7

May/June 2008

FREE SUBSCRIBE TODAY!

Serving the Canadian art industry www.brushstrokemagazine.com

Still Life/Floral Competition Winners inside

CANADIAN BRUSHSTROKE MAGAZINE PROUD TO BE THE OFFICIAL MEDIA SPONSOR FOR THE PORTRAIT SOCIETY OF CANADAS MIRACLE OF THE PORTRAIT

Olaf Schneider

Open Book

New Book: EXPRESSIVE PORTRAITS Shares Artists Unique Mixed Media Techniques

Mass-In Areas To Simplify The Painting Process, explains Ontario Artist

James L. Keirstead Dalhousie Mill

Publishers Corner

contents
5 Competition Winners
Olaf Schneiders Open Book wins Canadian Brushstroke Magazine Still Life/Floral/Gardens competition

ow that Canadian Brushstroke Magazine is into its second year of publication, I am reflecting on some of the excitement we had as we were conceived and began to grow. We have already spoken with and/or interviewed hundreds of artists who we admire greatly and have formed friendships with some that I know will last at least my lifetime. We have given away thousands of dollars in cash awards to the competition award-winners, and we are proud to have featured almost 30 artists who were finalists. We have sponsored major art events like the Visual Arts Summit, and have committed to being major sponsor for the Portrait Society of Canadas annual Miracle of the Portrait event in December. We have covered provincial, national and even some international art events on our pages. We have saved thousands of trees from being cut down because we dont print to paper. These were our baby steps and the thought of what will happen as we grow older and stronger is so exciting and exhilarating. We attribute our large subscription base after such a short time as being thanks to our readers, who through word of mouth have brought our magazine to the attention of their friends and colleagues. We attribute it to the advertisers who supported us from the very beginning, and to the new advertisers that are rapidly coming on board to help bring this product to the readers. And we attribute it to the fact that we are covering Canadian artists - a lineup of talent that rivals any other country on earth. And we couldnt be more proud. Thanks to all the artists, galleries, collectors, art material suppliers, etc. etc. that played such an enormous part in our first year. We look forward to working with you long into the future. If you have any suggestions for coverage or input of any kind, please email me or call me anytime at info@brushstrokemagazine.com or phone 780-986-0789.

11 Western Artist

Jean Pederson releases new book on Expressive Portraits

15 New Competition is
All About Light
Send in your favorite subjects that portray the effects of lighting (or lack thereof).

17

ARTIST

Get-Aways

Need a place to get away and paint?

Check out two locations to check into if youre looking to get away and paint!

19 Mass In
PUBLISHED BY JENSU DESIGN PUBLISHER: Susan Blackman
All material printed in this magazine, written or depicted, is protected by copyright of this magazine and/or the artist, and cannot be reproduced in any form without express written permission from the publisher. All views expressed are those of the author and not necessarily those of Brushstroke Magazine. Brushstroke makes no recommendations as to the purchase or sale of any product or service.
2 Canadian Brushstroke Magazine May/June 2008

Areas To Simplify
Kingston, Ontario artist James L. Keirstead says the painting process is much easier if you start with large masses.

All letters or contributions to Brushstroke Magazine are subject to editing with no limits or liability. JENSU DESIGN Box 5483, Leduc, Alberta, Canada T9E 6L7 Phone: 780-986-0789 Fax: 780-986-8393 E-mail: info@jensu.ca CANADIAN BRUSHSTROKE MAGAZINE Box 3449, Leduc, Alberta, Canada T9E 6M2 Phone: 780-986-0789 Fax: 780-986-8393 E-mail: info@brushstrokemagazine.com www.brushstrokemagazine.com

25 Industry News and

Information

Whos showing where? What competitions can you enter? Who won awards? Heres where you look to find the answers.

Canadian Brushstroke Magazine May/June 2008 3

letters...
The following is a continuation of an editorial issue covered in past issues. To read the previous letters, click on the following links and go to Page 3: http://www.brushstrokemagazine.com/issues/2008/lores/2008_01_lr.pdf and http://www.brushstrokemagazine.com/issues/2008/lores/2008_03_lr.pdf Dear Editor, I would like to reply to the criticisms by Graham Flatt, Lloydminster, Alberta. Disagreement is often a necessary part of a healthy and productive dialogue and I thank him for writing to the Editor. This is intended to be a clarification, not a personal attack/criticism as Mr. Flatt seems to have responded with. You said shame on youI believe there is no shame to be had in being honest. Surely there has to be a point in art, where a piece must 'speak for itself'. It should not need defending or explaining and it should stand or fall on its own merits. Regarding How dare you impose your obviously myopic opinion of excellence on the rest of us How, without having a better understanding of my thoughts on such a complicated subject and having no idea of my ability to debate this issue, you deduce, not only that my opinions are myopic, but that this is obvious (to you) is beyond me. You said just because Ms. Campbell chooses not to wallow in the abyss of high representationalism or to subject herself to rendering recognizable subject matter to appease the coddled masses does not mean that her efforts are not worthy of such praise . Is it your open-mindedness which allows you to be so dismissive of high representationalism and the coddled masses as you so kindly lump and label the general public? I find it hard to believe that anyone could seriously, and in all honesty, suggest that this simple graphic requires an "amazingly high degree of sophistication to create".... and that it "...pulsates...". It is what it is. I don't believe any art form should be dismissed, be it abstract or photorealism, they are equally valid forms of expression; hardly a myopic viewpoint. My comment was in part about the apparent calibre and talent required for a specific piece of work and an award which I felt was not in line with the work. If anything is pronounced to be great by the right people (especially when the right context is factored in... where it is shown), there will always be some people willing to see and support it as been great, regardless of the merits of the piece. You said Are you really that naive to suggest that a painting must have a degree of representationalism to be successful, that abstract art cannot be terribly complicated? I made no such reference or implication to a relationship between the success of a piece and the degree of representationalism. You said perhaps the jurors were looking for something different. Should this be of any consequence in any case where the piece was not particularly good or strong? I think all artists exhibiting their works in competitions should be concerned the day that what the jurors are looking for becomes a factor. Please dont confuse this point as my playing judge and jury defining good and bad art. It appears to me, that more often than not (at least with those pieces of work which receive mass media attention and coverageabstract or not), that philosophical verbiage rules the day. The public, receiving much of the information it gets from all parts of the art establishment, then has to factor this spin into their understanding. I am in complete agreement that public dialogue is what we need. David Howells Nova Scotia
4 Canadian Brushstroke Magazine May/June 2008

STILL LIFE/FLORAL COMPETITION

e are very pleased to present to you the Grand Prize winner of $1000 and an award-certificate, and eight finalists who will receive finalist certificates for their portfolios. Every issue we have increasing numbers of entrants and it makes the decision tougher. This month, there were several other paintings that were really close to being in the finalist category, so we encourage all artists to keep trying. Perhaps next time your painting will be featured.

