Bonnie Adams, Puff Pot

Clay Sculpture, 1995

This is one of a series of Puff Pots created in the mid 90’s. The inspiration comes from the puff ball mushroom. Through its life cycle it experiences stages of growth, tension and finally explosion to release its fruit (spores). This open vessel suggests the offering of its fruit. Hand-built pottery was always more exciting to me than wheel thrown. I always enjoy the challenge of controlling unregulated movement and intentions of the clay.

Bonnie Adams, Little Boy Reading

Clay Sculpture, 1988

The inspiration for this piece came from my youngest son who loved to read.  ...The finished clay has experienced movement and transformation in the kiln – a birthing process if you will.  So creating sculptures of my children was like giving them life – forever.

Shafik Al-Hamdani, Reflection

Acrylic on canvas, 2005

My original intention in this painting as an artist has been completely subverted!. My aim was an austere, non-objective diptych.  ..but the horizontal borderline transformed into a ‘horizon’, the yellow canvas into a ‘sky’ and the red canvas became a ‘lake’ and vertical tree trunks were added.  …Why not!  The object was to create Beauty, not to reproduce likeness.  …In all my work, I try to transform the lowly, medium of paint into the transcendent, immaterial illusion of light.  

Shafik Al-Hamdani, Untitled (Colour Study)

Acrylic on canvas, 2005

One luminous, fiery red band hovers above three quieter bands of cooler hues; all emerging from a dark, mysterious background.  The object was to create the strongest illusion of depth, or ‘push-pull’ among the few colour bands.  Within the apparently minimalist composition lies a complex combination of light versus dark, warm versus cool, intense versus muted, etc. 

Berdina Beaven, Galena Garage

Acrylic, 2002

I tried to convey a moment where the subject flows into a unified shape.

Berdina Beaven, Heritage Homestead

Pen and ink, 1999

A local family homestead, now unoccupied was the ideal subject matter for a pen and ink study. Its deterioration only added to its charm.

Rose-Aimée Belanger, Woman Reading

Clay sculpture, 1985

Elsie Blaschke, Cobalt Backstreet

Print, 1965

Janet Bourgeau, Ferns and Fiddleheads

Collograph 7/25, 1981

Done in the early 80’s, this work was made soon after moving north from Windsor. I had studied printmaking at university and I was anxious to try out my skills of etching combined with collagragh. I was thrilled to move to a region of lakes and forests and was eager to capture the forest floor, hence the idea of fiddleheads that turn into lovely ferns.

Janet Bourgeau, Following the Crowd

Woodblock print, 2005

I was inspired after a workshop in Wawa at Natural Superior Adventures. Daily I would see these sandpipers scurrying up and down the beach in groups darting in and out of the waves along the shore. This work was one of several woodblock prints exhibited in an exhibition in 2007, entitled Journeys.

Ethel Brumell, Winter Scene, Haileybury Golf Course

Oil on canvas, ac2002

Katherine Burgman, Cobalt Lake

Watercolour, 1987

Katherine Burgman, Iris

Watercolour, 1981

Jack Burton, Northern Hilltop, Cart Lake

Oil on board, 1970

Keith Campbell, Porcelain Jar

Porcelain, 1983

This piece is one of a series of 5 square covered jars with handles and an architectural style design.

David Carlin, Songs

Woodblock print, 2003

David Carlin, Winter Approaching: Cheminis

Woodblock print, 2003

Robert-Ralph Carmichael, The White Urn

Acrylic on canvas, 1991

Linda Carney, Cobalt Railway Tracks and Store Backs

Watercolour and ink, 1970

Working on site I started by painting in blocks of burnt sienna to position the brick buildings. In this direct approach, grey is used for another building, the hillside and heap of railway ties, keeping the palette limited. Watercolour loaded on to a steel pen is used for detail.

Linda Carney, Coleman, Alberta (Mining Town)

Watercolour, 1969

Since living in Alberta from 1979, I have done a lot of painting in the Crowsnest Pass. Coleman is an old coal mining town with simple, colourful houses in a hilly landscape not unlike Cobalt. As a nature watercolorist I became much more aware of light, mood and composition. When painting Coleman, Alberta I was sitting on a lawn chair on a beautiful summer afternoon…