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DTSTART;VALUE=DATE:20210123
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SUMMARY:Sarah Jones: Idyll
DESCRIPTION:Artist StatementMy art practice explores interactions with manufactured and industrial landscapes through painting and installation. I am particularly interested in how Maritime cities and the local industrial heritage of Saint John contribute to notions of regional identity. \nStephen Parrish\, Coast of New Brunswick\, 1882\, Etching \nYears ago\, I encountered this etching in the New Brunswick Museum by American artist Stephen Parrish (1846-1938) and learned that he and a fellow artist passed through Saint John\, NB in the summer of 1881on an etching and painting tour of the Maritime provinces. Coast of New Brunswick\, 1882\, features small sailing vessels\, rustic wharves\, fisher folk and the quiet harbour of Saint John. The rusticity in the depiction did not correspond with what my understanding was of Saint John in the late nineteenth-century. I was a history student at the time\, and I knew enough to recognize a disconnect. Saint John of 1881 would hardly have been described as quaint. The city\, then as now\, was an industrial centre with shipping and construction activity and port-side factories. This disconnect – depicting the quaintly idyllic and rustic where there should be industrialization – is not an isolated phenomenon. Parrish was part of a wider tradition in British and American landscape painting of the nineteenth century of romanticizing the rural and the maritime. This quest for the picturesque meant avoiding or creatively re-framing evidence of modernity and industrialization and in doing so\, reaffirming a pervasive idea that the pre-industrial embodies something that is somehow purer and more authentic.\nIdyll\, 2019 responds to Parrish’s etching\, by restaging in the painting\, the same 360-degree landscape surveyed from the same vantage point as the historical work. Moveable screens allow only some portions of the painting to be seen\, which I hope signal the artist’s role in directing the gaze and deciding what is left in or out of the frame. I would like this artwork to remind us of the agency of both artist and viewer and prompt the questions: what are we seeing? What and who is included or excluded and why? What is beyond our gaze?\nMore recently I have been looking at historical representations of Maritime landscape in art and questioning the role of these landscapes in constructing a narrative about the ideal Maritime landscape. I am currently working on projects\, including the storm paintings\, that explore the role of historical representations in crafting current social attitudes towards manufactured/industrialized landscape\, how nostalgia for an imagined or idealized historical landscape impacts current regional identity\, and how notions of the historical ‘Folk’ manifest in myself and my own identity. \nBiographySarah Jones (BA\, MA Art History) is a visual artist\, art historian and curator. She has participated in solo and group exhibitions across Canada and abroad\, and her work is held in the public collections of the University of New Brunswick and the New Brunswick Art Bank. Jones is a recipient of numerous grants and awards\, including funding from ArtsNB and Canada Council for the Arts. \nJones is based in Saint John\, New Brunswick. In addition to her own practice\, she is the curator at Jones Gallery and teaches art history occasionally at University of New Brunswick. \nThe artist would like to acknowledge support from ArtsNB and Canada Council for the Arts. \nVideo Interview with Sarah Jones
URL:https://mccainartgallery.com/exhibitions/sarah-jones-idyll/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
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UID:3764-1611388800-1615654800@mccainartgallery.com
SUMMARY:Colin Smith: One Kilometre of Florenceville
DESCRIPTION:Colin Smith taught high school art\, theatre\, and English for 20 years.  His work has been exhibited in galleries throughout NB and is included in public and private collections.  For 11 years\, his drawings and cartoons were featured weekly in the Salon section of the Telegraph Journal.  He works out of his studio in the River Art Centre in downtown Florenceville-Bristol. He is represented by the Spicer Merrifield Gallery in Saint John\, NB. \nColin Smith a enseigné les arts\, le théâtre et l’anglais au lycée pendant 20 ans.  Ses œuvres ont été exposées dans des galeries d’art dans tout le Nouveau-Brunswick et font partie de collections publiques et privées.  Pendant 11 ans\, ses dessins et ses caricatures ont été présentés chaque semaine dans la section “Salon” du Telegraph Journal.  Il travaille dans son atelier au River Art Centre\, dans le centre-ville de Florenceville-Bristol. \n\n                    \n                \n                                    \n            \n                    \n                \n                                    \n            \n                    \n                \n                                    \n            \n                    \n                \n                                    \n            \n            Artist Statement“Life inspires me.  Right now I spend a lot of time drawing birds: sometimes in imagined situations\, sometimes in an eighteenth century engraving kind of way – sometimes they are Nature\, sometimes they the Wings of Time or the Broken Heart of a Poet\, but usually they are just birds.  The landscape around here is slowly driving me crazy\, because every time I look at it\, after looking at it for thirty years\, I see it moving like a live thing\, just a series of slow undulations\, studded with trees and potato fields. \nFor years I drew people interacting\, in supermarkets and streets.  I drew high school kids\, simultaneously terrified and deeply self-assured.  And I drew thousands of cartoons\, and published some of them in the Salon Section of the Telegraph Journal for a decade – historical\, topical\, linguistic – really anything but overtly political.  I don’t hate enough to be a political cartoonist. \nI draw constantly.  I doodle on paper\, in books\, over shopping lists\, throughout my teacher planning book.  I have done it since grade one.  I have been a nanny\, a bookbinder\, a used bookseller\, a warehouseman\, a handyman\, and now I am a teacher\, but it’s all to support my doodling habit.  If I wasn’t selling anything\, I would still be drawing. \nWhen I was eight\, I found a copy of Syd Hoff’s “How to be a Cartoonist” in the Saint John Public Library.  That\, along with Jim Corbett’s “Maneaters of Kumaon” and the Freddy the Pig Detective books\, was my Bible. Syd Hoff claimed you could make a living as a cartoonist\, so I started in third grade.  I filled notebooks with comic strips\, and mailed some cartoons off to Playboy\, which they politely returned. My rejection notice collection is still growing. \nI have a sketchbook with me always\, which I fill with phrases or doodles or ideas of what I see around me\, and what I am thinking about.  If I don’t set them down\, they are lost.  I roughly block out a drawing in pencil\, usually working from these sketches\, and then have at it with pen and ink. I like the finality of ink – once you put the mark on the paper\, it is there. It encourages a mix of fluidity and improvisation.  I tried technical pens\, but I prefer the dip pens.  The ink is usually richer\, and the line of a dip pen modulates – it gets thinner and thicker as you go.  The drawing is crosshatched and toned in with pen lines\, then sometimes coloured ink washes or watercolour are added.  A lot of my tonal squiggles have come from old engravings\, where shading and tone were built up with marks\, then a flat wash would be added to finish it off\, and the ink and the wash would work together to create a strange volume. \nI draw everything.  It is\, after all\, a way of seeing.”
URL:https://mccainartgallery.com/exhibitions/colin-smith-one-kilometre-of-florenceville/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
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