Grand Prize Winner

of $1000 CDN and award certificate:
OLAF SCHNEIDER, Etobicoke, Ontario
Open Book, Oil, 20 x 30
ost people wear a mask, says Olaf Schneider. They want others to see them in a certain way. This is why it is better to be transparent. Allowing others to see us as we are is risky. However, as we practice humility, we can enjoy freedom and allow others to know our true inner selves - therefore remaining as an "Open Book." Olaf experiments with a variety of subjects from Canadian landscapes and canoe scenes to paintings of glass, light and water.

Schooled at the Ontario College of Art, Sheridan College, Olaf resides in the Toronto area. His paintings are widely exhibited in Toronto, Quebec, Alberta and throughout North America, as well as in Germany, the Netherlands and Italy. He has also been heralded with honors in International Artist Magazine. For more info about Olaf Schnieder, see page 8, and visit the artists website at: http://www.olaf.ca or email him at: olaf_artist@sympatico.ca .

Canadian Brushstroke Magazine May/June 2008 5

Finalist
Receives award certificate:
MINA DELA CRUZ, Toronto, Ont.
Speckled Eggs, Oil, 9 x 12
painted this still life because I was drawn to the textures and shapes of the objects, says Mina Dela Cruz. I enjoyed the technical challenge of achieving the look of brass, and the roundness and smoothness of the eggs. Originally from the Philippines, Dela Cruz immigrated to Canada in 1977. She paints at the Adelaide Street Studio, a co-operative of realist artists in downtown Toronto. Although Dela Cruz attended various schools to strengthen her drawing skills, in painting she is mainly self-taught. As a contemporary fine artist, Dela Cruz specializes in still life and portraiture. To see more of her work, you can check out her website at: www.adelaidestreetstudio.com .

I
Finalist
Receives award certificate:
MICKIE ACIERNO, SFCA Nanaimo, BC
Table Talk, Oil, 20 x 30
or this painting I was inspired by the grapes, magnificent in their beauty, says Mickie Acierno. Even the missing grapes tell a story of irresistibility. Im always fascinated by reflective surfaces and the sugar bowl was the perfect partner, certain to cause some table talk. Acierno creates art every day in her studio in Nanaimo, B.C. Enamored with light and shadows she strives to capture the energy from within her subjects. Acierno is passionate about her art. She says her greatest reward is when her art touches the viewer in a way that evokes emotions or feelings. Acierno's works can be found in galleries and private collections throughout North America. You can see more of her work at www.mickie.ca , and you can email the artist at mickie@mickie.ca.

6 Canadian Brushstroke Magazine May/June 2008

Finalist
Receives award certificate:
LESLIE PARKES, SCPWC Bowmanville, Ont.
Blireana Blossom, Watercolor, 29 x 23
The staff and management at Canadian Brushstroke Magazine are extremely sad to share the news that Leslie A. Parkes passed April 28, 2008. This is the second painting that Parkes has had in the finalist category in a Canadian Brushstroke Magazine competition and we are proud to have been able to share his work with you. hen Leslie Parkes retired from a career in advertising in 1989, he applied for membership in the Canadian Society of Painters in Watercolour and was a member since then. His work earned him numerous international awards and has been exhibited in galleries across Canada, the United States, and Mexico. To view more of Parkes work, visit his website at www.watercolours-parkes.com .

Finalist -

Receives award certificate:

JULIE DONEC - Burlington, Ont.

Savage Cabbages, Acrylic, 24 x 36
'm a fine artist, art instructor, and an avid gardener, says Julie Donec. The plants were originally given to us as a gift by our neighbor, and they grew to be about the size of the image; they are really quite enormous and in my opinion, magnificent. The image of the cabbages was under painted in acrylics, in layers of Burnt Umber and a very small amount of Phthalo Blue. I liked the dense, cool effect the under-painting gave, and I laid a subsequent glaze of pinks (Alizarin Reds mixed with Zinc White), and delicate greens (Cadmium Yellow Pale and Cyan mixed with a Chromium Oxide Green), and laid these on top of the under-painting to finish the piece off. For more information, see her website at www.juliedonec.com .

Canadian Brushstroke Magazine May/June 2008 7

Finalist
Receives award certificate:
CINDY REVELL, Sherwood Park, AB
Tipsy, Oil, 12 x 9

COPYRIGHT

t was the long, lean shape of this pear that interested me and after spending a lot of time with various props and compositions it seemed simplicity would emphasize its shape the best, says Cindy Revell. The little Chinese teacups with one tilting one way and the pear tilting the other suggested a rather humorous and somewhat human contrapposto pose. Besides composition, light is always a primary consideration for me. Cindy has been a professional illustrator for over 10 years and has been oil painting for six years. She is a GovernorGeneral nominee for children's book illustration and her work has been extensively published all over North America while her oil paintings have been exhibited in juried shows, a museum and galleries in Canada and the US. "I couldn't be happier living an artist's life." To see more of Cindy's work visit www.cindyrevell.com . She can be contacted at 780-662-3088 or cindy@cindyrevell.com .

Olaf Schneider was the winning artist for his painting Open Book on the cover of this issue. This painting, Timeless Memories, has also been recognized as a finalist. s time passes, we are always learning, says Schneider. Sometimes learning from others what to do is as important as learning from them what not to do. All we need to do is keep our eyes and ears open. I felt that this image expressed the idea of memorable time. Time that will not come back. A question that comes to mind is, What are we doing to contribute to the lives of others with our time? I like to use expressive and thick impastoed brushstrokes or soft, blended strokes to render a sense of movement and texture, giving the painting a life of its own. My interpretation of color also sets the dynamic mood. The tones often range from the darkest to the lightest in an effort to achieve maximum drama. For more info visit the artists website at: http://www.olaf.ca .

