16

Nov/Dec 2009

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Victoria Heryet

Streets set scene for URBAN LANDSCAPES

KINGSTON PRIZE

Andrew Valko

Katherine Stone BRIGHT LIGHT Ann Balch

QUEEN OF PAINT GOB SMACKED

Publishers Corner

contents
4 Kingston
Prize Winners
Manitoba artist takes top spot in national portrait competition.

This issue is the last of the year, so I want to take this opportunity to wish all of you a very Happy Holiday Season. At this time of year my tendency is to reect on the year and remember all the wonderful things that have happened, and all the fantastic people who have made the year extra special. As I was doing that, I realized that Canadian Brushstroke Magazine will be going into its fourth year in 2010. FOUR YEARS already? Wow - I have no idea how it went so fast, but I can only believe its because providing coverage of Canadian artists and Canadian art is more like a great vacation than a job. Imagine visiting with incredible artists on a regular basis and having them share their techniques and successes. Its so interesting and engaging that time easily slips by unnoticed. Since this is as good a time as any to thank everyone, heres my list. It is by no means complete because there are MANY who have helped in a variety of ways, but these are some of the people who have gone above and beyond to help support me and Canadian Brushstroke Magazine over the last three years. Special thanks to: All advertisers - we thank you for supporting us when we were in our junior years. Without you, we could not bring this magazine to readers. All artists who have been covered in Brushstroke - we are proud and honored to share your work and your stories with our readers. John Scott at Delta Art - you are an incredible advocate and ambassador. Pete Cole at Gamblin Artist Colors Co. - your support and enthusiasm is so greatly appreciated. Phyllis and John Johnson at the Johnson Gallery - you are both amazing. Artist Bernard Poulin - your words of wisdom are not only wise, but also very entertaining. Doing the magazine would not be nearly as much fun without them. Alberta Oil Painters (past and present members) - where do I start? My circle of friends and talented peers. Thanks for always being there. And Im especially grateful to all of our readers - you are the backbone of our magazine. Thank-you, Merci, Gracias, Danke, Dank, Grazie, Obrigado... Along with our Canadian readers, we now have readers from more than 20 other countries around the globe. We wish all of you a Happy Holiday Season and health and prosperity in the New Year.

7 Queen of

Paint Portrayed
Canadas Debbie Travis has her portrait painted by three artists on Bravo! TVs Star Portraits.

11

Painting Intensity & Integrity

Moncton, NB artist Ann Balchs portraits are full of soul and emotion.

18 Urban
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 Canadian Brushstroke Magazine. Brushstroke makes no recommendations as to the purchase or sale of any product or service. All letters or contributions to Canadian 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: [email protected] CANADIAN BRUSHSTROKE MAGAZINE Box 3449, Leduc, Alberta, Canada T9E 6M2 Phone: 780-986-0789 Fax: 780-986-8393 E-mail: [email protected] www.brushstrokemagazine.com

Landscapes
Her own village, as well as Vancouver and Victoria, are favorite settings for BC artist Victoria Heryets urban landscapes.

Art Gallery of Alberta 14 New Grand opening exhibits will include

major works by Edward Degas and Yousuf Karsh.

2 Canadian Brushstroke Magazine Nov/Dec 2009

TM

By Susan Abma

www.projectheroes.ca FOLLOW OUR BLOG AT: www.projectheroestm.blogspot.com

PROJECT HEROES will see every fallen Canadian soldier from the Afghanistan war commemorated in a 14 x 18 framed work of ne art, with the intent to exhibit the paintings in every province in Canada, along with other commemorative paintings, military paraphernalia, personal items from the soldiers, including written material such as letters they wrote home, and video clips, etc. Artists Susan Abma, Shairl Honey, and Cindy Revell have been touched by the bravery of the soldiers who died serving our country in Afghanistan. As painters, they will have the extraordinary honour of recording history and preserving the memory of these exceptional men and women.

