From London to Singapore, and Philadelphia to Amsterdam, Abraham’s paintings are featured in international, corporate, private and public collections, including the Vancouver Art Gallery, Rockford Museum of Art and the Courtney Cox & David Arquette Collection.
Abraham’s distinct style blends social commentary and playful imagery, refined figurative works that navigate a full scope of content. Commissions include original paintings promoting the Vancouver Symphony and Vancouver Opera, as well as select private portraits and sculpture. An award winning graduate of the Ontario College of Art (OCADU), Abraham currently paints and sculpts, and runs the Michael Abraham Studio Gallery just south of Vancouver, B.C., and is a core member of the ‘Phantoms in the Front Yard’ figurative artists collective.
Statement: My series of monotype prints focus on a wide range of mark making in a monochromatic style. My goal is to communicate the idea of a visual langue, highlighted by the diversity of my mark making. I attempt to present part of this series three-dimensionally, as a way to showcase how the individual marks interact with one another.
As someone who has always preferred working in black and white, printmaking was an ideal medium for me. Monotypes, specifically, were a way for me to explore the velvety blacks unique only to printmaking.
I use ink and graphite drawing to explore the depiction of objects in motion. My subjects are first captured with video, then line and finally transformed with washes into clouds and ghosts: imperfect mutations blurring and morphing as they migrate.
George Brandt is both a curator and a visual artist specializing in mixed media installation. Born in Legnica, Poland, George has lived and worked in Seattle, WA for the past 31 years.
Statement: In our modern age we are deluged by a torrent of data competing for our attention. In order to see a work of art we need to slow down and experience it with care and our undivided attention. Art is a form of communication and in as much as is possible, I believe that it’s incumbent on the viewer to come to their own conclusions.
David A. Haughton was born in Philadelphia, Pennsylvania in 1956 and moved to Canada in 1991. He has been exhibiting for over thirty years. Haughton has extensively painted the wild west coast of British Columbia with its stormy clouds, turbulent waters and ships at sea. Other recent series explore the power of media photos of “bad guys” to provoke our fears, and reflect on the way these images trigger our innate survival skills. Haughton has exhibited in Zurich, Boston, New York City, Los Angeles, Seattle and Vancouver, and his work hangs in private and corporate collections worldwide.
Inspiration for my work comes from what I observe on my daily walks along the Oregon Coast. Recently I realized that I cannot not paint a storm. Part of that must be the influence of living on the Oregon coast where the environment can be extreme. But it’s not only my natural surroundings that inspire me. I also think the storm I paint has to do with the political and social environment we all experience right now. The world for me has to be processed and released through painting. It is the only way I can articulate the world I observe.
My approach to a painting mostly begins with the impressions of color, movement and texture I observe from the environment around me. These impressions are used as a foundation for an expressionistic painting capturing gesture and line. There is depth too which is created through a process of glazing and building up layers of paper and paint through experimentation. These layers create the paradox of something extensively worked yet simple in its appearance. In my current work I have tasked myself to use a limited palette to narrow my focus so I can concentrate on contrast and movement. When I work I always feel as if a painting presents me with a puzzle that has an infinite number of pieces and also an infinite number of solutions. When I choose a piece of the puzzle, the solution begins to form; yet it can all change at any moment with the next piece that I choose—so the experiment continues until suddenly a solution is within sight. The result is a piece that has a clarity and is evocative of lives within our environment.
We Draw The Lines, But The Weather Decides
No landscape was ever made without a social or political agenda. It is irrefutable that the world is changing because of mankind, but what that change means is a much more complicated, chaotic and beautiful story than the one presented in an evening news cycle.
These images were made in Svalbard, an archipelago 1,200 miles north of Norway above the Arctic Circle, in the summer of 2016. Seeing the warmest year on record for the region, I was struck by how completely the environment would change depending on the weather. The photographs presented here are poems on the fluidity of place, celebrating the multitude of a landscape that refused to be any one thing.
The scale of images, as well as their vertical compositions expresses the weight and power the weather imposes upon the land. The title is a quote taken from the lead guide Sarah’s explanation of her decision process when planning the landings we would attempt; that we were ultimately under the jurisdiction of the elements. My goal is to broaden the dialogue surrounding climate change, showing the many ways in which a threatened environment responds to