Finalist - Receives award certificate:

OLAF SCHNEIDER, Etobicoke, Ontario
Timeless Memories, Oil, 40 x 60

8 Canadian Brushstroke Magazine May/June 2008

Finalist
Receives award certificate:
LAURA LEVITSKY, Chilliwack, BC
Autumn Frost, Acrylic, 11 x 14
t amazes me what can be found in a single square foot, which gave me the idea for Autumn Frost, says Laura Levitsky. I am determined to include the smallest of details in every painting and I look for it when I am thinking of a composition. I believe it captures the whole story and essence of the subject. It is with this challenge that I get satisfaction." "I am a self-taught artist who grew up in Saskatchewan and moved to British Columbia in 1989. It wasn't until the fall of 1999 that I took a career change and settled into my passion for painting. I began building a portfolio, becoming self-published with limited edition giclee canvas prints by 2003. My prints can be found in private collections across Canada and the United States. I am an outdoor enthusiast whose walks and hikes are not as brisk as most might travel. I cannot help but gaze at every color, shape and texture that nature has on her everchanging palette. Levitskys website is www.levitskyart.com .

Finalist
Receives award certificate:
MARILYN MILLS, Sault Ste. Marie, ONT
After the Rain, Watercolor, 13 x 22
ne day after a rain I was walking down our driveway which was beside Lake Superior and had beautiful maple trees along the sides. The leaves and colors were so vibrant, still dripping with rain. Suddenly, several chickadees landed on the branches. They were so chirpy and happy. I guess they were happy the rain had stopped, too, says Marilyn Mills. I took some pictures of the leaves and managed to get some chickadee pictures. I couldnt stop thinking about the scene and felt I had to try to paint it. I was very happy with the results and the painting gives me much joy. I have been painting for approximately 15 years. I originally painted in acrylics but switched to watercolors because I fell in love with the overall look of this medium. The challenges working with watercolor have been exciting, very rewarding, and never cease to amaze me. For more information about Marilyn Mills work, you can contact the artist at horseshoebay@sympatico.ca .

Canadian Brushstroke Magazine May/June 2008 9

Susan Abma Susan Abma

Johnson Gallery
7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca

Cindy Revell
10 Canadian Brushstroke Magazine May/June 2008

Anne McCormick

WEST (Yukon, Alberta, B.C.)

LOST IN THOUGHT Watercolor, 16 x 20

NEW BOOK: shares artists

unique portrait techniques
Jean Pederson's 'Expressive Portraits Creative Methods for Painting People' is on the shelves of bookstores across the country.
algary mixed media artist Jean Pederson has added a new achievement to her impressive repertoire that includes dozens of awards, being published in several publications, teaching, and more. The latest accomplishment is her new book, Expressive Portraits - Creative Methods for Painting People, published by North Light Books. "When they first talked to me they asked me to submit a proposal. From that point, I continued planning exhibitions and workshops and then, all of a sudden, it happened!"

Canadian Brushstroke Magazine May/June 2008 11

The following are comments from Vanessa Lyman, who was Jean Pedersons book editor and the managing editor of North Light Books.

STATE OF GRACE Watercolor, gesso, India ink and pencil crayon, 16 x 20

The approval of the proposal took several years. Once it was approved, however, Pederson said it was extremely hectic because she heard about the approval in February and the entire book had to be completed and returned to the publisher by December. (See publishers comments in sidebar at right) Then, there were lots of editing deadlines and the book went back and forth for many months. "I got an advance copy last October (2007). The book came out at the end of November, and it was available in stores after Christmas." Pederson is thrilled with the positive response she's receiving. "I've had lots of people email me from all over North America. It is something they can relate to." "It was never my intention to someday write a book," she says. But when Pederson was asked to submit her proposal, she decided that she should focus on portrait and figurative work, for which she had often received awards in the past. "I looked at this as an opportunity and experience that I'm very privileged to have. I sure hope people enjoy the information and the images. It makes me feel good if somebody gets something out of it." Pederson, who also writes for, among others, the Artist's Magazine, says she writes "because I love what I'm writing about, but also because I love connecting with people." She's always loved the arts. "I was the kid in junior high who always worked on the posters. I always enjoyed that and spent hours doing it." Her love of art made her want to get a Bachelor of Fine Arts degree. "My parents grew up in the '30s and were not really supportive. They had never heard of successful artists - they knew of the 'starving artist.'" So, she got two degrees from the University of Calgary - a Bachelor of Education (major in fine arts), and a Bachelor of Physical Education.
12 Canadian Brushstroke Magazine May/June 2008

Why was Jean Pederson chosen to write a book for North Light? Jeans work is incomparable. Regardless of medium, every artist wants to paint people, so were always on the look-out for artists who can paint people and, even more importantly, teach others to paint people. Jean had both of these qualities. But it was more than that - her portraits are always intense and sometimes searing. Regardless of age, gender or race, Jean was able to catch the persons soul, and make it luminous. How does this book fit into your impressive line-up of fine art books? It fits in well! As far as the medium, we consider it a watercolor book that isnt afraid of other media. As far as painting subject matter, we consider it a people book with power. How are the sales doing to date? I cant quote you numbers, but I can certainly quote you passion: weve had very strong, positive reactions from readers. What was it like to work with Jean on this book? Jeans a professional. Making a book is not easy, and demands a lot of attention, commitment and time. Jean threw herself into it, mastering photography and the sometimes counter-intuitive process of breaking down the very personal process of painting. She was really great to work with. Jeans also a serious Canadian. Because of her, my life will not be complete until Ive been to the Calgary Stampede.

