Category: Featured

  • Woodrow & Friends:  Sharing the Spirit of Generosity

    Woodrow & Friends: Sharing the Spirit of Generosity

    Opening June 19th, 2018

    This unique exhibit of works by award-winning author-illustrator Wallace Edwards will feature a vast selection of preliminary pencils and paintings on paper, which served as the inspiration for his most recent beautifully illustrated wordless picture book Woodrow At Sea. Other artwork on display during the show will include a spectacular collection of watercolour and pencil animal studies by the artist.

    Edwards’ illustrations do more than visually captivate the readers; through the vibrant expression of emotions, the artist’s illustrations succeed in capturing the raw humanity and true essence of his characters. The exhibit presents fans, supporters and art aficionados alike the rare opportunity to not only explore the evolution of the artist’s fantastical original book concept of exploration, discovery and conflict, but also own an Edwards original work at a very accessible price.

    “Woodrow At Sea was inspired by a large body of drawings of a little elephant in a boat. The drawings came in an unbidden burst of creative energy and seemed to lead one to the other. The original idea for the book was a journey of a lone hero in the vast unknown. I am very pleased with the final published result but also with the opportunity to show the preliminary concept drawings and give a glimpse at the unseen part of the process in the making of this book.” – Wallace Edwards

    As the story of Woodrow At Sea compels the contemplation of the meaning of friendship, generosity and the importance of supporting those around us enduring hardships, perhaps one of the most special features of the exhibit is the love and compassion the artist exudes for animals, both real and fantastical, and his commitment to animal welfare and advocacy. As is evident in the artwork he creates for the Metro Toronto Zoo, the B.C. Ministry of the Environment and the Canadian Wildlife Federation, Edwards is dedicated to using his artistic powers and influence to help animals in need.

    Sharing in the same spirit of generosity, Edwards and Studio 22 will be donating a significant portion of all watercolour and pencil animal studies exhibit sales to the Sandy Pines Wildlife Centre in Napanee who suffered a devastating loss earlier this year when their nearly 25-year old barn, used to house rescued farm animals, was destroyed in a fire. Monies raised will assist Sandy Pines Wildlife Centre with reconstruction efforts and expenses.

    Edwards is an award-winning author-illustrator who has captured, transformed and inspired the imagination of both children and adults alike. A graduate of the Ontario College of Art, his paintings and illustrations are found in public and private collections, books, magazines and on public display in Canada and the United States. Edwards won the 2002 Governor General’s Award for Children’s Literature Illustration for his first children’s picture book, Alphabeasts. His third book, Mixed Beasts was shortlisted for the Governor General’s Award and won the Amelia Frances Howard- Gibbon Award. He currently resides in Yarker, Ontario.

    Woodrow and Friends: Sharing the Spirit of Generosity is on exhibit at Studio 22 from Tuesday, June 19 until Saturday, July 14th, 2018.

    The Artwork

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  • Art After Dark this Friday 7 to 10 pm

    Art After Dark this Friday 7 to 10 pm

    We like to play our music loud during Art After Dark.  It’s loose.  It’s fun.  Visitors should expect to enjoy groovin’ to the tunes while taking in our Contemporary Canadian Art & Artists.

    FEATURED ART

    Haunted Graffiti – Paintings by Lee Stewart

    SPRING Artist Portfolio Series

    Barry Blunden • Bernard Clark • Rebecca Cowan • Stefan Duerst • IMAMess… • Debra Krakow • Keight Maclean • Teresa Mrozicka • Neli Nenkova • Rob Niezen • Erika Olson • Victor Oriecuia

    Print Inuit’s Cape Dorset Collection

    – A selection of 9 small prints for spring

  • Disquieting & Divine

    Disquieting & Divine

    10 New Works from Lee Stewart

    Behold the beauty of complexity.

  • Downtown Art Gallery Tour

    Downtown Art Gallery Tour

    Studio22 is serving up SOUL FOOD

    Open this Sunday February 18th from 1 to 4 pm

  • Happy 11th Birthday to the Open Gallery at Studio22

    Happy 11th Birthday to the Open Gallery at Studio22

    &

    Happy 150th Canada!  

    2 great Canadian things to celebrate July 1st, 2017

  • 2016 Cape Dorset Print Collection release

    2016 Cape Dorset Print Collection release

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    This year Studio22 is collaborating with Print Inuit to bring you the Cape Dorset Print Collection.  We are housing and displaying remaining pieces from past years as well as presenting the new 2016 Collection.  Print Inuit is an online gallery where prints can be ordered and shipped or they can be purchased in person from Studio22’s downtown Kingston location.

    These are beautiful lithographs, stone cuts, etchings and etchings with aquatint.  Visit Print Inuit online or come in to Studio22 to see them in person.