WEBSITE:

By Cindy Revell

With your help, they will be creating a massive, historic, military oil portrait collection. The fallen soldiers from Afghanistan could possibly live in their paintings for many hundreds of years. For more information on this project, go to:

www.projectheroes.ca

ATTENTION GALLERIES:
**Venues in major Canadian centres that are equipped for and large enough to host this exhibition in 2011/2012 are invited to contact Project Heroes at 780-986-0789 or email [email protected] . All venues will be considered, but the venues chosen will be those best suited to the project.

By Shairl Honey

The paintings shown above are - Top: Cpl. David Braun, Centre: Cpl Cole Bartsch, Bottom: Cpl. Andrew Eykelenboom. The fallen soldiers portraits will be revealed on a rotating basis. The entire collection will not be displayed together until after the rst exhibition in 2011.
Canadian Brushstroke Magazine Nov/Dec 2009 3

EAST

(Ontario, Quebec)

KINGSTON PRIZE

Awarded to Manitoba Artist

he Kingston Prize for portraiture was recently awarded to Manitoba artist Andrew Valko. For winning the prestigious Canadian competition, he won $10,000, presented by the W. Gareld Weston Foundation. The exhibition of nalists in The Kingston Prize competition was in the Grand Theatre in Kingston, ON. The complete list of winners is as follows: THE KINGSTON PRIZE $10,000 Andrew Valko, Winnipeg, Manitoba, Personal Surveillance, Acrylic on panel, 31 x 27. FIRST HONORABLE MENTION $1000 Allan Harding MacKay, Kitchener, Ontario, Anuta in Blue, Oil, pastel, ink, wax on paper, 44 x 44. SECOND HONORABLE MENTION $1000 Fiona Ackerman, Vancouver, British Columbia, Distraction, Acrylic on canvas, 30 x 40

PERSONAL SURVEILLANCE ANDREW VALKO Acrylic, 31 x 27

4 Canadian Brushstroke Magazine Nov/Dec 2009

KINGSTON PRIZE
EQUAL SPECIAL MENTION (NO CASH AWARD) Shauna Born, Toronto Ontario Eileen MacArthur, Guelph, Ontario Brian Michon, Toronto Ontario The winner of the Peoples Choice Prize of $1000.00 in the Kingston exhibition of Canadas National Portrait Competition is Marina Dieul of Montreal, for her portrait entitled Le D. The picture, in oil on panel, shows a young girl peering through a hole torn in a plastic sheet. The exhibition will tour nationally for several months, heading to Wolfville, Nova Scotia; Toronto; and Calgary. A Peoples Choice Prize of $1000.00 will be awarded at each of these locations. There is also a Peoples Choice Prize of $1000 at each of the tour venues. To view more of the entries, visit www.kingstonprize.com.

TOP LEFT: ANUTA IN BLUE ALLAN HARDING MACKAY Oil, pastel, ink, wax on paper, 44 x 44 BELOW: DISTRACTION FIONA ACKERMAN Acrylic on canvas, 30 x 40

[email protected]
www.deltaart.ca

Canadian Brushstroke Magazine benets the Canadian Art Industry nationwide by providing: 6 Annual issues. The magazines PDF format offers readers a traditional-style magazine format online, resulting in readership cover-to-cover, difcult to achieve in a usual website format. Free subscriptions to our more than 10,653 subscribers (many forward it to their own mailing list for increased readership.)

Tracked readership, because we require subscription information. Each issue features at least one story from each of the four regions: West, Central, East and Maritimes. Reduced advertising overhead by lowering our magazine production costs. Increased Green Environmental image through reduced paper and ink consumption. Increased youth market penetration through hi-tech communications. Free delivery directly to the readers personal emails, rather than by newsstands. Editorial news tidbits, information on shows, competitions, events, classieds and more.