SILK-WRAPPED Watercolor, 16 x 20

"I felt like I beat the system. I got my two degrees and got to do my art." For a time she worked as a teacher for the Calgary School Board. "I ended up painting more and teaching less and less." She now teaches art at the Alberta College of Art &

THE SCARF Acrylic, 14 x 14

Design, and is definitely not a 'starving' artist. And, her parents are very supportive. "I think they're so proud of me. Had they known there was any way to make a living this way, I know they would have encouraged me." A turning point in her art career came as a result of something a workshop instructor (Joyce Kamikura, SFCA, NWS) told her class about their paintings one day. "She said to us, 'Your artwork all looks the same.' We didnt have our own voice or identity in our work. Upon reflection, I thought, Who am I and how do I want to communicate?" Another influence in her art came from Doris McCarthy (CM, O.Ont., RCA) who said in a talk, "Where is your story? I can't see your story." So, Pederson buckled down. "I thought, "What have I got to lose?" And the results have proved that she went in the right direction. She has won numerous awards and accolades for her work, including the opportunity to write her book. If you want your work to have pizzazz, she says, "Take risks - maybe the light, maybe the quality of the brushstroke, maybe the daringness." "You have to soul-search. There's no easy answer. It's really about who you are, how you express yourself. It's a reflection of your personality, your identity."
Canadian Brushstroke Magazine May/June 2008 13

"Go to national museBlue. "It's tough to find a ums and buy beautiful cool, transparent blue art books by artists you so I go towards Phthalo respect. Learn art histoTurquoise (she feels ry - what's gone before that Cerulean is a bit and where you fit in." chalky but uses it someAlthough Pederson times). It's not exactly tends to stick with what I want, but someWinsor Newton, Daniel times you have to comSmith, and other paints, promise to fulfill your she says that it's not objectives." necessarily the brand "Basically I use a warm name that's crucial, but or cool with others help"what's important is to ing out. I'd just as soon use a paint that has a not use the cads good reputation." This (Cadmium colors) means consistent good because they are toxic." quality and good value, As for brushes, she adds. Pederson generally Sticking to what you prefers Kalinsky sables know is important to for her watercolor work. ensure consistency in "They hold the water painting. "When I paint I and lift up the water want to understand my really well." materials so well that I For acrylics and oils don't even have to think she says she's more about it." likely to use man-made "For example, in or hog hair brushes and watercolor you recogoccasionally will even nize the properties of use one of her watercolthe pigment more so or brushes. than acrylics and some "It's all 'what if.' What if HARLEQUIN Watercolor, gouache, gesso, gold leaf and matte medium, 20 x 16 oils. It floats around on I twist, what if I adjust the paper and influthe pressure..." ences your designs more. Each layer isn't sealing like it For her watercolor and mixed media work she often is with acrylics or oils." uses Arches, Winsor & Newton or Fabriano papers "Some pigments layer well and some have a breaking usually 140 lb, medium rough or hot press. For acrylics point and get chalky. It's like spices in your cupboard." and oils she likes canvas or board. "It's nice that you "Each person is going to have his/her own reasons for can scrub a bit aggressively on the board - it's not that the colors in their palette. I can tell you what I use, but it's really aggressive, but it's more being willing to take there are strengths and weaknesses to everyone's risks. I'd rather try to have an exciting painting than setpalettes." tle for a nice painting." Pederson uses a warm and cool, transparent version "You have to try to figure out what's not feeling right of red, yellow and blue. "Then I throw in some opaques and you might have to paint out your favorite area to and sedimentary colors to support that. make it a better painting - or rip it out and change it into Some of the colors she does like include Aureolin, something else. Otherwise it'll never be a great paintScarlet Lake (a transparent, warm red), and Winsor ing. It'll just be a good painting with a nice part to it."

JEAN PEDERSON's work is in many collections world-wide. Her most recent awards include the Mario Cooper and Dale Meyers Medal - American Watercolor Society 141st International Exhibition in New York, and a Certificate of Honor with Medal from the Jiangsu Watercolor Research Institute in China. Her work has been published in the Daniel Smith
14 Canadian Brushstroke Magazine May/June 2008

International 2009 Catalogue, the Artist's Magazine, Watercolor Artist Magazine, Canada's Who's Who, International Artist, among others. She teaches at the Alberta College of Art & Design, hosts workshops at Red Deer College and has been in many solo and selected exhibitions. For more information about this artist, visit www.jeanpederson.com .

CALL FOR ENTRIES

We want to show off Canadas artists, and our competitions will offer us a chance to do that! Be sure to enter your artwork in our competitions - not only do you have a chance to win

All About Light Competition

Competition No.

All About Light - Artists Subject

favorite subjects showing the results of light (or lack of it)

Medium

Two dimensional drawing or painting medium $15 each

(You can enter as many works as you would like)

$1000 CDN
plus an award certificate, but we also get a chance to see your work and we just may feature YOU in an upcoming issue of Canadian Brushstroke Magazine.

Entry Fee

Entry deadline

July 31, 2008

*Winners and finalists will be featured in the Spet/Oct issue of Canadian Brushstroke Magazine

RULES HOW TO ENTER

DIGITAL FILES ONLY Enter with high res digital file only on CD only. Do not send digital images via email to our offices - they will be automatically disqualified. You must print off the entry form on next page, complete it, and send it along with your CD and method of payment. If you have more entries than the space allotted, please print another form and fill it out completely. All CDs must be labeled with the artists name, the number of entries on the CD, each of their titles and this issues Competition Number. All files on the CD must be labeled as follows: lastname/firstname/Entry No. Example: John Smiths Entry No. 2 would be labeled smithjohn2. ELIGIBILITY This competition is open to any artist with residency in Canada. All work must be original, not copied from any other artists work, photographers work or published work of any kind, and must have been completed in the last two years. The work can not have won previous awards or any distinction of any kind. No works created under supervision are eligible. We reserve the right to refuse any entry, or ask for source material at our discretion.
Canadian Brushstroke Magazine May/June 2008 15

RULES HOW TO ENTER (CONTINUED)

ENTRY FEE/DEADLINE The DEADLINE for Canadian Brushstroke Magazine to RECEIVE entries is July 30, 2008. You cannot courier material to our box number, so be sure to send it in plenty of time (Address is on submission form below). The fee per entry is $15 CDN, which can be paid by VISA, cheque or money order. The fee MUST be included with the CD and entry form submission. The entry fee is not refundable. COMPETITION JUDGES The competition entries will be chosen by Canadian Brushstroke Magazine, and/or qualified judges of our choosing. PERMISSION TO PUBLISH Signing and submission of the entry form, digital files and payment will constitute permission for Canadian Brushstroke Magazine to publish your artwork(s), your name and information in our magazine, which is released on the internet, and copies archived on our website on the internet for as long as the publisher wishes to keep the archived editions on the site. Submission of the entry also constitutes the entrants acceptance of all competition rules. The winner and finalists will be notified by e-mail, and their work will be published in the specified edition of the magazine. The judges decisions are final. Canadian Brushstroke Magazine does not accept any liability for color variations that may occur as a result of different computer screens. The artists will always be properly credited.

