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Making history new
Whistler's Peacock Room has a fascinating history. Frederick Leyland, a shipping magnate, and a fan of Whistler's work (his dining room contained a painting by Whistler), had an architect create a room to showcase his porcelain collection. Whistler, who was working nearby, was invited in to consult about the colour. In the owner's absence (and without his permission), Whistler took it upon himself to paint several peacocks and peacock patterns throughout the room. Whistler imagined that Leyland would be thrilled with the transformation of the room. He was not. Nor was Leyland pleased by the amount Whistler was expecting to be paid for this unsolicited transformation of his dining room. The peacocks at the end wall in the image above are fighting; Whistler did this to represent the quarrel between him and Leyland over money). The story is reminiscent of the satirical (and fairly hilarious) novel by Joyce Cary, The Horse's Mouth where an artist was involved in a similar scheme of creating a mural in the absence of the owner. The Peacock Room was eventually moved from the UK to Detroit and has been recently relocated to the Smithsonian's Freer Gallery of Art in Washington, D.C. Art critic, Peter Schjeldahl wrote a good summary of Peacock Room in the New Yorker in 2011: Birds of a Feather
Most contemporary art is rooted in historical precedents, and looking at Whistler's work above, you can see the beginnings of installation art as a contemporary art form. Waterson's recreation makes us think about the role of craft and the decorative in art, two enemies of contemporary art throughout most of the 20th century. Waterston goes a few steps further than Whistler as he takes on the roles of architect, designer, and ceramicist as he remakes the Peacock room and its contents from scratch. This process is reminiscent of the Arts and Crafts movement and artists such as Charles Renne Mackintosh and Frank Lloyd Wright who designed not only the buildings but the elements within, such as the furniture, carpets and wallpaper. Waterston merges history, architecture, museum display, craft and the handmade in his wondrous installation project. The following is an overview of the making of the ceramics that form a major part of the Waterston's installation : ceramics.
The reworking of this historical piece is opportunity for an analysis and deconstruction of the original artist's (Whistler) intentions, as well as a questioning of the museum's role in 'recreating' rooms to make them authentic. Waterston's piece makes us think about Whistler's work, but it also reminds us that authenticity in these kinds of situations is almost impossible. In the end the most we can hope for is a replica or simulation of the real thing. The idea of the handmade is emphasized by the awkwardly built shelving, imperfectly formed vases, and the broken shards of pottery on the floor. It is obvious that this work is but a poor, almost ramshackle, 'stand-in' for the real. The work draws attention to the artificiality of display culture. We need to question what we see on display and how it is arranged because these factors have a major influence on how we interpret the contents. Is there really a 'correct' way to display anything? Museums display utilitarian objects behind glass, rendering them useless and impotent, existing only as aesthetic form. Because Waterston has made all the elements of installation (including the elaborate ceiling), everything that is part of his installation is brought to life.
Darren Waterston's previous work uses the language of the decorative to create a range of evocative and meaningful paintings. Waterston is known for fantastical and imaginary landscapes, and in many ways you can see the roots of Waterston's work in the sometimes idiosyncratic and very modern work of James McNeil Whistler with Nocturne in Black and Gold being a supreme example. And then take a look at this work by Waterston. More of Waterston's paintings can be seen here: DC Moore Gallery and for those who like to read these kind of things, there is compendium of reviews on the Greg Kucera Gallery website: Waterston.
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One-day workshop this Saturday, July 26, 10am-5pm
Collage: Colour and Design
This workshop will introduce you to a variety of ways to approach collage, with a focus on colour and design as a way to structure your work. Collage can be used as a tool to make studies for paintings as well as an end in itself.
You will be provided with an array of papers and surfaces in order to create several small-scale works. Suitable for complete beginners.
