Walter has been taking photos seriously since 1964 and when he retired after almost four decades as a librarian at Western University, the Western News asked him what his plans were. Here is what the article said: “So what’s next for Mr. Google? Zimmerman plans to travel with his wife and spend time with family including his young grandchildren. He hopes to volunteer, cultivate his photography and catch up on reading.” Walter is grateful to the Spencer Gallery Committee for this opportunity to display some of his favourite photos, all of them taken during his retirement, and is happy to spend the month of April literally “hanging around” his beloved D. B. Weldon Library.
Walter can be reached at firstname.lastname@example.org to which you can direct questions about obtaining any of these photos or just to chat.
This Exhibition of Prints and Drawings summarises the artistic achievements of a young Canadian artist, Yulia Lobacheva, resulting from her academic career at Western University. Having emigrated from Saint-Petersburg, Russia, the artist explores the issues of displacement, war, the decay of memories about places and our personal ties to them. She uses traditional media such as intaglio printmaking, with a more recent shift towards coloured pencil drawings. Her work possesses illustrative qualities; even when exploring deep subjects, she aims to create images full of fantasy and whimsy, and inspire these feelings in her viewers.
The show "Dictatorship and Democracy in the Age of Extremes: Spotlights on the History of Europe in the Twentieth Century"portrays Europe’s twentieth century as a dramatic history of the struggle between freedom and tyranny, democracy and dictatorship. Inspired by the year 2014, it invites viewers to take a historical pulse of the past century. The exhibition presents almost 190 photographs and images from numerous European archives.
Featuring works of art from children, grandchildren, neices, and nephews of Western Libraries staff
Edgar Yanez Zapata is an architect, artist and graphic designer. His artistic and academic interests are focused on the relationship between human interaction and the urban landscape, as a way of understanding and creating meaning, art and communication.
Yanez considers cities as laboratories in which the collective memory and special events create opportunities for human interaction.
Most of his paintings are made of multiple layers that hide and reveal parts of a particular place’s history, as fragments of memory.
To see more of Edgar's works click here.
My responsibility as a visual artist is to relate my experiences with a space to the viewer. By isolating parts of the whole, I expose the fabric of the space. Weldon is rich in fabric and texture, and encountering it over the past 11 months, from top-floor to sub-basement has been a remarkahle experience.
This series is an exploration into that which makes Weldon special, an ark of thought and its many forms. The subject matter was chosen in a conscious manner while walking around and allowing the details to make themselves known. There is a point of connection, a moment when the eye meets a circumstance of lines, light, perspectives and surfaces that contains a richness of form. That is when the moment becomes an exposure.
About the Artist
Michael-John Idzerda was raised in Toronto and Alliston, Ontario and began documenting the world around him in the early 1980s. In 1993 he graduated from The Ontario College of Art's New Media Program, having studied the art of photography and architecture, creating electronic music and videos. Professionally he has worked as an office-manager, architectural archivist, architectural historian, landscape designer, pipe-organ technician and piano tuner while continuously pursuing his passion for photography. Currently he manages Forest City Image Centre at Western University, teaches photography for the City of London's Spectrum Courses and is an advocate for film-based 'toy camera' photography. MJ is an electronic keyboardist, having played numerous sessions with Eric Stach and the Republic of Free Series in London.
Encountering Weldon, Solo Exhibition at The D. B. Weldon Library, Spencer Gallery, Western University, London, Ontario
Show Us Your Best, Forest City Image Centre group show, The Arts Project, London, Ontario
Recent Work, Solo Exhibition at The D. B. Weldon Library, Spencer Gallery, Western University, London, Ontario
Chill, Wortley Village, London, Ontario
Looking Around, Solo Exhibition, London Public Library, Byron Branch, London, Ontario
Feature photography in Beat Magazine's 'Final Frame'
Commercial / Lecture
First Church of Christ Scientist, London, Ontario - Pre-demolition Photographs
London walk for Juvenile Arthritis, 2011 - Event coverage
The Elmwood Lawn Bowl Club's 100th Anniversary, 2011 - Event coverage
Lecture on Photography for the Lambeth Art Association
For more information:
My art is derived from observing and experiencing the perplexity of natural processes - the interplay of physical and psychological phenomena. Over the years, I have tried to define my work. Although most of my work is non-representational, I am describing, mimicking or mirroring the seen and unseen workings of nature. It could be viewed as the "real world" abstracted through the lens of a kaleidoscope. In my work, matter is fractured and skewed in a disarray of visual experience.
I come from a myriad of influences stemming from my travels in Europe and North America. I emigrated from Italy to Canada in my childhood and my present home is London, Ontario. My studies have taken me to Western University, University of Montreal, McGill University, Fanshawe College and BealArt. Visual art was my main focus, interspersed with languages and literature, psychology and art therapy instruction. I continue to be enthralled by reading diverse subjects on the experience of reality and its psychological impact.
Inspired by the unique and endless machinations of what the visual sense perceives, I am attempting to create a foil to describe the ephemerality of the physical world. Intricate designs, patterns and configurations are apparent to me. These fluid mysteries are what I try to depict - not what nature appears to be, but the awareness, the approximation of what it "looks and feels like" to come into existence.
In essence, I am peering into the "equations of life". I am not a scientist, but a visual artist spurring the imagination to see beyond appearances.
For more information about this exhibit, please email email@example.com
Well, Christmas is over, the days are short, it's cold and stormy... And you probably have several months of studying to look forward to. So to cheer you you along I thought I would hang a selection of my cheerful paintings in this space of concrete and fluorescent light. I hope you like them.
Thank you to the Spencer Gallery art committee for permitting me the use of this space.
About the artist:
I grew up in Belfast, Northern Ireland. After moving to London, Ontario when I was 19, I studied History of Western Art, Sculpture, and Studio Art at The University of Western Ontario. I have been fortunate enough to visit many art museums worldwide, and to study with several international artists.
For more information, and for a full price list of all items displayed in this exhibit, please see my website:
If you have any questions, please e-mail me on: firstname.lastname@example.org
Holly Brown is a graduate student from the Visual Arts Program at The University of Western Ontario who works primarily in print-based media, including etching, lithography, and relief, but also has experience with painting.
I am concerned with exploring the traditional relationship between females and nature: both its positive and negative associations with women and the possible fatal outcomes when nature is destroyed. My art draws from the patriarchal voice describing female characters in relation to natural forms in literature, however, rather than taking these descriptions on a surface level as a compliment to the female character, my prints delve deeper into the hidden and often confining meanings. I take interest in literary female characters that are bound helplessly to the landscape and I am inspired by Thomas Hardy's character Eustacia Vye in The Return of the Native. My work has a deep interest in the observation and detailed capture of the natural world in combination with flowing human forms.