E N T R Y F O R M

Phone number:

E-mail:

PLEASE WRITE VERY CLEARLY

Entry 1
Title: Title:

Entry 2
Title:

Entry 3

Medium: Size: (hxw)

Medium: Size: (hxw)

Medium: Size: (hxw)

I enclose my cheque or money order for the total fee of $15 Canadian PER ENTRY OR, please charge the total sum to my VISA: _______________________________ EXPIRY DATE:_______________________Signature______________________________
I solemnly declare that all the works listed on this entry form are my own original artworks and I own the copyright to the work and to all source material used in creating this artwork. I understand the entry, including the form and CD, will not be returned, and I understand the entry fee is nonrefundable. I have thoroughly read and agree to all competition rules, and I understand I am granting the rights to publish my name, the artworks listed and information in an upcoming issue of Canadian Brushstroke Magazine and that the issue will be archived for an undetermined amount of time on Canadian Brushstroke Magazines website: www.brushstrokemagazine.com. **If you wish to receive confirmation that we have received your entry, enclose a self-addressed STAMPED postcard.

Address

Please PRINT name clearly

Postal Code

City/Province

Signature

Please mail this form and the properly labeled CD (see Rules - How to Enter) with properly labeled files to: Canadian Brushstroke Magazine, Box 3449, Leduc, AB, T9E 6M2
16 Canadian Brushstroke Magazine May/June 2008

ARTIST
This section is not an endorsement of any of the locations, but just for informational purposes and all artists must do their research before booking travel destinations. We will provide this space for retreat locations periodically when we have enough on file. If you wish to send

Get-Aways

information about your Artist Get-Away, please email it to info@brushstrokemagazine.com and put the word RETREAT in the subject line. Please remember that this is not space for workshop information, etc., but only for location information.

The retreat I offer to artists is a private one - a rustic, comfortable, rental cabin with a functioning, small studio, on Whitestone Lake, 45 minutes north of Parry Sound, ON. Features include: all cedar construction a 10' x12' studio with lake view, one compact bedroom with double bed, a sofa bed, a private, shallow beach perfect for young children, a firepit, a sofa swing an outdoor shower, an 8' x 12' deck for eating or sleeping under the stars two kayaks for journeys to the beaver dam, to get ice cream and a newspaper, or for lake exploration a fully equipped kitchen The long lake views are arresting as the clouds fly towards one from the south west; the country roads, vintage farm buildings, lakes, creeks, waterfalls, and villages of the Near North provide an ample variety of inspiration. For more information: sandra@sandrabray.ca

We would like to welcome you to our little piece of heaven in the beautiful sunny Okanagan region of British Columbia, approximately half way between Vernon and Kelowna on the Westside of Lake Okanagan. Our accommodations consist of: The Artisan Room with Queen Bed, decorated in breezy blues & greens; and the Safari Room with Queen Bed, decorated in rich brown, gold and orange hues. Both bedrooms share a large full bath with double sinks & enclosed toilet as well as a sitting room. We have several patio areas, one with a water feature as well as flower & vegetable gardens. Our B&B can accommodate a small group of up to 6 people if the sofa bed in the sitting room is utilized. For more info & photos: Website: www.bbcanada.com/10890.html Email: AnArtisansBandB@telus.net

Canadian Brushstroke Magazine May/June 2008 17

Perfect for elementary schools, resident & day camps, youth groups, child care facilities.

Six totally different art projects, each with all the necessary supplies, instructions and samples to help you teach children how to create their own masterpieces. Classes available for 10, 20 or 30 young artists. Many of the supplies can be reused for future projects and restocking of used items is available. All projects follow the current elementary school curriculum.

CLASSES AVAILABLE:
Plaster Mask Making Kit (Each artist will make a timeless memory of their own face!) Sculpture Fun (Embellish a picture frame with relief sculptures!) Drawing Exercises (Over 6 different drawing projects!) Sticky Art Fun (Using adhesive colored shapes, create a stained glass effect!) Foam Printing Kit (Make custom greeting cards and lots more!) Learning about Colour (3 Exercises to learn how to mix colours)

Sold exclusively through:

Artra Art Supplies Co. Ltd.

For prices and more information, please call toll free at

1-866-ART-8500
18 Canadian Brushstroke Magazine May/June 2008

EAST

(Ontario, Quebec)

Outdoors makes on Ontario artist

Mass in areas to simplify the painting process says Kingston, ON artist JAMES L. KEIRSTEAD

ABOVE: MISTY MORNING TRILLIUMS Oil, 24 x 16 BELOW: DELPHINIUMS Oil, 20 x 30 t's not hard to see where oil painter James Lorimer Keirstead gets his inspiration. As he is interviewed, he glances often with binoculars to view birds on his 83-acre riverside property in Kingston, ON.

From the deck he can see a 2-km bay. The outdoors inspires all his works. Although his paintings don't feature birds, he knows them all by sight and has a platform for Osprey to nest on

and a home for Purple Martins, who visit every year. The morning of this interview, he sees the 'scout' check out a Purple Martin home for later inhabitance, and there are a few sticks on the Osprey platform, so he hopes they will choose to nest there. His paintings occasionally feature wildlife, and more often, nostalgic, romantic, idealized heritage scenes and buildings. Keirsteads original works hang in more than 1000 private and public collections world-wide, and he has sold an estimated two hundred thousand prints so far in his career as a visual artist. At 75 yrs. of age, don't call him semi-retired. He scoffs at that. He is in excellent physical condition, doing a half-hour work-out and a half-hour racing swim in his own pool every morning before he starts his day - something he's been doing for many years. And he hasn't stopped working either, but his production has decreased.
Canadian Brushstroke Magazine May/June 2008 19