To advertise: [email protected] Phone 780-986-0789

Canadian Brushstroke Magazine Nov/Dec 2009 5

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

Tracey Mardon

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

Cindy Revell
6 Canadian Brushstroke Magazine Nov/Dec 2009

Susan Abma

EAST

(Ontario, Quebec)

lthough she says it was fun sitting for her portrait for the Bravo! TV series Star Portraits, Debbie Travis also says she hated almost every other aspect of the experience. Star Portraits features one celebrity being painted by three artists on each episode. At the end of each show, the celebrity must choose the one painting they feel represents DEBBIE TRAVIS them best. Im photographed all the time, but I have total control. I didnt realize how vulnerable Id feel. When youre sitting there, youre literally in the hands of one person, says Travis, most commonly known for her television series The Painted House and Debbie Traviss Facelift. Travis praised the host of the show - Louise Pitre - saying she was amazing, a great woman in her own right. The portraits didnt all fare as well in Traviss eyes. One of them was beautiful, although my expression looks like Im about to tell the children off. One was horrendous and one was done in wax - the technique was amazing. The unveiling of one of the portraits was shocking for Travis. Is that how people portray me? I was gob smacked. It was very hard not to cry. Travis chose the painting by Katherine Stone and says she thinks she will put it in her husbands ofce where, she quips, she can keep an eye on him 24 hours a day.

Queen of Paint gob smacked! A

ABOVE: DEBBIE BY KATHERINE STONE BELOW (L): DEBBIE BY NATALIE MAJABA WALDBURGER BELOW (R): DEBBIE BY JAMIE BRADBURY

Canadian Brushstroke Magazine Nov/Dec 2009 7

ABOVE: KATHERINE STONE, foreground, does a preliminary sketch of Debbie Travis. RIGHT: Travis sitting for the artists.

Despite her shock, the show, she says, is a fascinating and unique way to learn a new world inside portrait art wonderful for the viewer to watch. I have a great deal of respect for that kind of talent. For more information about Debbie Travis, go to www. painted-house.com. The Portrait Gallery of Canada selected six portraits from the hit Bravo! series Star Portraits. The works will become part of the national collection at Library and Archives Canada. The portraits selected include: Not Guilty, a portrait of Debbie Travis by Jamie Bradbury; Rwanda Has My Soul, a portrait of Senator Romeo Dallaire by Elaine Goble; Chuvalo, 2009, a portrait of George Chuvalo by Gertrude Kearns; Elvis Stojko by Allan Harding Mackay; The Amazing Kreskin by Catto Houghton; and Enrico Colantoni by Sara Sniderhan. The selected portraits will be featured on the Portrait Gallery of Canada website - www.portraits.gc.ca - in early December. An additional 20 portraits from the series have been selected for public auction at the prestigious Joyner Waddington Auction of Important Canadian Art on November 24th at 6 p.m.. Portraits include The Amazing Kreskin, Elvis Stojko, Roberta Bondar, Margaret Trudeau, Debbie Travis, Colin Mochrie, Romeo Dallaire, George Chuvalo, Measha Brueggergosman, Enrico Colantoni, Ashley MacIsaac, Pamela Wallin and Alex Trebek; the proceeds will go to charities selected by the 13 celebrity sitters from the series.
8 Canadian Brushstroke Magazine Nov/Dec 2009

Star Portraits was named a Critics Pick by The Globe and Mail, and Brian Gorman of The Sudbury Star praised the fascinating inside look it provides at the process of making art. In each 30 minute episode, three Canadian painters are brought together to paint the same celebritys portrait. With the clock ticking, the artists have mere hours to get to know their subject. After meeting their celebrity muse, the artists are left with only two weeks to create their masterpieces. Host Louise Pitre visits the artists studios to get a glimpse of their process. When the clock runs out, the paintings are revealed to the celebrity sitter, who must choose only one portrait to add to their personal collection. Star Portraits airs on Saturday nights at 8 p.m. ET/ 5 p.m. PT and repeats Wednesdays at 9:30 p.m. ET / 6:30 p.m. PT on Bravo! To view the episodes after the shows air, go to www.starportraits.ca and click on episodes, or go to www.bravo.ca.

