Susan Collett

Lineage XII - delicate, copper, oil ink, sketch, monoprint on archival paper

2012

A simple, yet dynamic composition. Blue, green and yellow - colour is used sparingly in this collage, and to great effect. The assemblage is mounted without glass, but within a frame...

Darkness prevails in this moody acrylic painting by Toronto contemporary artist Lynne Fernie. Thick dashes of black, gray, white and red suggest movement and add texture. The forest ...

This bold contemporary composition by Yvonne Lammerich is an intriguing exploration of colour and form. Origami-like folded shapes inter-connected by fine lines dance across this col...

Watercolor and collaged elements , dominantly grey and off-white, with small notes of blue, pale green. On Japanese paper. Otto Donald Rogers was born in 1935 in Kerrobert, Saskatchewan and currently resides in Prince Edward County, Ontario. Otto taught at the University of Saskatchewan in Saskatoon, from 1959 – 1988, after receiving his Master’s in Fine Art from the University of Wisconsin. He was instrumental in sustaining the Emma Lake Workshops, which, for several generations, has provided a meeting point for some of North America’s most respected visual artists, among them Jack Shadbolt, Helen Frankenthaler, Barnet Newman...

Rising above a strip of inky black, a black rag doll figure rendered in calligraphic brushstrokes meets three curved lines resembling waves in this pain...

Antonia's Line, named after the Dutch film written and directed by Marleen Gorris. The film has been described as a "feminist fairy tale," tells the story of the independent Antonia ...

Ink on paper, Acrylic and / or watercolor, signed in the front, framed in a thin blond wood frame, glass. Philip Wittmann work is based on signs. Sign...

Ink on paper, Acrylic and / or watercolor, signed in the front, framed in a thin blond wood frame, glass. Philip Wittmann work is based on signs. Sign...

Ink on paper, Acrylic and / or watercolor, signed in the front, framed in a aluminum silver frame, glass. Philip Wittmann work is based on signs. Sign...

The art of Philip Wittmann is founded on signals. For him, signs serve as a bridge between abstraction, reality and writing, too. When he was 26 years old, he began painting as a hobbyist using 'pure' abstraction. However, he believed his work lacked a solid foundation upon which to grow. ​He discovered a book on the origins of the Chinese alphabet, which origins are essentially signs, in 2008 while taking a calligraphy class. The 26 letters of our Latin alphabet are less pictorial than the Chinese characters as we know them now. He discovered that pictorial representation is more prevalent when examining the origins of alphabets—all alphabets, in fact—because there is frequently a similarity between the sign's true meaning and what it is meant to represent. For instance, the symbol for a turtle in the original Chinese script resembles a turtle. Wittmann loves signs as they leave room for interpretation. For instance, if one writes “the sky is blue”, one will make for themself a mental representation of a blue sky, even if each one-off us will probably have some nuance in our own mental representation of that blue sky. On the other hand, a sign can...

Ink on paper, Acrylic and / or watercolor, signed in the front, framed in a aluminum silver frame, glass. Philip Wittmann work is based on signs. Sign...

Ink on 19th Century Paper If painting, like any other language, can be considered an abstract system of signs, there must be a pictorial vocabulary and syntactical rules which commu...