SUNBURY BARNS Oil, 18 x 27

"I'm 75. I still work all the time. I just don't have the same energy I used to. I takes me longer to do it. I used to stand and paint more than 10 hours a day." But, he believes that he is now painting his best ever and he has more commissions these days, painting clients estates and their favorite places. In the early stages of his art career, he was sometimes producing more than one painting each day. He still paints more than 50 paintings each year. Hes had about a hundred one-man shows in places like Toronto, ON; Montreal, QC; Florida; Scottsdale, AZ; and New York, NY. Keirstead opens his impressive home for a show every May. This year it started May 3 and will continue for two weeks. He says his guests love coming to his property, which has five acres of mowed lawn, a six-foot high mill, a river running through it, a pond, and other attractions that they enjoy. His mother used to tell people that he announced to everyone at 6-yrs-old that he would be an artist. In 1958 he went to a high school night class for a year. He was so proficient that the second year, students in the class asked Keirstead to teach them. He served in the Korean War and later was a member of the Ontario Provincial Police (OPP) from 1954 to 1965. He left the OPP in 1965 to paint full-time - a decision he couldn't be happier about. He now serves as Honorary Inspector and Art Adviser to the OPP. From 1965 until about 20 years ago he painted in a studio away from his home, but since then he has painted
20 Canadian Brushstroke Magazine May/June 2008

from his home studio. It is 24 x 37 ft., and is above his garage, overlooking an 1850s stone homestead. In the studio, he has everything built-in. There is a 4 x 6 ft. sheet of plywood, hinged at the bottom that he puts his work on so that he can lower it or tilt it to different angles. "Most of the paintings I do are 2 x 3 ft., although some are up to 4-5 ft. across." There is a built-in bench that holds his four painting palettes. "I keep switching to keep clean paint. " There are spotlights above his palette bench and easel. When painting, "I usually start with the sky. I do almost everything with a knife, with texture - sharp, square texture. I do more with putty knives than painting knives. I like ridges." He uses small, soft, sable brushes for fine detail work only to enhance the focal points. He will also use anything necessary to achieve the effect he's looking for. For instance, the sharp edge of a piece of paper bent to the right angles and then dipped in paint can be the perfect tool to do the lines that support a mast of a boat. "Anything that works, I do it," says Keirstead. Most of his paintings are done on standard hard board (masonite). He scuffs up the smooth side with medium sandpaper, and double primes both sides of the board with acrylic gesso. He believes priming both sides is important to seal the board. "I think it's more permanent." He paints on the smooth side of the board. Keirstead feels a solid drawing is important. He does a charcoal drawing first, and then, as he stresses when teaching, he lays in masses of paint.

DALHOUSIE MILL Oil, 12 x 18

Students, he says, "need to think of getting their shadows drawing faults before the artist spends a lot of time trying in thinner and massing to simplify. Then paint over, with to fix a bad painting. thicker paints, all your midtones and lights and highlights. And be clear what direction you want to go in as an artist, You'll need a little more detail on your focal point. I like he says. "If you want to sell and survive, you'd better paint impressionism and I try to make my paintings more some things people like. And keep painting. You can't just impressionistic." do a few paintings and then sit back and hope to sell He prefers Winsor & Newton and Stevenson paints. His them. Painting is work. You've got to put everything you've usual palette consists of Titanium and Zinc White, got into it." Cadmium Yellow Light, Cadmium Yellow Deep, Raw "You're only going to get boom years every so often, Sienna, Quinacridone Rose and Quinacridone Magenta, so be ready (have lots of paintings). Do 'street shows' Burnt Sienna, Raw Umber, Burnt Umber, Ultramarine and or whatever you can do to get exposure. Don't just Cerulean Blue, Viridian Green, and Paynes Gray. rely on one gallery. Find two or three galleries that Keirstead currently teachhave a market for your es occasionally at the work." JAMES Kingston School of Art as a Enjoyable as the 'job' of KEIRSTEADS volunteer. The students are painting is, Keirstead work can be seen charged for the classes and says, "There's nothing at his studio in the money all goes towards easy about it." His Kingston, at the school. greatest joy as a painter Crescent Hill He stresses something he comes from collectors Gallery in feels will improve every who keep returning to Mississauga, and artist's work. "This is imporpurchase his work. He at special showtant - when you're finished has a collector who has ings. For more drawing, hold it up in the amassed 50 of his information about this artist, visit www.jameskeirstead.com . mirror." This will expose the original works.
Canadian Brushstroke Magazine May/June 2008 21

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Pictured below: Canadian artist Jack Ellis demonstrates the Banff easel

22 Canadian Brushstroke Magazine May/June 2008

MARITIMES

(NFLD/Labrador, PEI, Nova Scotia, New Brunswick)

Newfoundland and Labrador artists awarded by NLAC

The Newfoundland and Labrador Arts Council (NLAC) presented three visual artists with awards at its 23rd annual Arts Awards Show and Gala last month at the Reid Theatre in St. Johns. The annual arts awards honor the accomplishments of Newfoundland and Labradors artists. The winners include: ArtsSmarts Arts in Education Award: Dorrie Brown art educator in theatre, visual art and music (Happy Valley-Goose Bay) CBC Emerging Artist Award: Mary Ann Penashue visual artist (Sheshatshiu) Hall of Honour Award: Gerald Squires - visual artist, Holyrood and the Newfoundland Writers Guild - arts organization, based in St. Johns This year's winners and all the finalists provide us with striking examples of the diversity and intensity of arts activity in our province, said NLAC Chair Camelita McGrath. That's what these awards are all about - recognizing and valuing the creativity and commitment of artists whose work enriches our lives every day." Nominations for the awards are submitted by the arts community, arts organizations and the general public. Winners of the Artist of the Year and Arts in Education awards receive a $2000 cash prize and a piece of artwork. Inductees into the Hall of Honour receive a framed certificate.

Welcomes this months new advertisers: Gamblin:

and
PLEASE SUPPORT OUR ADVERTISERS - THEY HELP US SEND OUT THIS MAGAZINE AT NO COST TO YOU.
Canadian Brushstroke Magazine May/June 2008 23

Tracey Mardon

Margaret Klappstein

Johnson Gallery
7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca Susan Abma
24 Canadian Brushstroke Magazine May/June 2008

news & information

BRITISH COLUMBIA
Petley Jones Gallery (Vancouver), Until May 22: Duncan Regehrs latest painting series "Magic." The series alludes to transformation, illusion and the unknown. (Image at right) ....................... West End Gallery (Victoria) May 17 -May 29: Collection of paintings by Glen Semple. ....................... Vernon Public Art Gallery, Until May 30: UBC BFA Graduation Exhibition. ....................... Artworks Gallery (Vancouver), Until June 7: The current exhibition by acclaimed artist Ken West entitled Vancouver, West explores day to day life in this fair city. He depicts Vancouver neighbourhoods, side streets, driveways and the places people pass everyday and perhaps fail to notice. West allows us to take a look at what we're missing. ....................... Art Beatus Gallery (Vancouver), Until June 27: Emotive and moving landscape works of Vancouver-based artist, Solo Works of Shyh-Charng Lo," oil on canvas paintings of Vancouvers ocean, mountain and sky.