Instructor: Wendy Welch
Cost: $125 (all materials included)
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DRAWING SIMPLIFIED WORKSHOP
Saturday & Sunday, August 2 and 3, 10am-5pm
Are you afraid of drawing? Or do you feel you can't draw? Then this is the perfect workshop for you. You will learn about the visual elements that make up drawing such as line, tone, texture, pattern, shape and form. The instructor will guide you through a series of simple drawing exercises with a focus on using a range of black and white drawing materials. You will gain a better understanding of terms such as composition, negative space and shape (terms that may otherwise seem confusing or daunting to a beginner). The instructor will supply an array of exciting source material, such as shells, flowers, assorted man-made objects and photographs to be used as inspiration for your drawing. Suitable for complete beginners. Instructor: Blythe Scott Cost: $235 (all supplies included) Images |
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ABSTRACT PAINTING: INSPIRATION AND IDEA DEVELOPMENT
August 5-8, Tues-Wed, 10am-5pm
Did you ever look at an abstract painting and wonder where the artist got the idea to make the work? This workshop will cover the basic processes of making abstract paintings, from getting an idea, to making an interesting and dynamic composition. Emphasis will be on discovering and developing your personal abstract language. Exercises involve looking at resources found in architecture (geometric shapes, grid and space); nature (landscape, science, elements, figure, line and colour); symbols (meaning, shapes, mark making and mapping) and light (contrast and shadow). The process of painting (use of brushes, tools and acrylic paint) as well as reference to the elements and principles of design will be part of the workshop. Grounds and surfaces to paint on will also be covered. Examples of contemporary artists working in these formats will be shown throughout the course. Some painting experience is helpful.
Instructor: Wendy DeGros
Cost: $365 (24 hours of instruction)
Don't worry if you don't have all the supplies on the list as we have lots of extras at school (paint, brushes, medium, gesso, paper, etc.)
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PAINTING: INSIDE/OUTSIDE SPACES
August 5-8, Tues-Wed, 10am-5pm
The focus of this workshop is painting interior spaces, with the juxtaposition of the interior against an exterior view as seen in the work of Matisse, Bonnard and Hopper to name a few. Interior spaces can be influenced to various degrees by letting the outside inside; the entering of light from an exterior source, a glimpse of a landscape through a window, or the opening up of the interior onto an exterior view that almost competes for our attention. You will learn how to use the tensions in interior/exterior juxtapositions to explore poetic, symbolic, or narrative potentials of painting and to develop dynamic compositions. The workshop will cover some basic drawing and painting techniques and you can work realistically or more abstractly depending on your preferences. Some painting experience recommended.
Cost: $365 (24 hours of instruction)
Don't worry if you don't have all the supplies on the list as we have lots of extras at school (paint, brushes, medium, gesso, paper, etc.)
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PAINTING: ABSTRACTING NATURE
August 12-15, Tues-Wed, 10am-5pm
You will use nature as a point of departure for the development of abstract forms and compositions in this four-day workshop. Relying on a series of exercises and projects, we will abstract nature using various approaches such as simplified shapes, pattern and colour. You will learn to use diverse paint surfaces and todevelop an understanding of figure/ground, negative space and image scale. It is recommended to work in acrylic.
Cost: $365 (24 hours of instruction)
Don't worry if you don't have all the supplies on the list as we have lots of extras at school (paint, brushes, medium, gesso, paper, etc.)
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SILKSCREEN PRINTING
August 12-15, Tues-Wed, 10am-5pm
This workshop is a thorough, project-based exploration of the complete screen printing process, from inking to a polished finished print. You will learn the basic techniques of silkscreen printing and see how images can be applied to paper, canvas or other kinds of fabric.
Participants are encouraged to come to the workshop with a selection of images that they can work from, however there will be time to find appropriate images in available magazines or by printing something from an on-line source. The workshop will also cover the use of Photoshop to prepare photographs for printing. Supplies, including paper, will be provided. However if you would like to silkscreen an image on a prepared canvas or other flat surface, please bring it to the workshop. Suitable for complete beginners.
Instructor: Joey MacDonald
Cost: $450 (24 hours of instruction and all supplies included)
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The Saturday Afternoon Art Club
Once a month people who want to work on projects within a group of like-minded people can meet to do art. This is a great opportunity to complete half-finished projects or to work out new ideas. There is no instruction for this sessions but a facilitator will be on-site.
We have noticed that this event has generated an immense amount of questions so here are some of the things people have asked so far:
Will people work independently or as part of a group? The idea is that people will come to the Art Club with projects to work on, so they will be working independently, however, you will be in a group context, so conversation and idea sharing could take place.
What is the role of the facilitator? Will they be instructing participants?