! L L A C T LAS
We want to show off Canadas artists, and our competitions help us do that! Be sure to enter your artwork in our competitions not only do you have a chance to

CALL CALL FOR FOR ENTRIES ENTRIES

Artists Favorite Subject

Competition No. Subject Medium

8
Artists Favorite Subject (any subject) Two dimensional drawing or painting medium $15 each
(You can enter as many works as you would like)

WIN $1000 CDN

plus an award certicate, 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

Extended to: Dec. 11, 09

*Winners and nalists will be featured in the Jan/Feb 2010 issue of Canadian Brushstroke Magazine

RULES - HOW TO ENTER

DIGITAL FILES ONLY Enter with high res digital le only on CD only. Do not send digital images via email to our ofces - they will be automatically disqualied. 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 ll 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 les on the CD must be labeled as follows: lastname/rstname/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 Nov/Dec 2009 9

RULES - HOW TO ENTER (contd)

ENTRY FEE/DEADLINE The DEADLINE for Canadian Brushstroke Magazine to RECEIVE entries is Dec. 11, 2009. 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 qualied judges of our choosing. PERMISSION TO PUBLISH Signing and submission of the entry form, digital les 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 nalists will be notied by e-mail, and their work will be published in the specied edition of the magazine. The judges decisions are nal. Grand Prize winners may not enter the competition for a full two years after winning. Finalists may re-enter. Canadian Brushstroke Magazine does not accept any liability for color variations that may occur as a result of different computer screens. The artists will be properly credited.

Entry 1

Entry 2
Title: Title:

Entry 3

E N T R Y F O R M

Title:

Medium:

Medium:

Medium:

Size: (HXW)

Size: (HXW)

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________________________________

*Please include a paragraph about yourself and another about each painting for us to use in the event we publish your painting(s).
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 conrmation that we have received your entry, enclose a self-addressed STAMPED postcard.

Name (PRINT CLEARLY)

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Please mail this form and the properly labeled CD (see Rules - How to Enter) with properly labeled les to: Canadian Brushstroke Magazine, Box 3449, Leduc, AB, T9E 6M2
10 Canadian Brushstroke Magazine Nov/Dec 2009

MARITIMES Nova Scotia, New Brunswick)

(NFLD/Labrador, PEI,

Painting Intensity & Integrity

ABOVE: BRIGHT LIGHT 19.5 x 15.75 Both of the images on this page are Mixed Media (Watercolor, acrylic archival varnish) BELOW: MEASHA, ADAGIO 12.5 x 25.5

Moncton, NB artist Ann Balch shows the powerful nature of light and dark in her expressive, soulful watercolor and oil paintings. Story on following pages.

Canadian Brushstroke Magazine Nov/Dec 2009 11

Painting Intensity & Integrity

he road to being a career artist took winding turns in several directions for Moncton, NB painter Ann Balch. Although she did create art throughout most of her life, her focus was on other areas, as she worked in the ministry, public relations, and raised a family. About 15 years ago, Balch began to paint full-time. Balch starts all her paintings with a detailed drawing. I do transparent watercolor, so I dont use white paint. The white of the paper serves as my white paint. So if I dont plan for this, Id forget and paint over the areas I need to keep white. Balch does approximately half of her paintings in watercolor and half in oils. With both watercolors and oils, I try to establish color patterns that is, anytime theres a color change I draw its shape. My detailed drawing ends up looking like a contour map. Even with her carefully planned map, she says she still nds she also has to draw as she paints. Its like sculpting, almost. For her watercolor paintings, Balch uses mainly Holbein, Winsor & Newton and DaVinci paints. Her usual palette includes: Cadmium Yellow, Cadmium Yellow Orange, Winsor Yellow, Permanent Rose, Permanent Alizarin Crimson, Winsor Red, Cadmium Red, Venetian Red, Cerulean Blue, Phthalo Blue, Cobalt Blue, Ultramarine Blue, Winsor Green (Blue Shade), Viridian Green, Sap Green, Hookers Green, Burnt Sienna, Burnt Umber, and Yellow Ochre.
PEACE Oil, 49 x 24.7
12 Canadian Brushstroke Magazine Nov/Dec 2009