ALBERTA
Wallace Galleries (Calgary) Until May 15: 'Big Canvas Show!' Large works on canvas by artists: Alain Attar, Brian Atyeo, Jane Brookes, Rod Charlesworth, Teresa Cullen, Greg Edmonson, Ted Godwin, Joice M Hall, Greg Hardy, Jennifer Hornyak, Brent Laycock, Robert Lemay, Kenneth Lochhead, Robert Marchessault, Linda Nardelli, Rachel Ovadia, Don Pentz, Andy Petterson, Jim Stokes, Mikel Temo Greko, Shannon Williamson, and Diana Zasadny. ....................... Agnes Bugera Gallery (Edmonton) Until May 22: Core Samples by Vancouver-based artist Scott Plear.

DUNCAN REGEHR Ventriloquist II, Oil, 30 x 24

Masters Gallery (Calgary) May 22 - 31: All Hail the Triumphant, Sculpture of William McElcheran. ....................... West End Gallery (Edmonton) May 24 - June 5: Collection of new paintings by Gerald Sevier. ....................... Peter Robertson Gallery (Edmonton) May 17 - June 11: Janice Mason Steeves collection of new paintings.

**Call for Submissions**

"Planet Earth", a juried Alberta-wide Open Exhibition hosted by the Alberta Society of Artists at the Leighton Centre, Calgary in the spring 2009, deadline Nov. 30, 2008. Forms may be downloaded at www.artists-society.ab.ca .
Canadian Brushstroke Magazine May/June 2008 25

Cindy Revell

Johnson Gallery

7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca

Susan Abma
26 Canadian Brushstroke Magazine May/June 2008

news & information

SASKATCHEWAN

Ottawa Art Gallery Celebrates 20+35

Months of anniversary celebrations are getting underway at the Ottawa Art Gallery (OAG) as the city's public art gallery turns 20 this year and its Firestone Collection of Canadian Art turns 35. "It's going to be a year of festivities, and we want to include everyone, as we draw attention to our vision for the future, as well as our achievements." says Mela Constantinidi, Director of OAG. "Look forward to a program of exceptional exhibitions, inventive public and educational programs, fun and stimulating special events and celebrations." Find more information on the Gallery's website at: www.ottawaartgallery.ca.

ELTJE DEGENHART Prairie Grasses, Acrylic, 36 x 48

Assiniboia Gallery (Regina), Until May 20: "Saskatchewan Off-Road" featuring new work by Eltje Degenhart (image above). ....................... Art Gallery of Swift Current, May 24-29: Through the Eyes of the Cree. Cree artist Allen Sapp captures Cree culture through his art and paintings. ....................... Pacific Gallery (Saskatoon), May 17 - June 9: Prairie Pathways by Audrey Pfannmuller. MacKenzie Art Gallery (Regina) Until Sept. 1: Dorothy Knowles - Watercolor Portraits of Saskatchewan. Knowles donated approximately 20 watercolor and acrylic on paper works, mainly of the Saskatchewan landscape. These works, which form the basis of this exhibition, mark an on-going relationship between Knowles and the Gallery which began in 1972 with their first purchase of her watercolors.

ONTARIO
Thielsen Gallery (London), Until May 17: 'Objective Subjective Landscapes' by Eric Atkinson and 'Icarus Studies' by Patrick Thibert. ....................... Artguise Gallery (Ottawa), Until May 28: An exhibit of new works by Haliburton based painter Victoria Ward. The pieces draw from her experiences in Ontario's "ghost town" mining communities. In such places, the geography was drastically altered by industry and development, intrusively depleted of its natural resources then vacated; only to later begin a healing process whereby nature reclaimed what was once lost. ....................... Waterfront Gallery (Collingwood), Until May 31: A collection of works by artist Rod Prouse, who resides in Georgian Bay. Prouse has been involved in the arts since graduating from Ontario College of Arts in 1967.
Canadian Brushstroke Magazine May/June 2008 27

MANITOBA
Woodlands Gallery (Winnipeg), Until May 24: Paintings by Claudette Castonguay. ....................... Winnipeg Art Gallery, Until June 29: Two new exhibitions. The Harry Winrob Collection of Inuit Sculpture is a collection of carvings, with its focus on imaginative and original works. GuXiong: Red River-based artist GuXiong has created a four-channel installation incorporatin images of Winnipeg's Red River, the Qingxi in China, and the Rhine in Germany, Switzerland and the Netherlands.

news & information

ONTARIO CONTD
Rothwell Hauck Gallery (Ottawa), Until May 30: All new oil paintings by artist Cindy Quayle Hauck (image at right). First time showing of the new series of music- and violininspired paintings with a twist. ....................... Michael Gibson Gallery (London), Until May 31: 'New Horizons' - David Sorensen's new body of work. Sorensen was born in 1937 in British Columbia. He first studied Architecture then returned to study at the Vancouver School of Art with Jack Shadbolt. From 1981-2000 Sorensen was visual arts professor at Bishop's University, Quebec. He has been exhibiting for over 45 years and currently lives and paints in both Montreal and Mexico. ....................... Roberts Gallery (Toronto), Until May 31: 'Coast to Coast A Celebration of Canadian Landscape Painting.' 2008 marks the 60th anniversary of the Wildridge family owning the Roberts Gallery. This special exhibition features new landscape work by artists representing each of the ten provinces. Participating Artists include: Rob Zeer, British Columbia; Deborah Lougheed Sinclair, Alberta; Darrell Bell, Saskatchewan; RFM McInnis, Manitoba; Susan Oomen & Geoffrey Armstrong, Ontario; Real Sabourin & Claude A. Simard, Quebec; Paul Healey, New Brunswick; Mary Anne Ludlam, Nova Scotia & Newfoundland; and Philippa Hunter, Prince Edward Island. ....................... Lucsculpture (Toronto), Until June 10: 'Awakenings,' Group show including Luc Bihan, Janet Candido, Vivian Ducas, Dominique Mastropietro, Susan Mosdell, Tara Thomas and others. ....................... Art Gallery of Hamilton, Until Sept 7: 'Inspiration East,' featuring lavish silk kimonos, cutting-edge, contemporary Japanese art, private collections of modern Chinese painting and historical Japanese ceramics, the influence of Japanese art upon the work of Edgar Degas and James Tissot, and films, live performances, readings and workshops. ....................... Wellington Artists Gallery and Art Centre (Fergus) May until mid-November: The Grand Opening of Wellington Artists Gallery and Art Centre took place May 3. Its mission is to assist Guelph and Wellington County artists in developing their skills and marketing their work. The gallery will be open daily from 10 a.m.until 5 p.m. from May 1 until mid-November annually.

