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.
This painting looks better now since the photograph was taken. It’s been cleaned, retouched, and varnished to bring out the deep shadows and rich colours. It is currently on display at The Piggery Gallery in Newburgh (https://www.thepiggerygallery.com/) along with many of my other pieces, large and small, recent and somewhat less so (for example, The Great Black Cow of Lascaux (https://npaulartworks.com/2016/07/31/the-great-black-cow-of-lascaux/).
The annual show of the Organization of Kingston Women Artists, UnRestricted, is currently up at The Window Gallery in Kingston (http://www.windowartgallerykingston.com/). The show can be experienced virtually (https://youtu.be/gm7JgXgVkvI) as well as in person, limited access of course. My piece in the show is On the Beach (Dark Summer), previously posted just over a year ago (https://npaulartworks.com/2019/08/) and my statement addressing the theme “unrestricted” is as follows:
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?).
I invite you to visit my new website for an overview of my art as I continue to add images and information: https://www.npaulvisualart.com/
Acrylic, graphite, water soluble crayon on paper mounted on birch panel (2020)
Size: w 12″ x h 10″ x d 1.5″
This work is from the Lines half of my show, Time/Lines, now on exhibit at Art Noise Gallery until August 8th (https://www.artnoise.ca/gallery.html). In addition to the virtual show, it is now possible to view it in person by appointment — see a bit of how the show looks hung on the gallery’s bamboos walls: https://www.facebook.com/artnoisestore
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).
Acrylic, graphite and coloured gesso on birch panel
Nereids Join (II)
Size (each): 8″ x 8″ x 1.6″
Nereids Join (III)
In my Nereids series of paintings, a tiny pair of luminous elven-like figures explore at my behest distant lands, seas and sky, the underworld and the tops of mountains; they are the agents of my empathetic imagination. The fifty Nereids of Greek mythology were gentle, unremarkable maidens who lived at the bottom of the sea. In my work they exemplify the humility needed to understand, to connect.
“Nereids Join La Danse” I, II, and III, with a nod to Henri Matisse in particular, celebrate artists of integrity great and small. They will be on display at the Isabel Bader Centre, Art and Media Lab, Queen’s University in Kingston, Canada (March 16-27) as part of the exhibit “The Politics of the Artist’s Footprint” https://www.facebook.com/events/125247775582098/
