grout, slate, spray
foam and more. More than 100 techniques for painting, sculpting, creating textures,
encasing, carving, printing, transferring and more. More than 125 tips for troubleshooting, preparing your surfaces, finishing and mounting your art, and taking your
work to the next level. More than 50 inspiring finished pieces of art showcasing the
surfaces and techniques. (Publisher)
Urban sketching : the complete guide to techniques by Thomas Thorspecken
While most sketching guides leave the artist with static bowls of fruit and flower vases
to develop their skill, Urban Sketching takes its inspiration from the living, breathing
world around us! Contents include the nuts and bolts of sketching and drawing as well
as a range of techniques specific to this artistic genre. Readers will discover:
· Rules on perspective that will aid in capturing landscapes, buildings, and objects
accurately
· Tips for capturing the essence of people in sketches when subjects are on the move
· The art of adding notes, commentary, and even speech to sketches
Chapters on sharing sketches through social media, joining the international urban
sketching community, digitizing work, and more make this new guide the
quintessential resource for anyone interested in joining the exciting art movement.
More than 350 full-color illustrations throughout. (Publisher)
Art Quote of the Month
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What I have learned About Art through Travel - Miles Constable
Galleria Borghese
When in Rome ...
I mentioned in a previous article that I
have found a lot of wonderful art in
small, often focused, museums and
their collections. Of course the world's
major museums contain a lot of the
world's best art, and you should not
miss them if you have the chance. But
they can be wearying; often crowded
with tourists with their umbrellas and
tired children. When you really want a
change from the Uffizi's of the world,
search out the small, out of the way
museums.
The last time, and actually only time, I was in Rome we, of course took in the Vatican with it's famous
chapel and the Basilica with more Michelangelo sculptures than anyplace in the world. They were
impressive, but I truly enjoyed a small art museum hidden off in the grounds of a park in the centre of
Rome. This was the Galleria Borghese. This is the same Borghese family who were Cardinals and
Popes in the 1600's when it was fun to be part of the Church hierarchy. This little place was Cardinal
Scipione Borghese's party villa in Rome.
What made this rather small museum very worth while was a large collection of sculptures by
Bernini. I will have to admit that the vast majority of marble sculptures seem frozen to me. Perhaps it
is that many are missing arms, or heads, or both. But, in general, I have not been a fan of marble
sculptures of people from any time period.
Bernini was different. He made marble come alive. Greek gods
were trying to catch fair damsels, and nasty men were carrying
off Sabine women. Their hair flew in the wind; you swore that a
girls legs were transforming into tree trunks, her fingers into
leaves before Apollo could catch her (Daphne). The brute's fingers could be seen pressing into the flesh of Proserpine as he
hiked her over his shoulder.
But it wasn't flesh, it was cold, unyielding marble that Bernini
worked in. His works gave me whole new, positive, impression
for marble sculpture. And this would not have been possible in a
mega museum with the pushing, impatient crowds. Bernini
demanded time and quiet to appreciate.
Oh yes, this museum also had a few paintings by such notables
as Caravaggio, Titian, Raphael and Rubens. But they are all
over Rome. Go for the Bernini's.
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Exquisite Art Projects for the Young at Heart—Rayma Peterson
Hatching, Crosshatching and Contour Hatching
When drawing a subject the techniques of hatching, crosshatching and contour hatching may be used.
Hatching is the use of parallel lines to build up value or tone. Crosshatching is the use of layers of
hatching that cross each other. Each layer, however, always uses parallel lines. Contour hatching is the
use of parallel lines that follow the contours of an object. Contour hatching can directly model a figure.
You may use pencil, pen & ink, pastel, or paint in hatching. The examples show use of pen & ink.
Varying the size of the nib or brush will also have an effect on your drawing. The larger the nib, the larger the width of the lines will be. Compare the Mini Columbine with the Round-leaved Orchid drawings to
see the difference. The Round-leaved Orchid was drawn with a smaller nib. The Mini Columbine looks
wilder and coarser.
When starting a drawing, draw the contours of your subject lightly in pencil. Then lightly draw in some of the shapes of
the shadows. I usually use a B pencil because it erases easily and doesn’t gouge the paper, as a harder pencil might.
Without drawing the outline in pen, start to hatch in shadow shapes. Build up your hatching and crosshatching to show
value contrast and details. It can be used as background too. By leaving the outline un-inked the drawing will have more
depth. If an outline is drawn around the object it will flatten the drawing. Erase stray pencil lines when the ink it totally
dry. Follow the flow or shape of the object when contour hatching. Notice how some of the petals and leaves in the examples employ contour hatching.
Many master draftsmen use hatching to “sculpt” their drawings, incorporating shadows and creating depth. Remember, the more you hatch, the darker the area becomes. It may be used for adding value contrast in an otherwise faintly
drawn piece. Hatching is a time-honored technique used by the Old Masters such as Rembrandt van Rijn, Albrecht
Durer, and Leonardo da Vinci. Maurice Sendak used hatching extensively in his children’s books.
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Getting it Out There
All Non-Resident Members:
Do you want to display your work at VASA?
We have display space available for about 15 pieces in the corridor spaces leading to the jail cells.
