At The Galleries: Vibrancy fills the walls of Greater Victoria

As fall approaches, the galleries of Greater Victoria bring the vibrancy and beauty of nature to their audiences.

Avenue Gallery is spotlighting Lorna Dockstader, Tanya Bone and Naoko Takenouchi this month.

Lorna Dockstader is an Edmonton-born, Calgary-based visual artist who works with acrylic paints and mediums. His strong subject is the landscape, currently that of Western Canada. Lorna believes that subtracting non-essentials, as well as using elegant, neutral colors, achieves the desired result.

“Recent hikes in a forest reminded me of my time walking through the Douglas Fir trees in Cathedral Grove. I loved how the light filtered through their tops and behind their trunks and branches. created a dark intertwining around the shades of light, creating the impression of stained glass. That’s what it felt like inside a West Coast forest,” Dockstader said.

Dockstader began exhibiting in commercial galleries in 1991. In 1994, she received Signature Status with Distinction from the Pastel Society of Canada. In 2002, she received senior signing status from the Federation of Canadian Artists.

Born in Saskatchewan and raised on the Prairies, Bone is deeply influenced by the elements of nature. For as long as she can remember, she has been drawn to the still lifes of the Old Masters.

“They speak to me on a deeply emotional level,” she said.

Bone strives to capture light through the dramatization of a subject and show how light alone can transfigure an ordinary still life subject, at a specific time, into something beautiful or tender. She never tires of the hushed silence of still life and the way the solidity of an object can be related to an adjoining fragile object.

She wants her viewer to “see the light, hear the stillness”.

“I get lost in the choices and beauty of balanced still life arrangements. When I’ve finished arranging a set-up, I sit down and take a long moment just to savor its stillness.

Working as a glass artist for nearly 40 years, Takenouchi creates mouth-blown glass vessels with ethereal colors and intricate etched patterns representing visual metaphor or allegory. Takenouchi began his studies at Tama Art University in Tokyo and later attended the highly regarded New York Experimental Glass Workshop. In 1993 and 1998, she won scholarships to attend the world-renowned Pilchuck Glass School in Washington State.

Visit theavenuegallery.com to learn more.

West End Gallery is presenting Josee Lord’s first Victoria exhibition this month.

Born in Trois-Rivières, Quebec in 1964, Lord is a self-taught artist and has been painting since a young age.

His still lifes are marked by a singular style, a radiant variation of warm colors and bursts of opaque reds and blues that shape the perspective of his flowery still lifes.

Lord’s success is based on the passion she communicates with her brush. She begins each piece by drawing on the canvas through texture, shape and pattern, then lets her imagination run wild. Particularly affected by the uneven nature of the forms, Lord is very familiar with objects and things made by hand, which gives her the freedom to exteriorize her emotions. His work can be found in many private and corporate art collections around the world.

The exhibition runs from September 10 to 22.

Visit westendgalleryltd.com to learn more.

Madrona Gallery presents a solo exhibition of new paintings by Halin de Repentigny. His third solo exhibition with Gallery Victoria, The Way We Are, opens September 10 with an artist event from 1-3 p.m. and runs through September 24.

De Repentigny moved from Montreal to the Yukon and lived as a trapper for many years in the Peel watershed. Now based in Dawson City, de Repentigny is known for his depictions of the remote and beautiful landscapes of northern Canada.

Even after four decades of painting, de Repentigny continues to draw inspiration from these isolated places. His love of working outdoors surrounded by the landscape also plays a role in his paintings. The often extreme climate of the Yukon presented de Repentigny with a challenge he was eager to meet. Depending on the season, de Repentigny faced harsh temperatures, short daylight hours, and insects, while painting outdoors. These factors have allowed the Repentigny practice to evolve and mature. This allowed him to simplify certain elements like form while distilling the essence of landscape into his work through color and light.

Visit madronagallery.com to learn more.

A Maud Lewis painting that made headlines across the country earlier this year is part of the retrospective exhibition at the Art Gallery of Greater Victoria.

The gallery is thrilled that Black Truck is making its public exhibition debut at AGGV, said Director and CEO Nancy Noble.

“The public response to the exhibit has been overwhelming and we look forward to welcoming many more Maud Lewis fans before the closing in October,” said Noble.

The 1967 painting was purchased by an anonymous buyer for $350,000 in May, the highest price ever paid for a Lewis painting, breaking the previous record of $67,250.

More than 130 paintings by Lewis are included in the current AGGV exhibition, which has been extended until October 30 due to popular demand.

For more information, visit aggv.ca.


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About Margaret L. Portillo

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