  • Vibrant Disappearance:  A chilling exhibit – Queen’s Journal article

    Vibrant Disappearance: A chilling exhibit – Queen’s Journal article

    “I don’t believe there is such a thing as meaningless art,” said Ewa Scheer, standing amidst her artwork entitled Vibrant Disappearance at Studio 22.

  • We are back!

    We are back!

    The Open Gallery is open again.
    We are back to business.

    After a good long break, we are ready to serve you up some of the finest artwork to be found in the Kingston area.

    Our Open Collection will run until our season of solo shows begins in April. With the work of over 40 artist from across Canada we present a wide range of styles in a multitude of media.

    We have original artwork for all budgets.  Visit us today and we will help you find exactly what you are looking for to bring depth and beauty to your world.

  • Maggie Sutherland Talks Bodies, Politics and Art

    Maggie Sutherland Talks Bodies, Politics and Art

    https://soundcloud.com/studio22-sounds/maggie-sutherland-talks-bodies-politics-and-art-with-aviva-jacob

  • Studio Interview with Susan Oomen

    Studio Interview with Susan Oomen

    https://soundcloud.com/studio22-sounds/aviva-jacob-interviews-susan-oomen-june-2-2015

  • An Informal Conversation with Julie Davidson Smith

    An Informal Conversation with Julie Davidson Smith

    https://soundcloud.com/studio22-sounds/an-informal-conversation-with-aviva-jacob-julie-davidson-smith

  • Rebecca Cowan in her Studio

    Rebecca Cowan in her Studio

    Art finds itself in peculiar places, and artists even more so; pulling into the residential area nearby my former middle school – a region I regrettably beforehand regarded as lacking in creativity – I am reminded of that truth.

    Rebecca Cowan’s new prints carry a quality of grace only reinforced by the drawings they surround.

    Underneath a quiet house in a floral suburb lies a basement studio filled with rollers, plates, brushes, paints, papers, inks, carving tools, plexiglass, and one hefty iron printing press. The scene strikes me as reminiscent of group and educational studios I’ve visited, and Rebecca soon explains that she teaches art courses, and multiple other artists and students borrow the space when it’s available.

    The wall facing the stairwell is adorned with rows of her new works, spectral faces in layers of forest; the title “Nymphs” fits precisely the sense of magic suggested in the trees. Soft-featured and translucent, the faces float as if suspended in the first moments of relaxation.

    Sitting at a table, edges covered by tape securing a gridded plexiglass sheet to the surface, I listen as Rebecca happily explains her process; how she uses a variety of tools to etch spans of forest onto metal plates, printing multiple layers onto high quality, almost transparent Japanese paper (and driving to Toronto to buy it). The figure is drawn in coloured pencil on the opposite side from the print, the paper is adhered to a stained wooden panel, and sealed under clear acrylic. Although it is hard work, she jokes that it is far less stressful than her early forays with ink drawing.

    Rebecca is unfalteringly passionate about her work and eager to share, teach, and explore art. Remaining animated and enthusiastic throughout the interview, she shows a deep love for art, and the magic beauty that art shares with the world, that shows most clearly in the most dedicated of artists.

    Ascending the stairs from Rebecca Cowan’s basement studio and back into a regular, family home, one realizes that not only is art everywhere around you – it’s likely even under your feet.

  • Molly McClung in her Studio

    Molly McClung in her Studio

    Many people, complaining about their jobs, might use the phrase “stubborn as a rock” in reference to a coworker.

    Molly McClung knows what many people mean, and in most cases, would put them to shame.

    A sculptor, gardener, and former schoolteacher, Molly has worked with rather difficult mediums throughout her life. Stone is as determined to stay as it is, where it is, as plants and children are to not. Years of persuading the uncompromising to compromise show through in her sculpture, as naturally purposeful as they are gently durable.

    Situated in a calm residential suburb, behind a tended lawn, shrubs, and flowers, sits her house. Stepping inside, I turn and am presented by a room with over a dozen pieces of varying size, stone, and shape, all in various stages of being packed up and delivered to Studio 22. Passing the sculptures, we descend a small corner staircase into the basement, and enter Molly’s studio.

    I am struck first by how clean it is, and she mentions going over it in preparation for the visit, but it is an amazing feat. I have no experience with the amount of dust kicked up by a sculptor working stone, but have the impression that it is more than I imagine. A corner table supports two great halves of a stone, split diagonally, that she says will be matching pieces. Turning behind us to the opposite wall, she pulls a hacksaw from a hook under the steel ductwork she shares the space with, the likes of which I’ve never seen before; the blade a centimetre-thick rod with a surface textured like steel sandpaper. It’s used for major cuts that she doesn’t have made beforehand, Molly explains, before moving on to her extremely fine squares of sandpaper – designed for auto body work.

    Returning to the first floor, I began to take a closer look at the room of pieces we had passed earlier. Molly explained how the new show, aptly titled “Curves,” draws inspiration from the natural female figure, and its contrast with the jagged roughness of raw stone. She picks up different pieces, drawing the curtain back with her other hand to hold them in the light and demonstrate how the light shines through the translucent stone, giving it a beautiful inner glow.