ABOVE: CHANCELVIE 17.5 x 21.5 BELOW: QUEEN 28.5 x 20.5 Both of these images are Mixed Media (Watercolor, acrylic archival varnish)

She always keeps a premixed purple (Ultramarine, Winsor Red & Permanent Rose) on her watercolor palette, often adding Alizarin or Phthalo, depending on what purple shes trying to achieve. To create black, she uses Burnt Umber and Ultramarine. Her oil palette includes most of the same colors, and also includes Indian Red, Ivory Black and Titanium White. When working in watercolor, she paints on 300 lb. Arches cold press paper, and for her oils, she prefers board prepared with gesso applied with a roller. When I paint with watercolor, I almost always mix my colors directly on the paper. I dont always wet the paper rst but I very often will paint areas of a face wet in wet. Ill drop a color into a color. I dont tip the paper around too much, because I want to retain some of each colors individuality. If she does an initial wash, that wash always has several colors in it. I dont mix a lot on the palette. For a face, she often works a self-contained area like the eye or ear. If I do all the self-contained areas, I can connect them with a large wash. Balch adds that doing the ear rst helps give her an idea of how dark the darks are because of the crevices in the ear.
Canadian Brushstroke Magazine Nov/Dec 2009 13

ABOVE: BRAIDS AND LACE Watercolor, 13.25 x 21.25

When the artist is working on the cheek, she says shell begin with yellow ochre, being careful to use the right soft touch, using more pigment as the brush goes around any hollows where it will be darker. While the paint is still wet Ill add some of the variations purples, reds... She continues graduating the colors while the paint is still wet. When I see it starting to dry out, I just feather the edges out to nothing so I can resume painting later in that area and there will be no seams where I add fresh paint. For dark skin on the shadow side, even though it is transparent watercolor, she uses approximately 75 percent pigment and 25 percent water. She will use yellow ochre rst, then red (Cadmium Red and/or Alizarin) and then add some blue (Ultramarine or Cobalt). She says it is a little tricky to do, but for really dark, ebony skin she adds a blue glaze over all. For the past few years, when I complete a watercolor, I nish it with coats of acrylic archival varnish. Technically, these pieces should not be called watercolors - theyre more accurately referred to as mixed media: watercolor/ acrylic archival varnish, or as acrylic-impregnated or even acrylic, although I object to this last moniker, since I nd a difference between the look of paintings executed with acrylic and those of watercolor.
14 Canadian Brushstroke Magazine Nov/Dec 2009

Because the varnish renders the paintings waterproof and dirt-proof, they do not need to be glazed, although they can be framed under glass if someone wants to do so. For me, eliminating glass means that there is one less barrier between viewers and the actual painting. And the purpose of my work is to give people as intimate a look at the subject as I had while I was painting, so this is the main appeal for me - this removal of barriers of mat and glass. Theres an earthy, tactile element to watercolor thats readily available when the piece isnt under glass. She refers to her studio as my wee studio. It has a northfacing window and she says it was the only spot available to her in the house after her children grew up. In addition to the one daylight source, she also has several gooseneck lamps that she says she has color-corrected as much as she can. She paints her watercolors on two large desks that are under the window. She paints her oils standing up at her easel. For oils, she prefers lbert and at hog brushes, and also occasionally uses a fan brush. She uses only rounds for her watercolors. Balch is currently doing a series of soulful paintings of Canadian classical soprano Measha Brueggergosman.