The facilitator, Sarah Cowan, is a practicing artist and she will be available to answer some technical and aesthetic questions. There will not be any instruction during these afternoons.
Do you have to be there exactly from noon-five? No you can come and go whenever you like. If you arrive late, or leave early, that you do so quietly so as not to disturb other participants.
Do you have to have a project or idea to work on to come to the session? It is recommended that you have something specific to work on. If you don't have anything, I suggest you bring a work that you have already done and make another version of it. There is something very important and fundamental about learning to make work from work.
How often will these Saturday Afternoon Art Clubs take place and what is the date for the next one? They will be once a month on the second Saturday of each month unless there is something else going on such as a holiday weekend or VISA Open House. The event for that month will either be postponed to the third Saturday or be cancelled for that month.
Do you have to be a VISA student to participate? No, these sessions are available to all adult members of the community.
Can I bring my kids and pets? No because they would be distractions for the other members participating in the sessions.
Can I use oil paints and turpentine? If you are using oil paints, it is our policy that you use a low-odour solvent.
Why is there a $15 drop-in fee? This covers the facilitator's time, the use of the facilities and supports programming at VISA.
I hope I have covered all questions and concerns. My suggestion is that you come to the first event and see if you like it. This is something new so we don't know exactly how it will be, but I'm sure it will be a good experience for all!
The first Saturday Afternoon Art Club will be on August 9 from noon-five. Everybody welcome.
$15 drop-in fee or purchase a Saturday Afternoon Art Club Card: 5 sessions for $50. You can pay in advance via credit card over the phone or at the event with cash, credit card, debit or cheque.
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Tamsin Clark: If I Wore a Hat, I'd Hang it Here
Opening reception at Deluge, Friday, July 25, 7-10pm
"These Polaroids are the places and spaces I have lived over the last few years, indexes if you like, and like the writer William Faulkner in his novel Absalom Absalom they are reiterated over and over, windows, mirrors, bedrooms, gardens, landscapes. They are conversations I've had with these spaces and places. Because they are photographs they are also about light: the light and viewpoint can hide the flaws in the mundane and turn it into a thing of beauty, or at least a curiosity."
Exhibition continues until August 23.
Exhibition Hours:
Wed to Sat, 12 to 5pm
Deluge Contemporary Art
636 Yates St, Victoria, BC, Canada V8W 1L3
250 385 3327 www.deluge.ca
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Participants are really enjoying their studio space at VISA. Lots of private alone time combined with interactions with other people working on their art.
Sign up today for a terrific creative experience. 
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Free bamboo & other plants from VISA
We will be painting the front of our school and removing much of the plants and hedging that are against the side of the building facing onto Quadra. There are several healthy bamboo plants and a variety of other perennials for the taking.
If you are interested, please come to the school with shovel and let the office know you will be removing the plants.
Stay tuned for the amazing colour razzle dazzle design by Xane St Phillip for the beautification of the Quadra street side of building. We will be doing a crowdfunding campaign asking people to donate $100 each (although we would be happy to receive any amount). Each $100 donation will fund the painting of one coloured stripe across the building. In exchange, you will have a stripe on the building in your name and you will receive a handmade collage postcard made by me (Wendy Welch). The painting of the front of the school will be done to honour VISA's 10th Anniversary.
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Summer Schedule Updates
Please note that there have been some schedule changes from our printed flyer due to instructors' schedules and various commitments over the summer. Changes of note are:
Collage: Colour and Design is now a one-day workshop as opposed to two-days (July 26)
Drawing as Meditation is now on Sunday August 10 (instead of August 3)
Architecture as Abstraction is on Sunday August 16 (instead of August 10)
One Painting a Day is now on August 26-29 (instead of August 19-22)
Drawing: Geometry as Design has been cancelled.
We apologize for any inconvenience these schedule changes might have on you.
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Early Bird Discount for Summer Workshops
Remember to mention the 10% discount if you are registering TEN days before the start of the workshop. The 10% discount is only available to those who register by phone or register in person. The discount is not available to people registering online by Paypal.
Eligibility for discount is contingent on registrant mentioning the early bird discount at time of registration. This discount is not available for any workshop that has already been discounted or with other discount coupons.
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For more information contact Linda or Melissa in the office |
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