    Speaking with Molly McClung gives you a sense of her no-nonsense air of control, and her work shows it to you. The stone has been persuaded to compromise and Molly is its teacher, its tender. She chisels life and humanity into a medium that is known for lacking both, and does it well.

    Stepping out of the house, I found myself thinking of the quip on her shirt – “Gardening would be genteel were it not for all that icky dirt” – and remembering never to walk across a gardener’s lawn.

    by Owen Darrah

  • Talking with Stefan Duerst

    Talking with Stefan Duerst

    https://soundcloud.com/studio22-sounds/aviva-jacob-interviews-stefan-duerst-july-2014

  • Duerst’s Studio

    Duerst’s Studio

    These days, it seems to be extremely uncommon to see the word “blacksmith” written on the roadside signs while driving down a highway, and yet, I find myself spotting just that on my way to Duerst Studio in Godfrey, ON.

    Stefan Duerst is a blacksmith. He is an artist.

    The drive through Godfrey leads me down winding country roads lined with homemade signs and the occasional colourful, metal landmark to reassure me that I’m on the right path. Coming to my destination I am faced with two buildings; the artist’s home and his studio. An old barn sits further on the property and everything else turns green as far as the eye can see.

    The studio itself looks far more industrial than artistic but as I enter I am faced with the beautiful, colourful, twisting structures that have been created within. One, standing fourteen feet above the ground, reaches for the sky in bright oranges and yellows. Staring up at the steel tree I feel as though I have entered a world created by Doctor Seuss and Stefan tells me that the piece was in fact a direct product of his recent discovery of the children’s author.

    Inside sits another dozen pieces, wrapped in cloth for protection. As he pulls aside the covering on each standing structure, the artist reveals to me metals shining in rich hues – purples, reds, oranges. Once finished with a piece, he picks a colour and sends it down the road to a painter. He considers this a great collaboration; allowing someone else to create something out of his creations.

    He explains to me his process of heating the metal to outrageous temperatures in order to bend and mould it in any way he pleases. I think about how fantastic and empowering it must feel to command steel. To make it liquid.

    Stefan’s hands are proof of his hard work. They hold past scars and crushed nails as reminders that his art is still physical – but now that he has a family, he must be careful. He tells me this as his young son places a freshly picked flower into his worn hands.

    He is more cautious with his work recently and more intentional than he has been with past choices. He assures me, with a smile, that the loss of his reckless ways has only improved his work.

    Leaving the studio, Stefan leads me past the old barn and down a path lined with more of his pieces. It is a garden of steel. The metal appears to be growing from the ground, organic and natural. He has been cultivating this path for the past few years to lead visitors through his work, giving them a chance to view it in the most pleasant of settings.

    With the sounds of young children playing in the field and the wind blowing the grass at the base of the gorgeous steel sculptures, Duerst Studio is a fine place to spend a morning (or more).

  • Audio Interview with Patti Emmerson

    https://soundcloud.com/studio22-sounds/aviva-jacob-interviews-patti-emmerson-artist

  • Studio interview with Patti Emmerson

    Studio interview with Patti Emmerson

    Patti Emmerson is bursting with energy as she invites me into her home. She speaks with her hands and greets me with a smile on her face which truly sets the tone as I enter the small room that acts as her studio. The floors are splattered with paint and the walls are covered with Patti’s art.

    Some of the pieces filling the room look almost too big to have possibly been created there. Patti explains that she works on the floor and takes up the whole room with her process. As a physical person she moves with her art and moves to music as she creates. She starts each day by cranking up her stereo and allowing herself to get into the physicality of her work.

    As we continue talking I look around and realize that there is something missing from this art studio – there are no brushes. Patti laughs as she tells me that she uses anything and everything, except brushes, to move her paint. She creates her abstract scenes with a myriad of painters tools but doesn’t feel the brush can do exactly what she wants in this body of work.

    As I look around the art itself leaves me staggered in the doorway. Though the pieces are still in progress they are already complex with strong texture and movement jumping off each canvas. Beside each piece sits a small, polaroid sized photograph of a scene. Patti uses these photos, most taken by the artist herself, as a base for a new painting.

    The photos, in contrast with the abstracted paintings, give the viewer a timeline of the artist’s process and her more recent experiences. The collection of photographs were taken in a combination of Fernie, BC; Patti’s home for the past twenty years and in Kingston, ON; where Patti now resides.

    My viewing of the body of work leaves me feeling refreshed and excited. Patti’s energy is evident in each piece. From wall to wall I am taken on an adventure down unreal streets, up abstracted mountains, and through obscure forests.

    Standing and looking between a photographic scene of reality and a canvas bursting with incomprehensible colour and texture I find myself catching a brief glimpse into the mind of Patti Emmerson.

    Written by Aviva Jacob

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