The Spencer Gallery features a new exhibition of artworks by the Fibre Art Network (FAN), a group of professional fibre artists and teachers from Western Canada. The exhibition features 34 artworks by fibre artists in Canada's four western provinces and two northern territories.
This impressive exhibition features a wide variety of materials and artistic styles. Each artist has interpreted the pathways theme suggested by the subtitle 'Seeing the Forest and the Trees: the Fibre Art Network Interprets the Journey.' The artworks depict inspiring landscapes as well as personal experiences and ideas. Stylistically, each artwork reflects the artist's current explorations or themes, as well as the unique motifs, palettes or techniques that characterize their work. The result is an eclectic visual feast of inspired fibre artworks.
Title cards appearing with the Pathways artworks pinpoint the location of the artist within western Canada. In addition, an exhibition binder includes a biography, contact information and photos of other works by each artist.
Viewers are encouraged to stop by the exhibition and to give feedback to the artists in a guest book that is on display with the artworks.
We exist in urban, rural and natural landscapes, yet our experiences in these spaces are often so temporary we do not truly 'see' the structures that were designed for our use. My photographs present the abstract forms of our constructed world, revealing that the commonplace can be inspiring and even beautiful. These are the elements that have a tendency to go unnoticed.
Michael-John Idzerda was born in Toronto, Ontario and began photographing the world around him in the early 1980s. In 1993 he graduated from The Ontario College of Art's New Media Program, having studied the history of photography, architecture and electronic music. Professionally he has been an electronic music composer, an architectural archivist, department store historian, landscape designer, pipe-organ technician and piano tuner while continuously pursuing his passion for photography. Currently he manages an image centre at The University of Western Ontario, teaches photography for the city of London and is an advocate for film-based 'plastic camera' art.
Contact: Michael-John Idzerda
Tel: 519-432-9521 Day: 519-661-3623
Some of the best memories I have from my childhood are from our summer holidays spent along the Atlantic coast. Although I enjoyed the pastoral landscape where I was raised in eastern Ontario, I was always drawn to the sea and the rhythm of life one develops from living amongst the ebb and tide. I eventually settled in Nova Scotia as an adult and developed a connection to the maritime environment which brought out a love of the natural world in my paintings.
Most recently my work is based upon an ongoing study of waves and wave-like patterns found on many natural surfaces. Simple harmonic motion is the process that creates the formation of a wave. My paintings reflect the waves and wave patterns that I have observed on tangible surfaces in our environment. These delicate forms are often overlooked which is why I chose to focus on waves found on surfaces apart from water.
My work is a reflection of the natural world and predominantly I focus on the relationship between earth, water and sky, allowing the mixture of elements in their raw form to overlap each other creating a dimension that we can take for granted. Use of colour is very important to me as it aids in my reflection of the environment I have envisioned, projecting the mood created by nature's combining elements through the gradual shifting of spatial interaction.
This exhibition is based on my current study of rhythm and movement found in our natural environment and it's response to light, vibration and wind. Each painting strives to draw close attention to the detailed physical interaction between solid, liquid and gas. Although the Surrealist and Impressionist movements had initially influenced my artistic and emotional view of painting, my work is evolving into a style of its own which aids in my emotional response to nature.
With the support of the Ontario and Nova Scotia art councils, I have strived to develop my practice through exhibitions in both provinces. A great honour for me was having my work purchased by the province of Nova Scotia Art Bank program in 2001. Along with painting I have gained valuable experience from working in a variety of industries, most recently as a librarian for two rural libraries in West Grey County.
Before returning to university in 2009, I worked full time as an emerging artist, painting in my studio and exhibiting my work throughout Ontario and Nova Scotia. I am currently in my fourth year of studying history at The University of Western Ontario. I look forward to graduating this spring with an honours degree in history and to pursuing graduate studies in the autumn.
For more information, please contact: email@example.com
September - October 2010
Acrylic on canvas 24x36”
Painting is how I deal with the strands of thought which captivate me. This series of paintings is about the nature of human perception. I am fascinated with human cognition, its amazing capacity as well as its limitations. Our minds are our only connection to each other and the outside world. That our minds determine the very nature of our reality is a compelling thought. Since ones relationship to reality is a construct of the brain, there remain questions about the nature of things ‘out there’. Beyond the parameters of our perception, there will always be things that are difficult or impossible to assess. Yet we have never ceased trying to see beyond our natural capabilities. Mankind strives to stretch those parameters. It is one of life’s oldest charms – searching for those imponderable somethings. As for painting, it is a most profitable endeavor, it is work, but it is fun work. I paint out of a sense of intrigue – following strands of thought where they lead – through science and history and feeling. The grand mission of painting has always been exposition. So that every now and then, painting provides the right mix of circumstance for the accidental stumbling upon truth.
The series title "Saints" is a collection (for this display) of six oil paintings on wood dealing with the traditional techniques of ordained saint paintings, and incorporates a subject matter of everyday citizens within the London community. The subjects are elevated into saints with the use of illumination and ornamentation. These are then mirrored through the use of modern graffiti and tattoos. With the combination of the spray paint and its inclusion with the everyday marginalized individual, the "Saints" series is attempting to speak of the way each of us is capable of good, and it does not require an outside source or sanctity to express it.
This is the first painting in my attempts at examining the Canadian political system. It deals with the election between Stephen Harper and Paul Martin in 2006. The figures come from black and white prints in the newspaper and are painted a similar tone to emulate the place of reference. Each character wears a small amount of colour to represent association with a specific political party. The bright red flag offsets the mono-toned figures as a way of emphasizing, as the title states, politics aren't just black or white, that they should represent everyone equally and not just one side or the other. The addition of the Orange seeping over the edge speaks of the option of a third choice, and reminds us that the Canadian political arena is not just a bipartisan system.
This painting starts with the concept of an effigy and, through the use of historical Canadian martyred Jesuit Saints, examines the illegal actions of former Prime Minister Brian Mulroney. This is in regards to his public apology over money given him as a "gift" while Prime Minister, attempting to martyr himself and ask the people of Canada for forgiveness. As a response I took his article from the newspaper and burned his apology until it was ash; mixing it with linseed oil, I used the ash to draw the base for his portrait. Once fully completed I then burned the portrait in a public performance, providing my response to Mulroney's attempt at forgiveness. The fire symbolically represents change and renewal toward any and all corruption in government.
As the Prime Minister who advocated for a new Canadian flag, Lester B. Pearson wears the maple leaf on his tie. I wanted to treat this painting with a sense of respect because Pearson was one of Canada's great leaders. The painting itself is essentially the Canadian flag and drapes over Pearson's shoulders, honouring him for such actions as creating the United Nations peace Keepers.
Eric Gaston Simard was born and raised in Woodstock, Ontario. As the son of a professional photographer, Eric was first exposed to the field of visual arts at a very young age. His ongoing photographic training as his father's assistant allowed him to travel throughout Canada as he learned the craft.
