Eric Lamontagne

Peinture à numéro 6

2015

Eric Lamontagne: To Paint a Canvas Isabelle Lynch What does it mean to paint a canvas? Taking a cue from this common expression, Éric Lamontagne’s exhibition To paint a canvas p...

Eric Lamontagne: To Paint a Canvas Isabelle Lynch What does it mean to paint a canvas? Taking a cue from this common expression, Éric Lamontagne’s exhibition To paint a canvas p...

Karine Payette builds vast dreamlike settings from hyperrealistic, banal objects in order to produce something narrative that evokes the precariousness of the world. The artist plays...

Eric Lamontagne: To Paint a Canvas Isabelle Lynch What does it mean to paint a canvas? Taking a cue from this common expression, Éric Lamontagne’s exhibition To paint a canvas p...

Text by Donald F. Andrus. The initial impression to be gained from Jinny M. Yu’s new paintings is that of a wonderfully expressive, repetitive/obsessive, linear calligraphy of visual ‘static.’ The grammar of parallel horizontals of paint barely conceals the punctuation marks of paint which seem to exist simultaneously above, behind and within that linear energy field. In sifting out these marks, one begins to realize that they may also act as a visual metaphor for natural forms such as marsh sedge and grasses. Yu seems to have initiated the use of repetitive horizontal striations of pain found in her most recent work about a year and a half ago in Montréal. However, by comparison, the painting in Montréal gave the impression of a much more dense and impacted textural physicality in which all of the action of the paint occurs most emphatically on top of and across a resistant surface. In that sense this earlier painting was absolutely consistent with the effect which Yu expected from her usual practice of encaustic painting as her medium and process. So it is a surprise to find the new work to be painted on large sheets of paper using mixed mediums such as ink, acrylic and watercolour and in which, while still present, the encaustic medium plays a more subdued role. The result is that the most recent paintings have obtained a new weightlessness, translucency and mobility of painterly form and space. Furthermore, the new paintings are to be embedded into the surface of the gallery’s walls. They will be absolutely flush with the surrounding wall surfaces and, in fact, appear to be painting on the surface. Since the work will not project outward from the wall, will not cast a shadow in fact, the actual installation of these new paintings will continue the action of the paintings themselves, appearing to vibrate, slightly above, or behind, the wall surfaces. For Yu, this installation system, together with the interlace effect and the 3:4 proportional format of some of the paintings, makes reference to the television format. To some degree the process has to recall Gerhard Richter’s paintings...

Text by Donald F. Andrus. The initial impression to be gained from Jinny M. Yu’s new paintings is that of a wonderfully expressive, repetitive/obsessive, linear calligraphy of visual ‘static.’ The grammar of parallel horizontals of paint barely conceals the punctuation marks of paint which seem to exist simultaneously above, behind and within that linear energy field. In sifting out these marks, one begins to realize that they may also act as a visual metaphor for natural forms such as marsh sedge and grasses. Yu seems to have initiated the use of repetitive horizontal striations of pain found in her most recent work about a year and a half ago in Montréal. However, by comparison, the painting in Montréal gave the impression of a much more dense and impacted textural physicality in which all of the action of the paint occurs most emphatically on top of and across a resistant surface. In that sense this earlier painting was absolutely consistent with the effect which Yu expected from her usual practice of encaustic painting as her medium and process. So it is a surprise to find the new work to be painted on large sheets of paper using mixed mediums such as ink, acrylic and watercolour and in which, while still present, the encaustic medium plays a more subdued role. The result is that the most recent paintings have obtained a new weightlessness, translucency and mobility of painterly form and space. Furthermore, the new paintings are to be embedded into the surface of the gallery’s walls. They will be absolutely flush with the surrounding wall surfaces and, in fact, appear to be painting on the surface. Since the work will not project outward from the wall, will not cast a shadow in fact, the actual installation of these new paintings will continue the action of the paintings themselves, appearing to vibrate, slightly above, or behind, the wall surfaces. For Yu, this installation system, together with the interlace effect and the 3:4 proportional format of some of the paintings, makes reference to the television format. To some degree the process has to recall Gerhard Richter’s paintings...

Eliyahu Boxer Facets and Faces (triptych), 2023 acrylic and ink on canvas 60 x 150 cm 24 x 59 in Eliyahu was born in the United States and moved to Israel with his family at a ver...