Artists may hang from 1 to around 12 pieces (depending on size) for 2 months at a time.
Artists are encouraged to view the space prior to submitting their application.
How to sign up:
E-mail us at [email protected] by March 31, 2016 and let us know:
how many pieces you have,
the sizes (H X W) of your pieces,
the title of each piece, and
the prices that you are asking.
The first hanging will be April 14, 2016. (We will be there to help.) All pieces must be ‘Gallery
Ready’. Applicants will be accepted on a first come – first served basis; a list of applicants will be
maintained in the order they are received.
There will be no formal opening for the displays.
There is no charge for showing your work but VASA will be taking 25% surcharge for each piece
that sells.
Artists who are displaying work will be required to sign a contract with VASA. Your work will not be
juried, how ever, final decisions on admissibility will be at the discretion of the Corridor Gallery
Committee.
If you have additional questions or concerns please contact:
Marylou Olsen at [email protected]
Karen Blanchet is holding an official reopening of her Galerie Inspirations Gallery in her new location: 12936 108 Street NW Edmonton. The opening is part of an open studio tour being organized
by RAFA and CAVA for the 2nd April 2016. (See Dans Mon Studio Alberta on FB.) She will have a
few pieces from her new series “Wildwood” for your perusal and purchase! Do drop in. The coffee
will be on from 10am to 5pm. There are a few parking spots at the back where what looks like a garage is really my studio/gallery. See you there!
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Opportunities
The Visual Arts Studio Association (VASA) of St. Albert, Alberta
Call for Submissions 2017
VASA, an artist run gallery, is seeking visual art in all mediums and styles for their 2017 exhibition season from both professional and emerging artists. The deadline for submission is June 15, 2016.
VASA’s Main Space Gallery is unique. It is surrounded by artist’s studios that are open to visitors 5 days
a week. The Gallery provides over 1100 square feet of display space that is very flexible in configuration. It can hold up to 16 large paintings (40” wide) and up to 50 mixed sized pieces. A floor plan is
available on VASA’s website.
VASA follows the concept of visual fine art as defined by the Canada Council for Arts that could include
the following mediums: drawing, hand pulled prints, paintings in any medium, free standing or hanging
sculpture in any medium, assemblage pieces, photography, and textiles. VASA requests that artwork
has not been shown before in the VASA Gallery. Reproductions or giclées are not accepted. Selection
of art work will be based solely on the submission.
Submission from groups of artists are welcomed; a group submission must include documentation and
images from all artists in the group. VASA recommends that artists involved in a group submission also
submit as single artists. Selected single artists may be grouped with other artists for group exhibitions by
VASA.
The submission must include:
Curriculum Vitae – please include current contact information.
A short biography.
A brief artist statement for proposed pieces.
At least 7, and up to 15 images of representative art work (for single submissions) and 3-5 images
from each member of a group submission.
A list of included images with year created, size, medium, and price.
Documents must be in Word format. Images must be in jpg format and attached to the submission
email. For ease of use by VASA, they must not be embedded in a document. Each image is not to exceed 1MB in size. Submissions must be sent electronically to [email protected], and those
that are accepted may be retained for up to 1 year after the show.
All pieces must be ready to display, with sturdy hanging and/or support systems. The largest works we
can hang are 6 x 8 feet. VASA can handle sculptured pieces up to 6 ft high and 40 kg in weight.
Artists are responsible for delivery of works to VASA and for prompt pickup of all pieces after the exhibition, as VASA does not have room for storage of art work.
VASA may request a studio visit to view the artist’s collection. Selected artists should view the space
before the final works are shown. All shows run for approximately 4-6 weeks. VASA uses a variable
commission structure.
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Attention all VASA members. The next Meet and Greet evening will be Wed.
March 16 from 7-9 pm. Visit with other VASA members, enjoy a drink and
nibblies, view the latest exhibition in the gallery and visit the resident artist
studios. We will be discussing the new corridor gallery, an opportunity for
non-studio VASA members to exhibit their work on a rotating basis. If you
plan to come, please bring a small plate of finger food - drinks will be provided.
A portrait workshop in Jasper with Tessa Nunn
April 29, 30 and May 1 (Fri. 5 pm-8 pm, Sat./Sun. 9 am - 4 pm)
The magic of portrait painting is broken down into clear, fun steps during this 13-hour course. Renowned teacher Tessa Nunn guides you though subjects in anatomy, proportion, composition, light
and colour as they relate to the head and face. This workshop is geared to all artists: those with no
experience, as well as the master artists. Candidates can bring their own materials or purchase materials at the workshop. For more information, contact Tessa at [email protected]. Fee 350$
Please note: the live model will be present the entire weekend.
Would you like to improve your drawing skills? Karen Blanchet is offering drawing classes between
April 6th and May 14th. There will be thirty time slots at various times on Wednesdays, Thursdays
and Saturdays from which to choose. Each class has a maximum of six students with a minimum of
two required to run. The cost will be $40 per time slot which includes all materials. Classes will be
held in her studio/gallery space at 12936 108 Street NW Edmonton.
Please contact Karen at 780-761-7262 or email her at: [email protected] for more information.
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