His first solo attempts at visual self-expression came in high school where he experimented with all forms of media. Upon graduation, Eric attended the visual arts program at Sault College in Sault St. Marie, Ontario. This experience left Eric with a better sense for the reason he chose to create art and a goal of creating art for himself.
This exercise in self-discovery led Eric back to a medium in which he now works exclusively: Encaustic (wax). Having had little formal exposure to this medium, Eric was unencumbered by the past process used and it allowed him to develop his own unique, strongly textured style. His technique of applying multiple layers through pouring, gluing, and carving gives his work a sense of movement that jumps out from the wall figuratively as well as literally. The three-dimensional texture of his paintings solicits the hands of viewers to reach out and touch each image, begging them to question the delicacy of each finely laid layer.
Eric attended The University of Western Ontario and graduated from the Management and Organizational Studies program in 2009. Having completed this program, Eric has had more opportunity to focus on his art, having booked five solo exhibitions for 2010.
In March 2010, The Spencer Gallery features 10 original Encaustic paintings from Eric's most recent collection entitled "The Most Important Things in Life". This body of work focuses on the exploration of colour, and its ability to help him explore the "things" we all feel are most important.
Currently I consider myself to be a multi-media artist. This allows me to explore two dimensions in conjunction with use of three-dimensional materials. Within my adventures in mediums I have become intrigued by the combination of textile and painting practices.
Textiles allow me to push the boundaries of how people judge it as a craft or as an activity for seniors. It is often limited by those who work with the medium, because of popular image choice of nature or family. It is also stalled in its status of being primarily functional, or in its lean to kitsch aesthetics. I attempt to break this stereotype, to use textile practices to make contemporary work. My goal is to create a marriage between the stereotyped fibre arts and painting. In this way I hope to rewrite the history of medium, by fusing textile's history with painting's.
November - December, 2009
For thousands of years and within a variety of cultures, women have been the primary producers of textiles. Quilting serves as a three-dimensional metaphor for feminine social networking. Millions of dollars are raised each year through quilts for such worthy projects as Breast Cancer research, the Mennonite World Relief Fund and AIDS awareness.
Thousands of women quilt today. It is a thriving art form and industry, with websites, magazines, exhibitions, workshops, lectures and tours. Quilting is an art form whose time has come. Today the word global applies to quilting as well as to business or economy.
In May, 2011 London will host a four-day national CQA/ACC (Canadian Quliter's Association / Association canadienne de la courtpointe) conference here at UWO.
Cynthia Norris has been a quilter for many years. Starting in the late 1970s with the modern revival of quilting, she has made many full-sized quilts, baby quilts, wall hangings and quilted items. Most of her creations are gifts for family and friends and she has produced several commissioned pieces. An accomplished needlewoman, Cynthis has also completed several conservation works.
On display in November and December are some examples of Cynthia's handiwork: 1001 Knights, Kansas Star, Lighthouse Lullaby (which represents the many Manitoulin Island lighthouses which Cynthia's family attended), Two Zebras, Blue Hawaii (pictured above), Canada eh? and Cosmic Pumpkins.
May - June, 2009
Artist Chris Sotiriadis (above) speaks with Sara Morrison about his display.
Chris Sotiriadis is a local self-taught artist and photographer. When not working as a librarian for the Education Library at The University of Western Ontario, he spends what free time he has outdoors on hiking and walking trails in and around the London area, honing his artistic skills as a conduit for the natural environment to express itself.
In the last five years, Chris has worked primarily with water as his medium of choice, drawing from his life experience and a BA in Anthropology to show how it is a mirror for humanity. His water abstracts demonstrate how water not only reflects but also remembers, and given the proper conditions, the memory of past reflections can resurface and communicate in the present through photography.
What is possible when one uses water and ice as a canvas for painting? The answer is Ice-Painting Quartet: a cross-sectional representation of four experimental ice-painting projects conducted this past winter.
Each project involved a unique use of different colours and application techniques, and was then left subject to the elements outdoors to freeze into a block. Once frozen, each ice block was brought indoors and the melting process was captured by macro photography to produce the works presently on display.
For inquiries please email: firstname.lastname@example.org
For more information check out: outofmind-abstracts.blogspot.com
A Canadian artist born in Santiago, Chile, Maria-Teresa Vicencio has lived in Ontario, Nova Scotia, Quebec, London (England) and British Columbia before moviing to London, Ontario in 2003.
She has worked in clay since 1973; she studied Oriental brush painting (sumi-e) at the Ottawa School of Art, and Fine Arts and Ceramics at Wandsworth College in London, England. She has also worked at Capilano College's Advanced Ceramics Programme and at the Malaspina Printmakers Society in Vancouver.
Her sculpture uses clay and metal; at present she works mostly on paper at her studio in London, Ontario.
Her work has been exhibited in Canada, Chile, Japan, England and the USA, and is in private collections in Canad, the USA, Chile and England.
Sensoria and Inside Views (Works in Ceramic)
The same senses that allow us to grasp external reality can change and transform our impressions.
How we decipher these perceptions, and our reaction to them, are coloured by the environment and by our own nature.
Why do we differ so much in the way we perceive, feel and react in life?
This is my interpretation of the roles of some of the players in this process.
Arches (Works on Paper)
The series Arches evokes our perception of the passages we go through in life, both as individuals and in our collective history.
These arches mark thresholds that separate our present state from the unknown new reality that waits on the other side.
Theresa Helen 'Susie' Matthias
The sixth of nine children, Susie Matthias was born in London, Ontario without arms or legs, as a result of the drug Thalidomide. Susie, however, never lets her disability interfere with her very active life.
Educated at Thames Valley Children's Centre in London and at Bloorview Children's Hospital School in Toronto, Susie showed promising artistic talent at an early age. In addition to her formal schooling, she improved her creative talent by taking art courses at Saunders Secondary School and spent a year at Fanshawe College in a Fine Arts course. Later, her supportive parents also arranged private tuition for several years, which helped her develop her mouth-painting technique.
Susie's artistic subjects include portraits, animal studies, sea and landscapes. In 1991 she was presented with the opportunity to join the Association of Mouth and Foot Painting Artists as a student, receiving a stipend to further her artistic career. In March 2000 she became an associate member and receives a monthly income.
It was a great honour for Susie when, in the year 2000, one of her paintings won a national competition and was featured on a special Christmas stamp issued by Canada Post.
In 2005 Susie took part in The Source for Sport One-of-a-Kind Mask Auction, an event aimed at raising money for Shoot for a Cure spinal injury research. Susie was given the opportunity to paint two hockey masks - one for Michael Jordan and one for Tiger Woods - both of whom are strong supporters of the charity. Susie's mouth-painted masterpieces were on display in the Hockey Hall of Fame in Toronto.