She has met with the opera diva many times over two years, in rehearsal and performance settings and on vacation, relaxing with family and friends. Shes always so expressive and so animated. Thats what people are used to seeing. Im interested in seeing more facets, and in painting her intensity and integrity. The show will be held May 14, 2010 at Gallery 78 in Fredericton, NB. With respect to marketing, Balch says, Im not really aggressive in going after that side of things. I do enter competitions from time to time and its always a surprise when there is some success. I dont ever paint to compete - I just pay attention to my inner spirit and paint what moves me. Nevertheless, her work has won awards or been featured in many publications including American Artist, Watercolor Magic, The Artists Magazine and Canadian Brushstroke Magazine. She has also won two Canadian Society of Painters in Water Colour (CSPWC) awards including the Charles Comfort Award for Excellence in Figurative Painting and the Jarvis Award for Excellence in Transparent Watercolor.

AS IT WAS Oil, 36 x 24

Balch says that she was encouraged to apply for membership in the Canadian Society of Painters in Water Colour (CSPWC) after seeing a slide presentation on the work

of elected members. Seeing what other watercolorists were doing set the bar for me. I saw the calibre of their art and thought Id love to work at that level.
Canadian Brushstroke Magazine Nov/Dec 2009 15

FINDING PEACE Watercolor, 20.75 x 24

Her work was accepted into the CSPWC Open Water show, a real high for Balch, and seeing the quality of art in the show spurred her on. "When I came back from that exhibit I just felt so energized and motivated!" She began following up with subjects that really stirred her, painting her passion more and more. The next year, she was not only accepted into the show, but won the Charles Comfort Award. Balch believes that one of the most important things any artist can do is to be able to analyze and critique his/her own work with a critical eye. "If you can analyze your own painting, you can change - you can grow."
16 Canadian Brushstroke Magazine Nov/Dec 2009

ANN BALCH was elected to the Canadian Society of Painters in Water Colour (CSPWC) in 2001 and the Society of Canadian Artists (SCA) in 2007. Her images of black women have garnered several national awards, and recognition in print. Her work is held in collections in Canada, the US and England, including the Canadiana Fund State Art Collection; New Brunswick Art Bank; Department of Foreign Affairs, Government of Canada; the Atlantic Lottery Corporation and the City of Moncton. More information is available on her website: www.annbalch.com.

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

Susan Abma

Johnson Gallery

Cindy Revell

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

Susan Abma
Canadian Brushstroke Magazine Nov/Dec 2009 17

WEST

(Yukon, Alberta, B.C.)

STOP LIGHT Acrylic, 18 x 24

Streets set scene for

It's good to get out of your studio and do other things according to BC artist Victoria Heryet. It may be different from your other work, but it's still creative.
18 Canadian Brushstroke Magazine Nov/Dec 2009

URBAN LANDSCAPES
I
never experienced boredom as a child, says Ladner, BC artist Victoria Heryet. "If I had nothing to do, I would pick up a pencil and draw." Born in Yorkshire, England, Heryet moved to Canada in 1975 when she was a teenager. She took art in high school, but dropped it because she was focusing on languages. She went to university and studied languages for two years before she realized that her love was the arts, so she then studied graphic design at the Kootenay School of Art in BC.

ABOVE: RUNNING THE RED LIGHT Acrylic, 20 x 30 LEFT: UPSTAIRS AT MRS. WOOS Acrylic, 24 x 18

Afterward, she went to work for a newspaper in Victoria, BC, and later for Vancouver magazine. At the same time she was doing freelance illustration. In 1988 and '90, she had her children. As they were growing up, she did freelance graphic design and illustration so she could stay at home with them. She started painting for herself in the mid-'90s. "My paintings just kind of evolved. I joined an artists' guild. I started off with watercolors and took a few classes. I'm mostly self-taught, but I took a few workshops as well." One of the rst series she did was watercolor collages of nursery rhymes (can be viewed on the artists website). "I researched them, then I painted all the elements separately, cut them out, painted the background, glued down beads and other found objects, and incorporated calligraphy. As she became more enamored with painting for herself, Heryet discovered that she loved painting urban landscapes in acrylic. With layers of acrylic I can create the moodiness I want. Many of her paintings are set in Ladner or Vancouver and Victoria. She takes all her own reference photographs, blows them up to 8 x 10 and works from that size.
Canadian Brushstroke Magazine Nov/Dec 2009 19

