​I've been painting landscapes ever since I began painting. Sometimes they have been abstract, sometimes not. Some have figures but most do not. If there is a figure it is represented by nature or animal but I rarely paint a human figure. I will expand more on that in another post. 

I don't just paint landscapes though. Each of these landscapes has an underlying theme or message that I send into that painting. These themes are central to each new series that I create. I've always told stories in my art work and it used to frustrate me as a child when people (teachers) wouldn't understand my symbolism and story telling.

Almost all of my paintings have water in them. Not all, but most.

​In Anishinabek culture, water is sacred and women are the caretakers of the water.
​In my last series, Hiraeth, you will see in each piece that I have painted GutchiGumi (Lake Superior) which translates to Great Water or Great Lake. I have tried to show you the spirit of the land of my ancestors. I have also woven themes such as climate change, conservation, feminine uprising and power, spirituality, and human connectedness to Mother Earth into these paintings. When in doubt, the titles usually offer a clue. Most of my titles are snippets taken from song lyrics, story or poetry. 

I suppose I should write a separate blog post for each painting in the series to give you a little insight as to where it's located and what I was trying to say. It's a fine line with art. In one way I think art should speak for itself and you as a viewer should interpret it as you wish. On the other hand, maybe some of you would like to know more about the my underlying themes and what I was thinking about when I made my paintings.
Let me know! Mystery or Story?

I've also had some Collectors inquire about my Indigenous heritage and that is another blog post that I am planning in depth (so many blogs so little time!). For now, just know that I am from Alderville First Nation in Ontario and have an interesting and artistic family history which I am looking forward to sharing with you soon.

​TLDR: Use the best, be the best. Oil paint is safe. Give your artist friends jars.

This one's a long one and a bit nerdy, you've been warned :)

I've mentioned in a previous blog post (64 Crayons) about the importance of quality. It is important to me (and the artists friends I know in my personal life) but let me tell you, there are a lot of artists out there that either don't know or don't care about quality workmanship.

I'm very fortunate that when I began painting in my teens I was provided with an excellent quality acrylic paint brand. When I began painting again as an adult I bought professional quality paint even though I was only painting for myself without thinking of selling the art. I bought the best I could afford in limited colours and expanded my supply over time. 

When I began showing and selling my paintings, I never put a painting out into the world without being completely happy with either the painting itself or the quality. And I began researching paint, substrates, and pigments. Of course, you learn these things over time so my knowledge is much better now than it was even five years ago. To me, painting is not only an art but a craftsmanship.

I'll focus on my oil paintings since that is the medium I'm working with currently (but I maintain the same quality with my acrylics too).

I paint with a Canadian made oil paint that I purchase from Montreal, Kama Pigments, and it consists of pigment and walnut oil. Only the purest light-fast pigments are used. There are no fillers in this paint so a little goes a long way.  I chose this brand of paint because after much research I had learned that walnut oil yellows less over time than linseed oil (which is common in many other oil paints) and is safer to use with a higher flashpoint. Since my studio is in my house health and safety is always a concern.

I do use Gamblin mediums in my underpainting but since I have asthma I need to be careful about toxins. Which is partly why I only use odorless mineral spirits in the under layers and not for cleaning my brushes or subsequent layers. It's still a health risk but I try to either do those layers outside in warm weather or I open all the windows while I'm using it. Despite being odorless it's still a chemical. I also use Galkyd medium in my paintings and while not completely safe is much safer. Sometimes I also use Cold Wax medium in the under layers also.  Other than that I use walnut oil in the upper layer which is completely safe. Of course, once the painting is dry there is no harm to you as a collector.

There is a way of oil painting in a solvent free manner but I'm unable to achieve the look I want if I paint that way.

The interesting thing is when I paint in acrylic I notice the off gassing of the acrylic paint to be so much more noticeable than anything I use in oil painting. There has been a common misconception in modern times that acrylic paint is safer than oil paint which is completely untrue. There are lots of chemical binders used in acrylic paint and mediums whereas oil paint is simply pigment and oil. Using is a solvent is a choice I make to achieve the look I want and I'm aware of taking safety precautions.

