Tag: Rebecca Cowan

  • 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

  • SPRING 2018:  Artist Portfolio Series

    SPRING 2018: Artist Portfolio Series

    MARCH / APRIL / MAY

    We are introducing a new seasonal series to our gallery schedule.  The Artist Portfolio Series will run throughout the year – Spring, Summer, Fall and Winter.  Every 3 months, a grouping of our regular artists will exhibit a selection of brand new works throughout the gallery.

    SPRING 2018 Featured Artists

    Barry Blunden • Bernard Clark • Rebecca Cowan • Stefan Duerst

    IMAMess… • Debra Krakow • Keight Maclean • Teresa Mrozicka

    Neli Nenkova • Rob Niezen • Erika Olson • Victor Oriecuia

    The Artwork

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  • Last Week of Current Exhibits

    Last Week of Current Exhibits

    We are in the final few days of our current exhibit period.  Our featured exhibits, A Perfect Day – New Oils by Susan Oomen, Paintings by Robert Blenderman and Rebecca Cowan’s Julie Brown Project, have been accompanied by some terrific new work by Teresa Mrozicka, Debra Krakow, and introducing Isaac Gillis.

    Some of our Favourites

    Exhibits close at 6 pm on Saturday May 13th

  • The Julie Brown Project – Drypoint by Rebecca Cowan

    The Julie Brown Project – Drypoint by Rebecca Cowan

    The Julie Brown Project

    It began as a question during an interview with CKWS Morning Show host Bill Welychka. Could I do a drypoint portrait of his co-host Julie Brown? With a laugh I answered, “Of course.” A day or two later, I fell in love with the idea. Julie then graciously agreed to sit for me, and the Julie Brown Project began.

    I was inspired by the celebrity portraits by Andy Warhol, whose iconic images use repetition and colour variation to highlight different aspects of his very familiar subjects. Using my own drawings of Julie, rather than photographs, I created a small set of drypoint plates. Then I began the process of printing and overprinting the plates, using different colours and papers to show just a few of the many faces of Julie Brown.

    The Artwork

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  • 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.

  • Nymphs ~New Works in Mixed Media by Rebecca Cowan

    Nymphs ~New Works in Mixed Media by Rebecca Cowan

    nymphs-rebecca cowan

    Rebecca Cowan

     

    We do not want merely to see beauty… we want something else which can hardly be put into words- to be united with the beauty we see, to pass into it, to receive it into ourselves, to bathe in it, to become part of it. That is why we have peopled air and earth and water with gods and goddesses, and nymphs and elves.”
     C.S. Lewis

    This set of nymphs encompasses several of the themes I have been exploring in my work for some time. First, there is the notion that modern society continues to be influenced by ancient archetypes. Second, I have long been fascinated by the ways people show their public and private faces, and how secrets, dreams and desires are kept hidden. Most recently, a close examination of seasonal trees has led me to consider the importance of nature in our technology driven lives. And just as the images bring together a variety of thoughts and ideas, so does the technique.

    I have used a range of media and techniques to produce this work. Each piece begins as an intaglio monotype printed on semi- transparent Japanese paper. In most of the work, at least two different metal plates have been printed to create an illusion of the forest’s depth. Next, a coloured pencil drawing of the figure is done on the back of the printed image. Then, a wood panel is stained to enhance the colours of both the trees and the figure. The Japanese paper with its printed trees and drawn figure is adhered to the board. At that point additional drawing or painting, on the surface of the paper covered board, may be added. And finally the entire panel is coated with several layers of acrylic medium to seal the image.

     

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