'Towards Le Scathe Cove'. Contemporary mixed media landscape painting, Cornwall Original Artwork, Unframed _________________ January morning, heavy swell and a strong southwester, rain imminent, sheltering beneath lichen furred granite outcrops. A plein air painting from the series 'Holan ha Dor' (Meaning 'Salt and Earth in Cornish). West Cornwall is a harshly beautiful peninsula, jutting out into the wild tireless ocean, shaped and moulded by powerful salt laden Atlantic winds, and criss-crossed by ancient, tangled hedgerows. Drawn to the immediacy of moments, underpinned by enduring narratives, Sophia's fluid expressive paintings explores the flux and balance in the nature of all things: The freedom of the air and solidity of the soil; Of anchored stone and rhythmic water; Of human narratives written in the wild landscapes; In the sensual interplay of light and shadow. They capture an essence of the equilibrium between wild raw energy and serene stillness; chaos and harmony; and the enduring and the effervescent. Mixed media on watercolour paper Signed and inscribed Unframed 23 x 30cm / 9 x 12 inches __________________________ About The Artist Sophia Milligan is a contemporary multidisciplinary artist, exploring discourses on permanence & evanescence; the eternal, cyclical absolutes of birth & death; motherhood & childhood; and ancient immutable connections. With resonating ripples of intuition and instinct Sophia illuminates the presence of the ordinary, creating moments of sublime present. 'Born among the wild cliffs and tempestuous seas of west Cornwall, I grew with the intimate details in the twisting lanes and the intense changing light throughout the turbulent seasons. I formed a primordial connection with a deep instinctual sense of being part of the natural narrative, and wherever in the world I may be, this connectivity underpins my practice. Like the wind sculpted hawthorns and sensual coves of weather worn granite, I have been shaped by the powerful energy entwined in this ancient raw environment.’ ‘We are the stories of the journeys that came before. I weave into my work the tales of transitory circumstance; of struggle and survival; of forms and textures holding records of evolutionary millennia. I paint, I draw: with marks, mixtures, photography, words; the raw earth; the restless oceans; the whispered breeze. I work with time, and the immeasurable spaces of experience within, giving subtleties of existence a pause for contemplation. There is beauty in such poignant breaths. All moments are significant, every pebble of now forms the vast mountain of yesterday, and the great realm of tomorrow's possibilities'. Sophia has a 1st class honours Bachelor of Arts Degree in Visual Arts and World History, and a Masters Degree in Contemporary Visual Arts. Her work is held in prestigious international private collections, and exhibitions of her interactive, immersive installation, photography and mixed media works include 'Tabula Rasa', London; 'Superlative', Plymouth; 'Transition', Newlyn; The Eden Project, Cornwall; The European Parliament, Brussels; Kew Gardens, London; and 'The Cameraless Film Festival', Chicago...

'Ribbons in the Wind'. Original Artwork. Framed ready to hang _________________ Reeds dance in the morning light, momentarily casting shadows on tide and weather softened stones. Exp...

'Raven's Feast'. Original Artwork. Framed ready to hang _________________ Winter has cast Upon lichened stones, Like driftwood, The whale's bones: The raven's feast Exploring the fl...

'Piercing Shafts' Original artwork, framed ready to hang _________________ Yucca leaves: lances and swords, flashing shafts of sunlight through the piercing forms, a dance of loyalt...

"Vision" by Maureen O'Hara Ure, mixed media on panel with thin rusted wire, 13 1/2 x 18 1/2 inches. Relying on sturdy panel to hold up to months, sometimes years, of revisions, O'Hara Ure slowly builds up an image, obsessively laying down marks in thin, sanded layers of paint, ink, and pencil to create a uniquely smooth, almost polished texture distinctive to her style. When a panel returns to her studio from a show, she may begin to tinker with the image, perhaps first sanding out or painting over just a section. "Often as not, I keep going and start all over, using gesso to erase any memory I have of the painting." "For over fifteen years, all of my major projects have begun with my drawing overseas in museums and at historical sites. I returned to my studio and set about using some of the raw ideas in my travel sketchbooks to begin developing new work, taking liberties with the art-historical material I had collected. The exhibit of new paintings on panel at Phillips Gallery...