NIGHT FOG Acrylic, 18 x 24

Heryet says that she rarely allows herself to use black paint, preferring to create all her darks from different colors. "I started off these foggy paintings with more yellow tones, but now I like to use more reds. I'm drawn to reds." She starts off many of her night paintings with a canvas prepared with black gesso. "I bring in the light in lots of layers of thin paint. It takes a long time, but eventually I get it to be almost white in areas. I use lots of transparent colors." She does a basic, not detailed drawing which is like a map for her painting. Because the gesso is black, she draws with a stick of soapstone. "I think it's what plumbers use. You can sharpen it very easily with an Exacto knife. It wipes off really easily, too. It doesn't leave a mark." One of my favorite paintings is Upstairs at Mrs. Woos. It has neon lights reecting on the wall and ground and then
20 Canadian Brushstroke Magazine Nov/Dec 2009

a street light as well, so there are a lot of different types of light bouncing around. Heryet says that it's coincidental that many of her paintings have a bicycle in them. She says all of the bicycles were there - she doesn't add them. So, when there isnt one in a painting, people often ask her why not. "It almost became like a signature." Her palette includes colors from Golden, Liquitex, Stevenson, Tri-Art, Kroma and Atelier. "I use a lot of quinacridone colors. I mix my darks with Turquoise Deep and Transparent Brown and Atelier colors Brown Black and Blue Black." Throughout her process and when she's nished her paintings, Heryet will do a thin wash of Nickel Azo Gold to unify.

In addition to the above, her usual palette includes transparent colors Yellow Iron Oxide, Permanent Red, Quinacridone Red, Permanent Maroon, Dioxazine Violet and Paynes Grey. Her opaque colors include Titanium Buff, Yellow Oxide, Green Gold, Indian Red and Cobalt Blue. One of the processes shes used in some recent works

(as in 'Running the Red Light') is to do an underpainting using Lumire acrylic metallic color on top of the black gesso. She says this underpainting creates a unique glow to her works. She uses mainly synthetic acrylic at brushes. "I've got a lot of control with a at brush. And I do a lot of buildings, so it gives me nice straight edges."

CHINATOWN Acrylic, 24 x 18

Canadian Brushstroke Magazine Nov/Dec 2009 21

AFTER HOURS Acrylic, 40 x 30

VICTORIA HERYET's childrens book illustrations have been published in Japan and her paintings have been accepted and won awards in juried shows in Canada and internationally. More of Heryet's work can be seen on her website at www.victoriaheryet.com.

Heryet says her studio doesn't have great natural light, so she paints under articial lighting, but often likes to paint late at night, so that works perfectly for her. "Music is really important for me to paint with." She likes almost any type of music, but one of her favorite groups is an Australian band called Oka. "Their music is great to paint to." When the artist explains her style, she says, "I paint urban landscapes that bring out the extraordinary from the ordinary. When I paint a building, I'll help the viewer notice things they may not have noticed before (peeling paint, architectural details, etc.). In my night-time paintings I like to create an eerie warmth with dark and light." If Heryet has any advice for artists who want to paint fulltime, "I'd say be prepared to do some commercial work. It's not the best time to be selling paintings right now. I've had my busiest year ever, but I go where the work is and I spend more than 50 percent of my time marketing my work." "I do all sorts of things window displays, paintings of people's homes and cars, restaurant chalk boards - I love doing all that. It's different from doing my acrylic paintings but it still allows me to use my creativity. You still have to be able to pay the bills. In an ideal world I'd be spending all my time in my studio painting what I want to paint, but I do enjoy doing other things. These jobs are still very creative. Being alone in the studio all day, I'd probably go a bit crazy. It's good to go out and do other things." She is currently working on a new series of Parisian rooftops. She will include grafti in all of the paintings, saying "adding the grafti makes them a little bit edgy and gritty." Some of Heryet's favorite painters include Atkinson Grimshaw (www.atkinsongrimshaw.co.uk) and Carl Larson (http://www.clg. se/encarl.aspx).