Susie touches the heart of everyone she encounters. Living in her own house, she enjoys the frequent visits of her family and friends. Swimming is one of her favourite pastimes, giving her relaxation away from her busy painting schedule. She has competed for fun in regional games and has won several medals and ribbons in her category. Susie also enjoys playing on an electric floor hockey team and participating in, or watching, various sports.
Recent Drawings by Richard Kirk
The drawings in this show were done over the past couple of years. They are an expression of my interest in fantastic imagery and its ability to transport the imagination to a place of excitement and mystery.
The momentary feeling that precedes rational thought when looking at Symbolist, Surrealist, or other fantastic images has always fascinated me. It is that essence that I have tried to capture in these drawings
Richard Kirk is a Canadian visual artist and illustrator. He works in a number of mediums including: pen and ink, silverpoint, watercolor, and oil.
Richard is represented by the Strychnin Gallery: Berlin | London | New York
In addition to his personal explorations in visual art, Richard has illustrated numerous books for authors such as Clive Barker, China Mieville, Caitlin R. Kiernan, Poppy Z. Brite and others. Recently, Richard produced the artwork for the latest album from the rock band Korn. This art was used in promotional materials and formed the visual basis of their stage during a world tour in 2007/08. Currently Richard is illustrating a book by Clive Barker called The Adventures of Maxmillian Bacchus and his Traveling Circus, which will be published, in early 2009.
Richard’s works can be found in many private collections in the United States, Canada, England and Europe.
Richard is also the Manager, Resource Support and Record Center Services in Western Archives at The University of Western Ontario.
Friendly with Nature, City, Country and Planet.
Friendly with Nature
These paintings express a person’s private identity interacting with the larger stage of a surrounding Canadian culture that includes psychology of love, social connection, environmental esthetics and identity within family and friendship ties.
Friendly with City
These paintings represent images of The University of Western Ontario and London’s cityscape.
Friendly with Country – Maple Swing
These paintings express the artist’s thoughts about different art disciplines that reach and connect across all of Canada. It starts with the discipline of music where thoughts and emotions become written notes of sound and then the notes read and played by musicians become an expressed melody. A visual artist takes those notes, distorts them slightly and places them on canvas. Then the northern wind blows and it scatters everything in the same pattern as scattered yachts over the ocean. All that structure is surrounded by philosophical contemplation of maple leaves and held up by a fashioned classic female pose.
Friendly with Planet
The artist presents activities that express concern about the environment and the human role. Our journey in life allows us to experience challenging tasks towards perfecting existence. To express those ideas the artist has made greeting cards with images of a boat/heart floating over Earth, decorated by crystallized maple leaves and fresh flowers while giving life to new flowers. All those flowers are communicating and coordinating to promote flourishing ideas of inspiration and to build consociation about our planet.
* * *
Zuzanna Baczynski is based in London, Ontario, where she completed a Bachelor of Arts in Visual Arts and General Science at The University of Western Ontario. A painter by trade, she has become interested in fashion and costume design, modeling, photography, video, film-making and food decoration. She has successfully completed many projects in the following areas: fashion design in Poland; modeling in Czech Republic, Greece and Canada; glass blowing in Czech Republic; interior design in Poland; and photography, web design and TV ads in Canada.
Her life-size oil paintings have been featured in a number of art exhibitions, and in UWO and Rogers TV ads.
Zuzanna’s Baczynski works are inspired by the nature and cultures of various societies, combining a knowledge of art, science and psychology. In her well-thought-out and designed images, she provides inspiration for the emotions and constructive actions of others.
There are objects in this world that are active despite our inability to see them move; with painting, it is important to recognize a work not just as an object, but as something that holds some degree of performative significance to the artist and their audience. In the Spencer Gallery this month, paintings by Tania Iskiw focus on the process of making art and the effect emotion has on technique. In some works, it is important to see one subject as a section or fraction of another and viewers are forced to shift focus and discover hidden scenarios. Although most of the works include figurative elements, the process is a contingent one intended to exemplify the artist's own shifts in focus and attention while painting. In this sense, the compilation places importance not in the record, but in the act of recording.
Of the six Spencer Gallery displays that are scheduled each year, the most anticipated is the annual Children's art exhibit, this year entitled "Celebrating Children's Art" . The display features the art work of children of Western Libraries staff including nieces and nephews and grandchildren. The official opening for the exhibit was on Saturday, July 12th. Many of the young artists and their parents, grandparents, and aunts and uncles were in attendance .
One of the selection criteria for the display of art in the Spencer Gallery is to offer London and area artists an opportunity to display their work . This year's Children's exhibit represents the largest group of artists ever to have displayed in the gallery . Many thanks to the artists and to their parents and other family members for asking the kids to prepare something special for the exhibit .
Chair, Spencer Gallery Committee
[some] earthborn particles
Photographs by henri valencia
"...with photography I do my dream. A silver dream created with light and the mysterious geometry of beings' soul. It is my frank and unforeseen rendezvous with the world's possible beauty in its whole pain and pleasure. Perhaps searching for a useless and beautiful paradise where sorrow and happiness harmonize. I want to invent one other reality in that rectangle, which touches us, gives us company and nourishes us in the perplexities of our existence."
henri valencia was born in 1953 in Manizales, Colombia, where he first discovered photography whilte studying as a forester in his native country in 1972. Recognition of his early work earned him a scholarship from the Ministry of Culture of France to the Ecole Nationale de la Photographie in Arles, France, where he attended from 1982 to 1983. His photographs have been exhibited in a number of countries including Colombia, France and Canada. His photographs figure in several collections including the Bibliotheque Nationale in Paris, France. In 1991 he was invited by Les Rencontres Internationales de la Photographie in Arles to teach a workshop entitled, "The Portrait on the Street". He currently resides in London, Canada where he works as a French and Spanish interpreter and has conducted photography workshops at The University of Western Ontario, Fanshawe College, the London Regional Art Gallery and the London Public Library.Relevant Education
- Ecole Nationale de la Photographie, Arles, France, 1982-1983
- Workshop, "Photojournalism", with Bernard Descamps, Chinon, France, 1982
- Workshop, "Study of a Theme", with Bernard Descamps, Chinon, France, 1982
- Workshop, "Perfecting Black and White Laboratory", with Philippe Salaun, Nimes, France, 1983
- Photographs at Art Rental and Sales Gallery, The Gallery Shop, Museum London, London, Canada, 2005-present
- Silent Variations, Photographs by Henri Valencia, London Public Library, London, Canada, 2003
- Contact 2002, six photographs at Edward Day Gallery, Toronto, Canada, May 2002
- Dust of the Cosmos, Photographs by Henri Valencia, Solo Exhibit, Spencer Gallery, Weldon Library, University of Western Ontario, London, Canada, 2002
- Henri Valencia, Photographs, 52nd Anniversary of the United Nations Declaration of Human Rights, Solo Exhibit, London Convention Centre, London, Canada, December 2000
- Henri Valencia, Photographs for Piano, Solo Exhibit, Museo de Arte, Universidad Nacional de Colombia, Bogota, Colombia, 2000
- New World: Still Distances, Herbert Bayer, Danny Lyon, Roman Vishniac, Philippe Halsman, Edward Weston, Roloff Beny, Henri Valencia and Angela Grauerholz, London Regional and Historical Museum, London, Canada, 1999
- Henri Valencia Photographs, Solo Exhibit, Community Express, Bell Building, London, Canada, 1998
- Salon International de la Recherche Photographique, Royan, France, 1995
- "Labyrinth", Henri Valencia Photographs, Solo Exhibit, London Regional Art Gallery, London, Canada, 1993
- "Deep Sigh", Henri Valencia Photographs, Solo Exhibit, Gallery of Ryerson Institute, Film and Photography Department, Toronto, Canada, 1991
- Henri Valencia Photographs, Sponsored by the French Embassy, Planetarium, Bogota, Colombia, 1988
- "Latin American Artists in Paris", Grand Palais, Paris, France, 1982
- London Regional Art Gallery, London, Canada
- McIntosh Gallery, University of Western Ontario, London, Canada
- Bibliotheque Nationale, Paris, France
- Ecole Nationale de la Photographie, Arles, France
To contact the artist, call: 519-672-4068 or 519-642-1602.
