Archive for June, 2011

construction/deconstruction

June 29, 2011

Hitachi Graffiti, Kristin Krimmel, Acrylic on Canvas, 32 x  40 inches, 2010

The first visitors to walk in the door on this exhibition were prior colleagues of mine in my Property Management persona – the day job that kept me, the artist, going.

“Whoa!” says Jim, an electrician,  a huge grin on his face, ” Where did the flowers go?”  !!!!!!

Over the past four years since I went artist full time,  I’ve had the luxury to explore other avenues. While I was working, often a flower was the closest I could get to having a model, and the most compliant, time-wise, for me to paint. I threw that all over when I emerged from my working cocoon and went fishing for more exciting material to work with.

These paintings link back to my property management experiences.

The work specific to this show has taken two years to paint. Some of you who have followed my post during this time may have seen some of these images, but then, I decided that if they were all posted, there would be no surprise at the opening of my exhibition at the Fort Gallery in Fort Langley, B.C.
So I stopped posting the images… well, time ran out – I stopped blogging altogether.


Pylons, Kristin Krimmel, Acrylic on Canvas, 32 x  60 inches, 2010

Here is what I had to say in the artist statement:
Over the past five years, there has been an unusual amount of construction going on around Vancouver in preparation for the Olympics, including the cut and cover construction of the Canada Line nearby my former home at Cambie and 41st; and later in Maple Ridge near my new home, with the construction of the new Pitt and the Golden Ears Bridges.

While the construction itself was disruptive and grungy, I took a childlike interest in the bright coloured machines that made it all happen – the excavators, bulldozers, cranes and other equipment. On a grey day, a bright yellow ‘dozer or a bright orange excavator can be the only lively looking thing, amidst dirt and gravel.

Construction is about new building. It sometimes requires demolishing or taking apart what was there before. Deconstruction is the act of taking things apart.

In painting, I’m interested in the “guts” of an image – the shapes, the textures, the surface qualities, the spatial relationships and the colour harmonies.
The construction machines have given me the opportunity to deconstruct the original photo-like image into component parts, to abstract it, to play with ideas of weight and balance, shapes, formalities of composition, and ideas.

Bulldozer, Kristin Krimmel, Acrylic on canvas, 32 x 40 inches, 2010

Liebherr Crane – Pulleys,  Kristin Krimmel, acrylic on canvas, 36×24 inches, 2011

Liebherr Crane, Kristin Krimmel, acrylic on canvas, 36×24 inches, 2011

Liebherr – Site Warrior, Kristin Krimmel, Acrylic on Canvas, 30 x 4 0 inches. 2011

To see more of my paintings, see this web site

http://www.kristinkrimmel.com

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John Koerner’s retrospective

June 28, 2011

Orchard 2, John Koerner, 8×10 inches, watercolour on  illustration board, 1963

There’s a tangible buzz mid afternoon in the Elliott Louis Gallery on Saturday. June 25th.   Celebration time is six o’clock, but the preparations are no accident. Everything is well planned to ensure the guests are greeted warmly and that they enjoy themselves during the two hours that follow. Those who cannot be there for six are arriving early, circling amongst the fifty -plus paintings of John Koerner, one of British Columbia’s most respected artists, and likely the oldest, too. He’s nighty- eight and not missing a beat.

Many of the paintings come from private collections, and they span a sixty year career of this remarkable artist.

The Lighthouse: Opus 119, John Koerner, acrylic on canvas, 42 x 52 inches, 1995

I fell in love with his paintings many, many years ago. Particularly, I loved his use of blues and turquoise in his landscapes.  I contemplated getting one of his oils, years back, but it didn’t happen; and then ten years later, was able to purchase a small watercolor, which I cherish still. It’s called Orchard 2 and is about 8 inches by 10.  I promised myself that, one day, I could purchase an oil and remembered the one I’d seen at the Diane Farris gallery on that early occasion. Then, miraculously, a still life in oranges and peachy colours came up at auction and I got it. I was thrilled. To actually own one! It sits in my office and I see it every day.

