Hippocampus: part of the brain associated with memory, thought to resemble a seahorse.
The starting point for this painting was an image of the hippocampus obtained by means of antibody staining by Thomas Deerinck and Mark Ellisman (2004), reproduced in Portraits of the Mind: Visualizing the Brain from Antiquity to the 21st Century. My sea dragon (barely discernible, certainly not recognizable, in any case upside down) inhabits an underwater garden of memory, dream and desire.
This painting is of two small earthenware creatures (A.D. 9-23) excavated in 1978 from a tomb in Shaanxi Province, China. Because of their poses, they are assumed to be guardians to protect the deceased from demons; to me they appear to be mourning the death. Between them I imagine a bright ribbon, the passing show that is life.
An inkjet print of this painting, mounted on birch panel and hand-finished with acrylic, is currently on display to the end of the month at the Art Noise Gallery in Kingston as part of the annual Show of Smalls (https://www.artnoise.ca/store/c22/NANCY_PAUL.html).
Inkjet and acrylic. Enhanced photo print hand finished, mounted on painted birch panel.
From an Ektachrome transparency double exposure (Toronto, 1975).
This piece is one of several (17) of mine now on exhibit as part of the annual Show of Smalls, Art Noise Kingston Ontario (https://www.artnoise.ca/store/c22/NANCY_PAUL.html) involving 25+ artists. I took this slide as a student at the Ontario College of Art (now OCAD); this is the first time I have reproduced the image for show/sale.
I begin a painting with an idea and an image, sailing into the unknown, unrestricted in subject or intention. I know where I start and will come to know where I end; between are clusters of small course corrections, at times dramatic changes of direction. The voyage is driven by instinct, the trajectory charted in retrospect; understanding comes afterward. Begun as a figure study, On the Beach ends as the experience of loss and death on a golden day under a sapphire sky. The figure is burnt, branded and radioactively radiant, yet she looks up with hope, listening and waiting.
Acrylic, graphite, conte on paper mounted on birch panel (2020)
Size: w 9 ” x h 12″ x d 1.5″
Time/Lines, my current solo show, has had an extended run at the Art Noise Gallery and is coming now to an end on Saturday (12 September). The store is open for browsing, as is the gallery. Thank you to Art Noise staff and patrons for your support! Stay well and be kind.
My show at the Art Noise Gallery in Kingston has been extended until 12 September 2020! This is great news as both the store and gallery are now open for browsing, occupancy of course limited due to social distancing requirements but an appointment is no longer required. The show also continues virtually (https://www.artnoise.ca/gallery.html) and pieces are rotated in the window for street viewing.
Summer (Sleeping Medusa) is from the Time half of my show. I started this painting in 1980, when I was working in oil. In 2018 I changed the background and in June 2020 I finally finished it in acrylic. Note that she is less elusive than the other figures in Time, revealing her full face (or is it after all a mask, slipping to one side slightly?).
Acrylic, Japanese paper, gold leaf on canvas (2020)
Size: w 28 x h 40 x d 1.75 inches
Starting July 2, my show Time/Lines will be on exhibit, virtually as well as by appointment and window viewing, at Art Noise Gallery, Kingston, Canada — https://www.artnoise.ca/gallery.html The invitation below features my Fall painting from 40 years ago (in contrast to the recent Fall painting posted above).
Acrylic, graphite, pastel on paper mounted on birch panel (2020)
Size: w 14″ x h 18″ x d 1.6″
Take a moment to visit my new website: npaulvisualart.com . I will continue to post images each month on this site, npaulartworks.com. The new site is where my work can be viewed comprehensively, organized in galleries, and more background is provided (still under construction as I add images and information).