Luz Maria Jaramillo
Et par le pouvoir d'un mot
Je recommence ma vie
Je suis né pour te connaître
Pour te nommer
Paul Eluard- 1942 –
From the Inquisition’s notoriously horrendous stakes to the disguised and yet poisonous condemnation of any rising dissent, witch-hunt has never left us. Present in every corner of society, even in sectors allegedly mature to bring forth change, it plagues daily life, undermining and suppressing real revolutionary forces.
This is my tribute to those who have been, and continue to be abused by the obscure and powerful forces of repression that pervade our societies.Luz Maria Jaramillo
My work is the interpretation of my immediate environment but also of distant cultures that speak to my subconscious.
H. B. Beal Secondary School Southwestern Business College
Special Arts Diploma Interior Design Diploma
Gallery Painting Group, London Regional Art Gallery and Museum, 1993
Monday Night Drawing Group, Gibson Gallery, 1994
Group Show, Gibson Gallery, 1994
The Pink Pillar Show, 1994
This Space is for the Arts, 1995
Miniature Show, Gibson Gallery, 1995
Group Show, Angela Greer, Henri Valencia, Dagmar Stegleman
Kinetic Apparitions Solo Show, FKK Restaurant, 1996
The Art Exchange Miniature Show, 2007
Crouch Library Solo Show, 2007
52 Eastman Avenue
RALPH E. STIERWALT
Several months ago, someone suggested that I show a selection of my paintings at The D. B. Weldon Library. I was very pleased with the idea, considering that in the early 1970s I worked at Weldon as part of Library Administration. Later, in the same decade in which I worked for Western, I left the “library and university” world at the age of 49 to pursue my passion for art.
My journey began on the island of Kriti (Crete), Greece, where I lived and painted for three years. I believe the paintings in this series tell the truth about my love for the country. Every moment is magical for me when I am in Greece.
The scene in “Kalli Mera” (Good Morning), greeted me every day as I looked out my windows. It was difficult not to smile with such light, warmth and radiance.
The people of the tiny village of Kenurio Horio (New Village – a 600-year-old village of less than 100 inhabitants) would appear; no one ever came empty-handed and wine was a very important part of their culture. So I painted “Old Maenad”, a woman coming from the direction of the village church to offer grapes.
Religion has played such a fundamental role in the recent history of Greece, so I have chosen to display “Cave Church of Ayias Anastasia” (Saint Anastasia). The church appeared to grow right out of the base of the mountain, solid and ever-present, supporting the world.
The history, strength and grace of Greece are represented by “Determination”, a scene in the Samaria Gorge on Crete, very close to the narrowest and most arid part of the gorge. This part leads through the passage into a lush valley.
The base of the Samaria Gorge was once the home of a large river and farmland. The remnants are represented by the ruins in “Abandoned”, a common theme throughout Greece, a land with centuries of history.
I returned to Canada in the early 1980s, to Ontario, a beautiful province. It is green, green, green with magnificent medium-blue skies in the Spring, Summer and Autumn; and mostly white, with periodic pale-blue, skies in the Winter. In spite of the difficulties associated with painting Canada, I have endeavored to put some life into some Canadian scenes.
The house in “The Prairies” resembles my birth home and the setting, the vastness of our beautiful and abundant country.
I lived in Ottawa, having returned from Greece, and I was again attracted by the lushness, illustrated in “Parliament” by the elevated view from Hull, Québec, near the gracious Gatineau hills.
Coupled with the Parliament scene is the view in “Gatineau Autumn, Québec”, with its majesty, brilliance and fun. It is a typical northern autumn scene in which the trees almost resemble the colourful, loving people gathered on the riverbank to celebrate the season.
From the vast windows of my home in Ottawa, I was presented often with the scene in “Ottawa Winter”. The field and river are all awash in white, stark and harsh and cold, yet with a shadow of life in a country that continues to thrive and reach out and grow.
“The Pines, Hogs Back, Ottawa” represents Canadian determination, surviving harsh winters, tall, slender, elegant, and surrounded by new abundance.
I hope you enjoy my show and I welcome your thoughts and comments via email: email@example.com (please put “Weldon Art Display” in the Subject line).
Mehrnaz Ahmadi Joobaneh
Abstracts of Mehrnaz Ahmadi demonstrate the unlimited life of a free creature, who is not aware of the complete freedom that is gifted with. It is free to move and live wherever and however it wishes. It is an example of a human being itself.
Mehrnaz started drawing and painting since before the school ages. At the school age, she showed her talent in art; it was seen that her drawings were more abstract, rather than presenting the reality. During her school life, she presented her works in some competitions and exhibitions.
Professionally, in 2004 she started to draw and thereby she took some drawing courses in Iranian traditional drawing. After traveling to London (Canada) in Sep. 2005, she continued her work independently. In order to be familiar with the Canadian arts and artists, she took part in the artist meetings held at the Byron library. Consulting with some art/drawing experts, she decided to take part in some exhibitions as the following:
November 2006 Winter Event at the University College
January/February 2007 at the Spencer Gallery
August 2007 at the Central library
April 2009 at the Masonville library branch
For more information regarding the Mehrnaz’s work please visit:
Your comments about the drawing is more than welcome,
Mehrnaz can be reached through the email address of:
Diane L. Morrow
Jane said, "Look, Tarzan, ART" is an invitation for passersby to take a few seconds to let go of their momentum - suspend it - and allow themselves a few stolen moments immersed in the creative process.