Just look at the paintings here. They are fresh and alive. There is no hesitation nor overworking. All the colours are harmonious,  clear and sparklingly clean. In the Lighthouse: Opus 119, you can see how he establishes depth of field with the large bouquet signifying the here-and-now, and the lighthouse, small in the distance, an ever present available guiding spirit.

Now I was here, well before the crowds would arrive, at leisure to get up close and contemplate each painting carefully. I can find new things in his paintings every time I look. There are ways of using acrylic so that it creates it’s own texture like when oil paint separates slightly when diluted with water. It’s a glaze that leaves a pebbly surface – hard to achieve while still maintaining control in acrylics. There are the overlays areas of small strokes  built up in a stained-glass like fragmentation. Most of the paintings contain  a compendium of different marks that can run from flat and smooth, to build-ups of jagged, direct ones, overlaid one upon another, giving a richness of pattern or depth of color. And, holding all this together is an overall composition of a meditative nature and a sensation of light.

Hikari 3, John Koerner, Acrylic on Canvas, 42 x 52 inches

The Lighthouse Series was inspired by the Point Atkinson Lighthouse – a monolithic white tower in West Vancouver, visible on a clear day from the University of British Columbia where he spent his career teaching in the Fine Arts Faculty. The lighthouse recurs in many paintings, signifying the source of light and the power it gives to guide us spiritually, inspirationally and physically.

The Pacific Gateway series, implies the link between Canada and Asian countries, as well as signifying peace, a visual play on words with “pacific”. In addition there are paintings with a Japanese flavour with suggestions of Kimono shapes; and a some paintings of African landscapes.

Harbour Reflections, John Koerner, 36 x 36 inches, acrylic on canvas, 1960

I couldn’t attend the opening due to another engagement, but once my other event was over, I hastened back to the Gallery to join the celebration. It was all but finished, but the attendance had been spectacular – well over 200 people had come. There were still at least 40 people there. John Koerner had already gone. But the symbiotic energy that was still reigning in the gallery  was exciting to join.  People did not want to go home!  Ted Lederer who owns the gallery greeted me in his usual enthusiastic fashion and immediately introduced me to David Bellman and Meirion Cynog Evans, the team of curators who had put up the show.

“You have to see this,” says Ted, leaving me with David, Meirion and a well known art collector in the back office where incoming new art is put out of the way of the day-to-day activities.

Up on the wall were some of Lionel Thomas’s late works, flowers on canvas painted in tempera, some geometric abstracts and exceptionally, about ten, two- sided copper enamel works. Size is approximately 8 x 10 inches. They are framed so that they can be seen as sculptures, free standing,  The color are brilliant (because copper enamelling is a process of affixing glass onto a metal base), with lots of pure bright hues of reds and blues. They are like jewels.

David Bellman and Merion Evans are in the process of preparing the Lionel Thomas collection of his works for an up-coming exhibition at the Elliott Louis Gallery. But that’s another story, since this was the celebration for John Koerner.

I couldn’t stay long; but was long enough to bring back some images to share on this blog.  Here are a few more favorites:

Still Life, John Koerner, Gouache, ink and paper collage, 1965

If you live in Vancouver, hasten to see this show. The  exhibition is very short – just 10 days in all, and it’s taken almost 20 years since the last retrospective of Koerner’s work.  It’s an opportunity not to be missed. It’s located at 258 East 1st Avenue, just one block east of Main and one north of Great Northern Way.

Check out the the Elliott Louis Gallery web-site. Lots of the Koerner images are there – but you will want to see the real thing. They are very tasty!

http://www.elliottlouis.com/

Ride

June 14, 2011

Dressage is a sport and dressage is an art. In this, Susan Falk straddles both worlds. In her latest exhibition in May at the Fort Gallery, she brought her lively paintings of horses away from the stables and onto our exhibition walls.

The interesting thing about Falk’s work is the directness with which she paints, as if drawing rather than painting, but using colour and a brush to do so.

Here’s what she was showing at the Fort Gallery:

Susan Falk, Oil on Canvas

Susan Falk, Oil on Canvas

To see these (and several others) all in one gallery space is to feel the excitement and movement of these powerful yet controlled animals.

Congratulations Susan,

See more at    http://www.susanfalk.ca/statement.html