22 Canadian Brushstroke Magazine Nov/Dec 2009

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

Anne McCormick

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

Susan Abma
Canadian Brushstroke Magazine Nov/Dec 2009 23

ART GALLERY OF ALBERTA

January Grand Opening

hen the Art Gallery of Alberta has its grand opening in January, the new Executive Director will be beaming with pride. I am thrilled to start my tenure... by sharing this remarkable line-up of opening exhibitions. The caliber of these exhibitions illustrates our commitment to connecting people with outstanding art from Alberta, Canada and beyond, said Gilles Hbert. The nearly doubled AGA gallery space will showcase three oors of exhibitions in the opening line-up that includes major works by the famous Edgar Degas and celebrated Canadian photographer Yousuf Karsh. EDGAR DEGAS: Figures in Motion runs January 31-May 30, 2010. This exhibition features 40 Hbrard sculptures of ballet dancers and horses, dating from 1865-1911, together with a selection of paintings, prints and drawings. The exhibition includes the famous sculpture Little Dancer, which is the largest and rarest of Degas sculptures and was the only work ever exhibited during the artists lifetime. This rare and historically signicant work is on loan from a private collection in Europe. YOUSUF KARSH: Image Maker runs January 31-May 30, 2010. The life, inuence and work of legendary Canadian photographer Yousuf Karsh who created iconic portraits through brilliantly crafted images. The exhibition brings together original prints and studio artifacts, such as cameras, an enlarger, retouching pens, brushes and more. Included, among others, are portraits of Andy Warhol, Dr. Martin Luther King, Jr., Helen Keller, Princess Elizabeth, Alfred Hitchcock and Audrey Hepburn. The AGA will also present two exhibitions by internationally celebrated Canadian artists Janet Cardiff and Georges Bures Miller, recipients of the prestigious La Biennale di Venezia Special Award at the 2002 Venice Biennale. The North American premiere of Cardiff and Millers largest sound installation to date, The Murder of Crows, runs January 31-May 9, 2010. The work will occupy the entire 6,000 square foot third oor of the new Art Gallery of Alberta. The Murder of Crows has been shown in Sydney, Berlin and Brazil, but comes to Canadian audiences for the rst time as part of the AGAs opening. The artists, whose careers began in Alberta, have also created a new work specically for the opening of the AGA. Storm Room runs January 31-May 9, 2010. It will be presented in the RBC New Works Gallery. The AGA has commissioned a series of photographs of the construction of the new building by renowned Canadian photographer Edward Burtynsky, which will also be on display. Watch for more information on the website at www.artgalleryalberta.com. The new website www.youraga.ca will be launched very soon. It will reect the new logo and new look of the AGA.
24 Canadian Brushstroke Magazine Nov/Dec 2009

the last word

As a reminder, we are repeating this notice in The Last Word... Our plein air issue was so popular with readers that we will be doing another issue featuring winter plein air paintings in the March/April issue. (click on this link to see the last plein air issue starting on Page 5: www.brushstrokemagazine.com/issues/2 009/hires/2009_07_hr.pdf ). The January/February issue will feature the winners of our Artists Favorite Subject Competition, so the winter plein air paintings will be a wonderful way for us to usher winter out again and invite spring back in. As per the last plein air issue, all artists are invited to submit ONE (1) WINTER Plein Air painting to: ideas@brushstrokemagazine. com. The deadline for submissions is January 30, 2010. Do not send more than one painting or yours will be disqualied, and please ensure the artists name, the painting name, the medium, the size, and the location you painted it at are all in the email. We also need the artists city/town of residence. In your email you MUST give written permission for us to print your painting or it will not be printed. We take our responsibility for artists work very seriously and will not print any work without express written permission. Please send the image in high resolution. If you have a website and/or email that you would like listed with your image, please feel free to include that also. Because we have no idea what the volume of paintings we receive will be, we may not be able to print all of the paintings, however we will do our best to print as many as possible. This is not a competition and there is no fee.