Unlike most of my shows, there is no overriding theme, other than the gut feeling that we really need to make time for the making and the viewing of our creations because "most of the answers to the questions we seek about existence can be found by stepping out of the grind we put ourselves in, letting go of convention and pushing the visual and imaginative envelopes past their limits."
The differing approaches which I take to various subject matter, ranging from the realistic through the suggestive to the abstract, reflect the various levels of dialogue available to me at the time of creation. Also, some expressive content seems to present itself more cleanly.
The written content of Jane said, "Look, Tarzan, ART" plays a much more prominent role than in my previous shows and is there to complement, not describe, each companion art piece.
Always to be found, underlying my creative impulse, is a female perspective in a world that is still clearly male dominated.
All works of art in the show are for sale. Please take a card to contact me about anything to do with my art. Some of the poetry is published in Eighteen Poems-Plus-One; other of it is being compiled for an upcoming book. I am still looking for the publisher.
I have provided a silver metal comment book for your thoughts.
Diane Morrow, BA; Dipl A.T
After finishing Beal art in the early nineties I embarked on a career as a regional artist and enjoyed some success at it. Along the way I was fortunate to work with other area artists in such endeavours as managing and participating in The Pink Pillar Art Show, being a founding member of The London Arts Cartel Artists Cooperative, and sharing studio space for a time at The Art Coop on Tecumseh Street. In addition to all of these local activities I have also been fortunate to show my work throughout Canada, via public showings and through sequential media from a few different publishers. As a regionalist, the context of where I am has always played some significance in my paintings and drawings. Alongside marriage, fatherhood, other jobs and responsibilities that have entered into my life I have continued producing work since.
A few years ago I began exhibiting traits of a Neurological-degenerative disorder hereditary to members of my family on my mother's side. It has changed my life and creative output greatly and the contextual ramifications of this have entrenched themselves visually on some level in each piece that I do. In my process of adapting to the difference in lifestyle, I have acquired a new direction and visual style exemplified in these pieces. While I have always manipulated the surfaces I work on, there is a very real act of process that ties itself into the art equally with the surface application of the medium. The images stem from reflections of, and identifications with, the world around me as seen from home and my new perspective on life.
Thank you to the Weldon Library, its staff and visitors for the opportunity.
August 15, 2006
London, Ontario, Canada
The Tenth Annual Children’s Art Display
Genius is childhood recalled at will.
- Charles Baudelaire
So with a nod to Mr. Baudelaire we went to the source, and we found everything from Lola the Hedgehog to Our Dog Piper to Mary Wearing a Crown and much, much more. Once again the kids have made us proud with vibrant display of 28 works of art for the Spencer Gallery. This is a benchmark year. It is the 10 th Anniversary of the only repeating show put on by the committee!
Everyone is invited to drop by to enjoy the art. The show, which went up on June 3rd will continue until July 30, 2006.
A big thanks to all the kids that contributed their excellent work and to all the grown-ups that brought it in. A special thanks to Rob Turner for signs at short notice!
Where I was and where I am
Painting as Diary
Where I was…The jungle paintings bring back memories of living under the canopy of live oaks and cabbage palms, closing the windows at night sometimes because the scent of jasmine was overpowering. It was so hot that paintings would dry in a day, and I would wear wet clothes to keep cool.
Where I am…Returning to London I remember the thrill of seeing bare tree limbs against the sky, the reflection of trees in the river, and I found a studio on the bike path. The triptych is the view out the back door of the studio. There was a cyclist but he is gone now.
These paintings were painted for private pleasure;
it is for this reason they are unsigned.
* * * * *
My earliest interest in painting produced a series of widely separated topographical views: Fishermen in Siberia – up at early dawn to gather their nets;Arabs traveling down the Nile in a quffa;A quiet morning among the ruins of Ancient Greece; andSiesta in Libya.The five “Postcards from Portugal” portray the picturesque life in the countryside as well as in small villages along the Atlantic Ocean.
However, the majority of the paintings, unmistakably, have their origin in Dutch paintings of the seventeenth century and, specifically, the winter landscapes. Dutch painters embraced the culture of the time and showed the adaptation required by a population living precariously not only below sea level but also alongside the many lakes, rivers and canals. The historicity of these landscapes and their social authenticity could not be repeated today. Although excellent reproductions of Dutch paintings are available worldwide, they provide a challenge for the amateur.
M. A. Art History 2004
Represented here is a smaller version of an earlier exhibition named TIMES OF LONDON (The ArtProject, October 2005), which in turn was based on a limited edition book by the same title, which in turn was my Sesquicentennial Project for the City of London.
This vast collection of impressions spans a period of fifty years and deals with various fields of interest such as special events, parades and festivals, parks and recreation, flora and fauna, fellow artists and sceneries as seen through the eyes of an artist and presented in the spirit of wonderment and appreciation.This project will assist my older viewers in reminiscing the "good-old-days" with me, while raising awareness and a sense of pride in my younger viewers, as well as impressing newcomers and visitors with the beauty and diversity of our city.This show-and-book project is my personal tribute to London.
519 672 8962
How did we all start? It started with the love of our mother and the inspiration of nature.
Margaret May Worrall-Kempster was born November 11, 1914 with a paintbrush in her hand.
From an early age mom has loved nature and tried to capture it on canvas. Mom's last painting is of her beloved cat which is on display. It was done in the late 1990s. We welcome the opportunity for mom's work to be displayed for the first time ever. Her artwork is not for sale as it is her wish for it to remain in the family.
Faith Mary Kempster-Clark was born November 3, 1951 with the aroma of turpentine in her nostrils.
Nature walks and camping every summer taught me the beauty of my surroundings. As an adult, I enjoy quiet times with paintbrush and easel creating my artistic interpretations. I have done commissioned paintings from photos and other artwork. Some of my display is for sale and others will be available by orders.
Julia Ann Kempster-Carney was born June 22, 1957.
I now reside in Owen Sound. As a young child, I would sit and draw and before long mom would pull out her paints and teach me shading and mixing colours. As an adult, I have focused my talents on florals and seascapes. Some of the displayed artwork is for sale and others can be ordered.
Margaret and her daughters, Faith and Julia, appreciate the opportunity to display their artwork as a family.
We hope that you enjoy this display as much as we have had the pleasure of presenting it.
When asked to write a mission statement about my art work, at first I thought that it would be an easy task. Two months later the final product appears - if my art work or life took as long, nothing would get finished. The written word is much more difficult for me than painting a picture or snapping a photo. So, I leave you with this:
Art for me is an expression of who I am. My photos and paintings will have no titles since I do not believe that it is my right to suppress the creative emotion(s) that I have evoked with you - the viewer. If I have been able to make you think or feel something, anything, then my job as an artist is complete.