Surface quality is important also. I paint on heavy cotton canvas that has been triple primed with archival quality gesso and is stretched on kiln dried pine stretchers. Some artists paint on solid wood panels, some on linen, some on canvas depending on their style of artwork and medium. I prefer canvas since I normally paint with some texture so a fine tooth isn't of concern for me. 

When I do paint sketches with a palette knife either plein air (meaning outside) or in the studio I prefer to paint on canvas boards (canvas adhered to carboard panel or wood panel), or Canson canva-paper (a thick archival paper that mimics the tooth of canvas). Both of those are light weight enough for me to take on my camping trips and if I do a sketch I'm not happy with they are easily disposed. Sometimes I sell these sketches but I always clearly mark the materials used so that as a collector you know it needs framing and a future full sized painting could come from it.

As for quality of paintbrushes and knives? I have my favourite large Escoda brush from Spain that is hog bristle and leaves beautiful strokes in the paint that just thrill me but I also have brushes that cost me $2 with synthetic bristles that also do well for me. I learned early on that you don't need to spend a fortune on brushes, although maybe if I were a photo realist or portraiture painter I would have a different opinion. For me, cheap and expensive alike work depending on the application and use. Also, you can never have too many brushes and artists are fugal. I store them in large empty coffee cans and mason jars. If you ever want to befriend a painter just give them a bunch of clean jars - they are used for everything from storing brushes to mixing mediums and solvents to cleaning brushes.

My palette is a glass kitchen cutting board turned upside down so that I mix on the smooth side. I painted the chopping side a neutral grey so that it's easier to see my paint colours. Sometimes I cover it with wax paper to mix on for easy clean up because I'm lazy. 

When I'm finished a painting and it has dried I title the back, sign it, inventory it and wire it. None of my collectors buy a painting without it being ready to hang. I feel that is important.

I always stand by the quality of my work. It means as much to me as the painting itself. 

I realize that song is meant to be more existential but I feel like it applies and I can't stop singing it in my mind with the following:

First there is an art show, then there is no art show, then there is (fingers crossed).

Yep, that's the way she be, as my kiddo likes to say. So what the heck is going on?

Well, in 2020 a local gallery booked me for a group art show that was set to open right about now. Then, our government put us on a lockdown for the holiday season so the opening was bumped to accommodate the Provincial order. But THEN a stay at home order was issued which is to last until mid-February so I felt for sure the show would be cancelled.

Guess what? I received an email today that the gallery is still working to make this happen but later in February when the stay at home order is lifted (please please pretty please). 

I will give you dates as soon as I'm able but for now at least, just know that this is still going ahead and with any luck you'll be able to see my art in person, hopefully.

​#Gratitude
​

How do you begin your new year? 

For me, I like to review my hits and misses. This year was obviously quite a different kind of year and nobody could have predicted a global pandemic. Still, there are things I could have done better. So here is my year in review.

Misses:

I didn't paint as much as I normally do. Having my patterns disrupted really sent me into a funk.

I should have upgraded my website sooner in the year. It really helped for my Collectors to be able to shop virtually and kept me tuned into art on days when I wasn't painting.

I didn't send my Collectors enough updates and I didn't blog. I don't like to send out emails unless I have news but I could've blogged about my experience in lock down. 

Hits:

My loyal Collectors! I sold original paintings, inks, and my seasonal ornaments during a pandemic. While it was tough to have all events cancelled, my Collectors rolled with it and bought online or made studio appointments. I'm very grateful, thank-you all - you are the BEST!

I went camping. A lot. 29 nights of camping in various Provincial Parks and I now have a huge collection of photos to paint from and lots of stories to tell you.

The paintings that I did create were only for me and helped me to explore the materials and experiment which I always consider important for personal development.

I managed to book a group art show in 2020 for 2021. A real live art show. Although it has been delayed due to the Provincial lock down - it is still happening. This will be taking place at Northumberland Arts Gallery and Shop in Port Hope, Ontario from January 28 until February 14, 2021. 

​How did you do in 2020? Would you like to share your hits and misses?