CINDY QUAYLE HAUCK Self-portrait, Oil, 30 x 30

QUEBEC CONTD
Joyce Yahouda Gallery (Montreal), Until May 31: Diane Gougeon Glacage. Also until May 31: The Centrefold Series and Figures by Andrea Szilasi.

MARITIMES
Christina Parker Gallery (St. Johns, NFLD), May 23 June 14: The South Coast Paintings by Angela Baker. ....................... Art Gallery of Nova Scotia (Halifax). June 14 - Sept 1), An exhibition of renowned Canadian realist painter, Tom Forrestall chronicling the artist's curious observation and exploration of his surroundings.

NORTH
Birchwood Gallery (Yellowknife, NWT) Until May 17: New works by Graeme Shaw. ....................... Yukon Arts Centre (Whitehorse) May 22 to Aug. 24: A selection of thematic new works by members of the Yukon Arts Society.

QUEBEC
Galerie Trois Pointes (Montreal), Until May 17: '20 Years of Painting' to celebrate the gallery's 20th anniversary.
28 Canadian Brushstroke Magazine May/June 2008

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news & information NATIONAL Sobey Award long-list announced

he long-list for the annual Sobey Art Award was announced Wednesday. The list is made up of 25 Canadian artists. This list will be decreased again, and on May 20, the short-list will be announced. Selected work from the short-listed artists will be featured in an exhibition hosted by the Institute for Contemporary Culture at the Royal Ontario Museum and will run from Aug. 30 to Oct. 13, 2008. The winner of the 2008 Sobey Art Award will be announced during a gala event at the Royal Ontario Museum Oct. 1, 2008. The $50,000 Sobey Art Award, presented by Scotiabank, is given annually to a Canadian artist

under 40 who has exhibited in a public or commercial art gallery within 18 months of being nominated. The long-list includes: WEST COAST AND YUKON: Althea Thauberger; Tim Lee; Scott McFarland; Mark So and Kevin Schmidt. PRAIRIES AND THE NORTH: Daniel Barrow; Paul Butler; Theo Sims; KC Adams and Terrance Houle. ONTARIO: Kristan Horton; Luis Jacob; Terence Koh; H. Lan Thao Lam and Kelly Richardson. QUBEC: Mathieu Beausjour; BGL; Raphalle de Groot; Adad Hannah; Carlos and Jason Sanchez. ATLANTIC: Andrea Mortson; Tonia Di Risio; Craig Francis Power; Mario Doucette and Craig Leonard. For more information about the Sobey Award, visit www.sobeyartaward.ca .

Portrait Gallery invites people to Choose Its Muse

The Portrait Gallery of Canada is launching its first national biennial commissioning program and its inviting all Canadians to help choose subjects for three portraits this year. Canadians from coast to coast are invited to submit the names of living individuals who have made a significant contribution to their community or to Canada. A selection committee of prominent Canadians and curatorial experts, including Lise Bissonnette, President and CEO of Bibliotheque et Archives nationales du Quebec, historian Charlotte Gray, Nobel Prize-winning chemist, Dr. John Polanyi, and filmmaker, Alanis Obomsawin, will make the final selection of three subjects. The artists will be selected by the portrait subjects in consultation with the Portrait Gallery of Canada. Were very excited by the chance to ask Canadians directly who they think should be in our national portrait collection, says Dr. Lilly Koltun, Director General of the Portrait Gallery of Canada. We want all Canadians, as well as the artists who will create the portraits, to feel a part of building our living story, so that the collection will continue to reflect the heart of who we are as a nation and of what we are becoming. The launch will take place in four cities: Vancouver, Toronto, Montreal and Halifax. Nomination forms can be filled out online at www.portraits.gc.ca. Established artists are invited to submit their portfolios for consideration.

A NEW BRAND IS BORN!

Following the closing of the Rising paper mill, Woolfitts have been working with mills internationally to replace the Rising papers and boards. We have successfully done this and we are pleased to announce that Maidstone Fine Art Paper and Museum Mounting Board is now in stock! After receiving feedback on the quality of our new product from printmakers and illustrators, the consensus is that Maidstones handling is superior in every way. Paving the way for Maidstone exclusivity in North America and Europe!

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Canadian Brushstroke Magazine May/June 2008 29

the last word...

am so excited! We were proud to have been a sponsor of the Visual Arts Summit in Ottawa last November, and now we have been asked to be the official media sponsor for the Portrait Society of Canada 2008 International Portrait Arts Festival The Miracle of the Portrait. It will be held in Toronto in December and you can find out more information about it at www.portraitsociety.ca . This is aspecial honor and I will be proud to be in attendance and to speak to the attendees at the event. If you are interested in portrait art, I hope youll join me at this exceptional event where you can enter a prestigious competition and study portrait drawing, painting and sculpture with leading portrait artists. There will be demonstrations, professional critiques, a gala evening event, and more. Give yourself an early Christmas gift and get your tickets now. Id love to meet you.

classifieds
Call for Submissions
"Planet Earth", a juried Alberta-wide Open Exhibition hosted by the Alberta Society of Artists at the Leighton Centre, Calgary in the spring 2009, deadline Nov. 30, 2008. Forms may be downloaded at www.artists-society.ab.ca .

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.............. On a personal note, I will be touring Newfoundland and staying for two weeks on Change Islands this summer. This artists dream holiday started as a result of an invitation by an artist friend of mine, Valorie Preston, and has turned into an adventure for myself and three other artists who will be going with me. If you dont know about Change Islands, its worth checking out at www.changeislands.ca to see this idyllic location where the recent winner of the Newfoundland and Labrador Arts Council Hall of Honor Award Gerald Squires was born. An artists and photographers dream, this quaint little fishing village is tugging hard at my heart and, although its several months away, I cant get it out of my mind. I will share some images with you when I return. Id place a bet that youll fall in love with it just like I have.

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