My goal as an artist is to allow you a glimpse of the world as I see it, colourful, abstract and beautiful. Shapes and forms within nature are things that drive me. I truly hope that what you see, you enjoy. I would like to inspire you to think about what you are about to look at.
WELCOME TO THE
CHILDREN'S ART DISPLAY
The Spencer Gallery Committee welcomes you to the
Ninth Annual Children's Art Display. Come and look
through windows of creativity and enjoy this exhibition
of artwork from young artists, all of them special to
staff members throughout Western Libraries. For ...
"Every child is an artist.
The problem is how to
remain an artist
once he grows up."
Picasso (1881 - 1973)
These paintings explore the condition of Optic Neuritis: a viral condition characterized by a loss of peripheral vision, extreme sensitivity to light, obscured, cloudy vision, followed by a six-week spell of total blindness. Optic Neuritis is oddly prevalent in the Great Lakes regions of North America ("Great Lakes"), and to date, there is no consensus on cause or cure. Diagnosis involves a series of tests, including a spinal tap ("The Royal Tap"). Upon recovery, there is often permanent damage to the optic nerve, resulting in residual blind spots.
As these paintings progressed, the subject of blindness evolved into a spiritual investigation of insight. The multi-layered background and the Braille text reflect the rich complexity of the visual and tactile worlds and the shift from 'seeing is believing' to 'feeling is knowing'; the inner eye ("Insight") reexamines the past through its own screen of truth, against the backdrop of a black screen. The catalyst for this exhibition was an episode of Optic Neuritis that I experienced in the summer of 1986.
Shirley Posthumus Hokke
Posthumus Hokke discovered a unique application process in her oil paintings. Multiple layers of oil paint and oil medium create an unusual separation of pigments that mimic the stratification of her chosen subject, rock formations. Working from memory and experience, she draws her inspiration from ancient and modern writings. Posthumus Hokke is interested in guiding the viewer into a fictitious nature where we get a glimpse of her own inner sanctum; a metaphysical place of spiritual depth and thoughtful contemplation. There are contrasting textures of thick vs. thin, rough vs. smooth, suggesting other oppositions of order and chaos or mind and body. The layering of paint suggests manifestations of her personal ritual that she practices to reach a centre, both in work and in her life. Her path is a quiet, meditative process that parallels the ceaseless journey of the spirit and soul.
Painting entitled, “Beyond” reflects the following statement:
“Everyone who immerses himself in the hidden internal treasures of his art is an enviable co-worker on the spiritual pyramid which will reach to heaven” (p.40, Kandinsky).
Kandinsky, Wassily, Concerning the Spiritual in Art. New York: George
Wittenborn, Inc. 1947.
Drawing, Prints, and Paintings
This body of work is a combination of two personal interests: a love of nature and a strong attraction to engineering. At one time artists were closer to nature, as were people in general. Leonardo DaVinci spent his entire life studying nature and how it worked. It was a source of inspiration for his inventions, such as flying machines and lock systems for boats. Much later, the Arts and Crafts movement of the 1800s and early 1900s, with leaders such as William Morris, looked to nature for motifs and applied them to interior design and book illustrations. In our present world, nature and engineering seem to be in opposition, as the organic shapes of the world's creatures contrast drastically with the sharp geometric lines of modern skyscrapers.
One way to soften this contrast is by marrying biotic and abiotic elements. All living things are affected by the non-living components of their environment. Whereas other elements of nature may affect appearance, wind and gravity can react with a piece to give it motion or stability. I have been intrigued with the use of balance and motion by kinetic sculptor Alexander Calder. I draw upon images from my own environment to depict this. For example, my renewed interest in birding, along with my ties to Atlantic Canada and the iconography of Christianity, combine with the science of physics and the linear features of architecture in some pieces.
Perhaps this conflict between nature and mechanics was born from man putting himself above all other creatures. We may think that we are free but truly we are just as influenced by our environment, both physically and mentally, as are other forms of life, from the cradle to the grave. As I recently completed qualifications for Honours Specialist in Visual Art Education, I was indirectly inspired to incorporate fish jumping through hoops. I am now more sympathetic to the fish and their struggle to deal with obstacles placed in their path by humans.
Some may go so far as to feel our race is playing God. We have tired of designing with concrete and steel, and are fascinated with manipulating DNA, the very basis of life itself. One only has to look to development of transgenic organisms to benefit mankind. As scientists create crops to grow in cooler climates by adding fish antifreeze genes, I have to wonder at the long term effects on those who consume the same crops.
I strongly believe that the role of an artist has always been to make society take a closer look at the world around us. Urban sprawl endangers plants and animals, man-made structures such as buildings and hydroelectric dams interfere with wildlife, and the genetic age brings new dilemmas with it. We need to reexamine what we are jeopardizing by "Playing with Nature".
Photography to me is a window within another window. In the process of reframing and manipulating reality, the photographer himself becomes a tunnel in between the viewers and his own vision. Every photograph created is a slice of time which reflects fragments of truth in the form of image.
I have been working with a camera for 8 years and taking black and white photos exclusively for the past three years. My friends often ask me the question, "Why black and white?". I answer as follows: when a person chooses photography as the medium of expression, he or she is mainly painting on either film or photo paper using "light" instead of ink or paint. Only in the form of black and white, can the shape and texture of "light" and "darkness" be purified and concentrated.
Most of my works fall into two categories -- still found objects in the
city (as displayed in the Spencer Gallery on the left panel) and human interest (on the right panel).
Da Teng, Photographer.
"Squares and Circles"
A display of the Art of Tom Hilborn
The use of squares and circles is in part symbolic of the contemplation by which these works are created. The universe is sensed as rotational systems. At the same time the imagination can interpret the universe with grid-like or squared-off visual phrasing that compliments the spheres and orbits.
With this and unconditional gratitude and love, I venture to dop the notion of any difference between internal and external realities.
WELCOME TO THE
CHILDREN'S ART DISPLAY
The Spencer Gallery Committee welcomes you to the Eighth Annual Children's Art Display. Take a look through the windows of creativity and enjoy this collaboration of artwork from young artists, special to staff members throughout Western Libraries. For...
"Every child is an artist.
The problem is how to remain
an artist once he grows up."
Pablo Picasso (1881 - 1973)
An exhibit of paintings by Catherine Morrisey, a London artist and staff member of The D. B. Weldon Library.
Catherine's works have been exhibited in several group shows in Toronto, Sarasota and London, and most recently in the "Water" theme show at the Mississauga Arts Centre, Laidlaw Gallery in Juy of 2003.