If you were to ask me how I spent my days as a child this is how I would answer you:

Riding my bike, making up imaginary games, climbing trees, swimming at the beach, playing with my sisters, singing songs, dancing, drawing pictures, investigating nature.

The common theme to all of that is creation and imagination. 

Every summer before we went back to school my mom would take us shopping for school supplies. It's still my favourite time of year and has a feeling of Christmas to it. On my first day I would show up with everything I needed including a box of 64 Crayola crayons. You know the one, with the crayon sharpener in the back. It had gold and silver, magenta and turquoise as well as a whole slew of magical colours. They also had beautiful and magical names describing the colours. In my memory, I was one of the few to be blessed with such riches and I gladly shared with my best friends when I had a colour they needed. 

I would use those crayons at home and at school. I drew pictures or coloured in colouring books every single day. And every year my mom would buy me a new box of 64 crayons. She never once suggested the lesser waxy brand that would have cost much less. My delight with those crayons were her delight and I gave all of my creations to my parents where they were stuck on the fridge alongside my sisters' creations. 

Upon thinking about this story I realized that my parents gave me the best materials possible. It's always the advice of artists to people first beginning to buy the best quality they can afford. After all, there are enough obstacles to creativity without having to fight to get your materials to do what you'd like them to do.

Now that I am a professional artist I still use the best materials available to me (and they aren't necessarily the most expensive). I am grateful that I was given a world of colour in a box at such an early age. Did it have an influence on what I create today? I think so. Even when I paint with a limited palette I just can't stay away from some of those bright bold colours. I am thankful to my parents for not limiting my creative potential and I'm thankful to Crayola for giving me the expressive language of colour in a tiny box.

Today I thought I'd share with you my process for my holiday ornaments.
​
I offer two different types - one is glass and one is art paper mounted to wood. I offer both because due to the fragile nature of the glass ornaments they are not available for shipping. Also, some households have Littles or pets and don't want breakable ornaments. On the other hand, for some people only glass will do, so I make both.

Here's what you need to know

Each one is hand painted. These are not dipped or water marbled. I use inks (and a lot of gloves!) and I let each ornament dictate what it wants to become. That's part of my intuitive painting process and it might sound hokey but that's how it works for me. I use paintbrushes, cottons swabs and spray bottles to nudge the patterns into place.

Once I've finished painting them and they are dry I apply a varnish to keep the ink in place. After the varnish has dried I apply a UV gloss coat to keep the inks from fading over time.

The final steps are to put the little metal collars back on the glass and add a ribbon to match (or for the wood to add the hanger and hook) and photograph them to list on my website.

I'll admit, it's a TON of work to produce these but you all love them so much that I have to make more every year.

If there is anything I can do to improve them or change them up (maybe tiny originals instead?) then let me know! I always appreciate your suggestions and feedback. 

​I'm in the thick of it now so I'd better get back to the studio. Thank-you for your loyalty and support during this difficult year <3

What is a juried art show?

Well, it's kind of like a beauty pageant except the painting is the contestant, the jurors are the judges and the definition of beauty is only known to them. That sounds a bit strange to people outside of the art world and actually, it's pretty strange to me too when I think about it. Simply put, a juried art show is a selection of work chosen on their merit by whatever definition the jurors choose which are then presented in a group curation for the viewing public.

Why do artists enter juried art shows?

Here's the thing about being an artist - it's solitary work. Entering a juried show is a way to present your work to experts in the art field and to have them qualify your work. It's great to have friends and family tell you that they love your art but is it actually good and interesting work? Does it have technical skill? Is it collectible? I suppose being accepted into a juried art show is a stamp of approval. After all, the jurors are highly qualified art experts.

Do you enter juried shows?
 
I do enter juried shows. I didn't go to art school and am mostly self taught so a juried art show is a way for me to add a qualification to my resume. Another reason I like to enter shows is to see if my new work is on the right path. Since you are usually limited to entering work produced in the last two years I find it helpful to gauge my progress as an artist. 

How do you deal with rejection?

This one was hard at first. For me, my art has a story and meaning behind it so putting it out there to be rejected was difficult. I remember the first juried show I entered (it was an abstract piece) and I was rejected, rightfully so in retrospect. But a kindness was given to me by the juror. She had written a note and attached it to the back of the piece with a critique and note for improvement. That is extraordinary! Regardless of whether you are accepted or rejected you usually never know why. I took that note to mean I had potential and instead of giving up I kept going. That encouraging note meant the world to me. 

Nowadays, I am choosier in what I enter. I try to enter at least one show a year to keep humble (haha) and I look to see who the jurors are and what is their subject of expertise. It doesn't hurt my feelings anymore to be rejected, it's just another part of the job.

Is it worth it?

In my opinion, yes. Not only is it humbling to be rejected it feels pretty darn good to be accepted. As an artist you need both, you paint a lot of crap paintings to be able to paint the good ones and because you are so close to the art it can be difficult to judge for yourself what is what. Also, it raises your credibility and collectability. Your collectors can be assured that their art has value beyond what it meant to them on a personal level. I also really like to have my work shown in public spaces and to chat with people and to meet the other artists in my area. 

Are you in a juried show now?

Nope. This year was really weird with Covid shutting down all events and spaces. I did have two different pieces of my Hiraeth series in two juried art shows last year, The Colborne Art Gallery and The Art Gallery of Northumberland, respectively.

​Coming up in January 2021, I will be part of a group art show at the Northumberland Arts Gallery and Shop in Port Hope, Ontario. I'll be telling you all about that soon in a later newsletter and blog. I'm really excited about it and can't wait to share the details!

There you go, I hope that answers some of your questions on juried art shows. If you have more, feel free to drop me an email or a response below.

I have gone camping since I was a little girl. My parents used to take my sisters and I to Algonquin and we would camp in a canvas tent and do extraordinary hikes. It was much less common to camp back then, almost nobody had a tent trailer and there most certainly wasn't electricity or highways near the campgrounds. We also used to go to Presqu'ile and Sandbanks which always seemed so far away to me. The world is a much smaller place now in terms of travel.

We didn't have a lot of money growing up so these trips served as our vacations and I suppose those adventures seeped into my bones. I also like to think it was a way for my parents to connect us to our Indigenous heritage, in a time when to claim this was exposure for racism.

​My childhood was quite traumatic because my mother was very sick with an illness that doctor's couldn't identify. It took many years for the diagnosis of Addison's Disease to come but in the meantime, we girls were shuffled around and taken care of by our community so that my father could continue to work (often shift work) while my mother was in the hospital. There were whole summers and parts of the school year that we lived with my parent's friends or my extended family and often all three of us sisters were not in the same home at the same time. 

So, I think that camping was a refuge for my mom when she was healthy and also a way to bring us all together as a family in times where we were often separated. For me, it has been a refuge as well. The outdoors has always been a place I have gone to heal from trauma and pain but also to find happiness and peace. I used to speak to the trees and birds as a little girl and I felt they understood me and I them. Now, I paint the landscapes I travel to but I like to paint them as I feel them. Each place has its own spirit and they do whisper to you if you are still and listen. 

We are approaching the end of 2020 and as we do, I thought I should update you on what I've been up to and some of my thoughts during this strange, strange year. Actually, in all honesty, my best friend not-so-gently reminded me to write a new blog post (thank-you Jenni). 

I think in times like these there are two kinds of people:

The first kind are energized into action. They suddenly have more time on their hands and are compelled to create, organize, or tackle a project that they've been meaning to finally begin or finish.

The second kind of person is me.

I lost all momentum with the shut down that occurred with Covid-19. Every single event that I had on my calendar was gradually cancelled and it really bummed me out.

As artists, we normally have a full calendar a year ahead and then fill in gaps as the year progresses. It was really strange to have my Holiday show cancelled in July, but there you go.

And so, after a summer of camping to lift my spirits (and provide art inspo) I have been working away at new oil paintings, updating my website, and planning for my Holiday show which will be virtual this year.

Which type of person have you been during the pandemic? Tell me in the comments are we'll try to get through this stretch together.