Catherine has been inspired by Chinese landscape painting and is "intrigued by the open spaces between brush marks, the organic quality of the medium, and the strangeness of the perspective". Other influences are Bonnard's landscapes, John Hartman's Georgian Bay series, and some Inuit prints.
revisit or revisting
i have been a practicing artist/painter for thirty-five years - i have exhibited in art exhibitions across canada and mexico - i was one of the founding members of the forest city gallery in 1973 - my work is in private - corporate - and public collections across canada - i like to describe myself as -mostly a recluse who lives in my garden-
The Art of R. Bruce Flowers
While enormous terra cottas are possible, clay's nature relates best to small forms and to a great sensitivity in the handling of the surfaces. These qualities attracted me as I'm most interested in expressing intimate themes such as serenity, acceptance and the gentle communion that can exist between two people.
For me, the wall is a blank canvas. My reliefs emerge from this ambiguous space as a painted image does from a canvas. Like a cropped photograph, I find a fragment of a whole much more powerfully suggestive than the whole itself. The observer must become a participant in the work. They must physically complete it in their mind's eye. And it is this very incompleteness of the form which permits a personal, relevant interpretation...and that is the creative act.
CHILDREN'S ART DISPLAY
The Spencer Gallery Committee welcomes you to the Seventh Annual Children's Art Display. The variety of subject matter, material and personality creates a wonderful mosaic from the talented contributors. As an additional feature this year you are invited to share your views on the comment board at the end of the display. Stand back, enjoy and let us know what you think!
Chair For The Clever Child
Twenty-six charcoal/wash drawings with text engraved school chair & bookwork.
Jo Percival is a graduate of Visual Arts at U.W.O. A drawing-based visual artist, she has had previous exhibitions in London and Ottawa. She has also worked
extensively with children and is currently conducting an arts enrichment program, "artstarts", at elementary schools in the London area.
Emblematic images combine primer lessons with Rene Descartes' "Passions of the Soul" around the role of schooling in the formation of doubt and certainty about the bond between words and things..."I imagine this to be the world as I found it"...
Kayla Silver: A Sacred Balance
Anyone who has traveled to Southeast Asia understands the true beauty of its people, cultures, and landscapes. Southeast Asia has so much to offer; genuine people, colorful traditions, richly textured landscapes, and most importantly a taste of absolute tranquility. Southeast Asian landscapes are undeniably beautiful, adorned with fishing villages, rice fields, temples, rainforests and beaches. However, the tranquility can be interruped by the hustle and bustle of busy urban streets and relaxation quickly becomes chaos. Life in Southeast Asia is about finding a balance, a balance between maintaining traditional ways of life while adopting modern conveniences and technologies. From surise to sunset, the local people embrace a vibrant joy for life, dovoted to religion and family, essentially finding a balance between work, sprituality and relaxation.
All of the photographs displayed in this exhibit were taken during the summer of 2002 while backpacking throughout Southeast Asia. The photographs were taken on a Canon 35mm camera using 35-200 mm lenses. I relied on available lighting and exclusively worked with Kodak 400 ISP film.
With this exhibit, I want to recreate my journey and simply tell a story, a story about me experiences and the local people I grew to love. I want to capture the essence of human nature and the energy that exists between every human being. I feel that it is important to make a connection with your subjects, no matter how brief. The trip began in Hong Kong and from there I traveled throughout Malaysia, Thailand, Cambodia and Vietnam. Initially there was a sense of confusion and complexity, yet everything was unexpectedly familiar. Intoxicated by the combination of aromas and exhausted by the overwhelming heat, the transition itself was somewhat intense. In certain situations, I found that language restrictions and cultural differences made a simple task quite challenging. With little time and adjustment I was quickly comfortable in my surroundings. Always greeted with a smile and welcomed with open arms, I found myself at home with the culture and people. I was drawn to the strength of the people, their enduring spriit and devotion to religion and family. I was deeply touched by their smiles and the stories they had to share. Without having to speak, I hope that their voices have been heard.
Bernice Santor received an Honours History B.A. from McMaster University in 1959 and a B.Ed. from Hamilton Teacher's College in 1960. She received her Master of Theological Studies from Huron College in 1993. Her area of concentration and interest were Biblical Studies and Feminist Theology.
During the mid 1980s Bernice became actively involved with the women's movement in London. She became aware that woman in both history and in the Bible had not been recognized for their contribution to the growth and development of society. When she began quilting twenty years ago she saw the potential of combining quilting and storytelling as a way to reclaim the contributions that women have made.
Her series of wall hangings, In Memory of Her, has been shown many times in and around the London area. These wall hangings interpret symbolically the lives of six historical women (Rhea the Potter, Hildegard of Bingen, Agnes the Witch, Matilda Jocelyn Gage, Mary Eleanor Elliott and Margaret Sanger) and their contribution to society.
Her latest quilting project, Some Women Amazed Us, reclaims the stories of five biblical women (Eve, Huldah, Mary Magdalene, The Woman at the Well and Martha) as models of inspiration and leadership for today.
Bernice has led many workshops on quilting and biblical themes for women's conferences and study groups. She is a member of the Woman's Inter-Church Council of Canada that advocates for women's justice and equality.
Bernice is presently writing a study book on twelve biblical women using a Christian feminist methodology. She plans to have it available in May 2003. Photographs of her biblical quilts and the monologues that accompany them will be included.
The work of Bashka Miroslav The show is comprised of a series of meticulously rendered drawings in graphite. The images incorporate the use of organic forms and medical instruments. The artist describes her work in the following "Artist's Statement":
"Written in Drawings" (Primum non nocere -- First, do no harm) Medical tools are fascinating in spite of their threatening appearance. In the workplace, they are always handled with great care and protected as it they were very fine china. Principally, however, they are an extension of a physician's hands and mind. Physicians, by the nature of their profession, are required to practice their art within a framework of high moral standards. For over two millennia these standards have been provided by the oath and other writings of Hippocrates. His First Aphorism is almost a sufficient moral precept for the practice of medicine and appropriate in everyday life:
Life is short,
The Arts is long,
Perhaps the ancients' ethical legacy could be more universally applied, as if under oath: With purity and with holiness I will pass my life and practice my Art.
WELCOME TO THE
- 6TH ANNUAL -
CHILDREN'S ART DISPLAY
The Spencer Gallery committee is pleased to present the Sixth Annual Children's Art Display. Each show is a new adventure and this year is no exception! Contributions by past artists (some of whom have been involved throughout the show's history), as well as treasures by new participants, have created a wonderful rainbow of texture, shape and colour Take a few minutes to enjoy these unique pieces of art!
Spencer Gallery Committee
WELCOME TO THE
CHILDREN'S ART DISPLAY
The Spencer Gallery Committee is pleased to present our fifth annual Children's Art Display. If you missed seeing the display in the past, now's your chance! New contributions by past artists, as well as treasures by new participants have created a wonderful rainbow of texture, shape and colour. Take a few minutes and enjoy these unique pieces of art!
Spencer Gallery Committee