Please come by and visit me at 1000 Parker Street
Studio # 228
and receive 10% off all artwork.
“If you create from the heart, nearly everything works, if from the head, almost nothing.”
– Marc Chagall
Set free your inner creativity and explore extraordinary methods of drawing and painting. Develop a better understanding of self-expression and the creative process as you joyfully rediscover your innate sense of play.
This popular and insightful hands-on workshop is for anyone wishing to explore drawing and painting beyond the ordinary methods. The environment, each other, and, most importantly, your authentic self guide you on this dynamic inner and outer journey.
This is an opportunity to connect to your own visual intelligence and to express from a deeply intuitive place. Learn new skills and approaches in the mechanics of drawing and painting and record your observations of the everyday world with a new awareness. Inspiration will come from direct observation, guided exercises, collaboration and intuitive, self-expressive exploration. Come and join this unique and supportive creative experience and be prepared to surprise yourself with your own unique creative expression.
This workshop is open to all levels of experience. Wherever you are in your creative journey is the right place for you to be.
1000 Parker Studios
Studio #228 – 1000 Parker St, Vancouver, BC
DATES & TIMES:
Saturday, October 20th, 10:00am – 5:0opm
Sunday, October 21st, 10:00am – 5:00pm
Email KK Hodder for more info: email@example.com
I will be on Floor 2 near #228 ( located at the entrance of the event.) Looking forward to seeing you at this unique and creative Vancouver art event where contemporary art , artists and the public connect.
The Reconstructing Nature series are narrative in style and explore the arena of the personal and the collective. The constructed artifice of the scaffolding used to build or repair buildings interfacing with living trees create a discordant co-existence. It brings into questioning the multiple, often contradictory issues we face as members of a fragmented society disconnected and protected from nature and from self. It is suggested that we as a collective have a shared responsibility to heal, repair and transform our planet.
The pick-up-sticks in the children’s game, “Jack Straws” are fashioned to resemble different types of tools of trade similar to those seen protruding from the back of city maintenance trucks.
In this maquette, I reconfigured the game pieces into a fence surrounding a branch from a cedar tree. In many cities, fences are often built around trees when a nearby building will be torn down or built. A sign is hung on these fences that reads ‘Protection Zone’. My intention is to one day see this sculpture constructed on a large scale and placed in a public space.
Back from Cambodia enriched and inspired
2017 was a expansive year full of first times, taking risks, accepting failure and experiencing successes.
“Opening up a door before I close it” is a motto I live by. Last month I experienced cycling for the first time in countries I have never been to and now I am at the other end looking back.
I joined 12 other people from around the world and we cycled for 15 days and 900 km on mountain bikes with fat wheels on roads that wove through villages, rice paddies, jungles and insane city streets.
We started in Thailand, crossed Cambodia and finished in Vietnam. I discovered that I am stronger and more resilient than I ever knew. Travelling by bike was close up, connected and inspiring. Villagers would go out of their way to make you welcome. I brought with me 100 gel glitter pens to give to the children and parents so I could find a way to connect and give something back. The joy that came from the exchange will be with me forever.
I wondered at moments what the heck was I thinking when it was 37 degrees and humid and riding on narrow roads. There were horn blowing trucks zooming by, zigzagging scooters laden with people and things, dogs and chickens coming from all directions and welcoming children trying to give you high fives as you road by white knuckled trying to keep safe. It was like playing a video game but you were in it!
The highlights of my trip were many but the life changing experience was the day I went to volunteer to teach painting for the Children’s Cambodia Fund based in the slum of Phnom Penh. It was a last minute idea. I tracked down an ex- colleague of mine from Emily Carr, Nicky Ward to see if there was anything I could bring or do for the organization. Nicky went to Cambodia 6 years ago to see the sunrise at Angor Wat and felt a calling to stay there. After more visits and research he realized that he had a purpose and could make a difference and returned for good to Cambodia and started to work with CCF. In the 70’s with the uprising and rule of the Khmer Rouge there was a mass genocide of the intellectuals and minority groups including most artists. There are only a few living artists from the recent past so the continuity of the arts was disrupted and there is little contemporary Cambodia art. Nicky has become a moving force to bring it to present time. He invited me to the the slum of Phnom Penh where I was taken to a ‘state of the art high school’ that was recently built by the generous donation from Velcro Corporation. I brought with me 45 pounds of professional art materials generously donated by Opus, Deserres and Kroma. While still in Vancouver, I shared my plans with students, friends and random people and out the spirit of generosity I was given money donations. A friend donated a big suitcase and volunteered to pack it up for me. I was overwhelmed by such kindness and support.
I entered the art room (first time being used) and met with students ranging from grade 10 to 2nd year University who understood and spoke English. I taught an introductory workshop on acrylic painting focusing on their desire to learn color mixing.
It was a beautiful exchange with the students who at one time were abandoned street children living off the garbage dump trying to survive in a hostile and unforgiving environment.
Even though I was there for a short time I left behind the suitcase full of art supplies and in the New Year I will continue my teaching using Skype. I am looking forward to the artwork that will eventually be created about their lives and their culture.
Below are a few photos that capture the essence of the workshops and locations.
Hollyhock on Cortes Island
‘Painting Beyond the Ordinary’ 2017
Demo on the beach
Bioluminesence evening kayak paddle to inspire the senses
Outdoor studio .. amazing space to work in
6:00 am morning paddle , singing, storytelling…
WHISTLER : Into Abstraction 2017
Gorgeous women in a equally beautiful environment
Getting the paint on the canvas!
Going beyond the brush
3 DAYS – 3 LOCATIONS
Learn and improve how to paint outdoors. Develop your skills in correct observation, painting quickly, color tonality, paint and brushstroke application.
I will be guiding you step by step from drawing to finish painting all in one session.(Alla Prima: direct painting, wet in wet)
Back in the studio I will show you how to take your field studies and develop them further.
Day 1: Emphasis on color theory
Day 2: Emphasis on composition
Day 3: Emphasis on brushstroke and paint application
August 18,19, 20
10:00 am – 4:00 pm
$325.00 for 3 days
*material list available once you register
Locations: Artist studio
2063 Grant Street ( near 1st & Commercial Dr.)
Outdoor locations: to be announced
All levels welcome
All mediums welcome
( I will be doing demos in Open Acrylics)
To register and for more info:
Making Love in a Canoe
Canoes occupy an honoured and iconic place in the Canadian cultural imagination, and their depictions evoke, variously, the fabled workboats of indigenous and colonial histories and their sleek, modern-day descendants, used purely for recreational purposes. Lori Goldberg’s canoe paintings reference some of these functions, but more directly they depict canoes as animated objects: spirits, almost, with an animus and life of their own, sometimes at one with their paddlers, sometimes independent of them, but always connecting to their surroundings, whether representative forests or dream-like, other-worldly realms. Her canoes are both commonplace and mysterious, familiar yet free-floating in the imagination. And in that respect they are true to an art practice of some 35 years, and specifically incorporate aspects of Goldberg’s belief in animism, encountered on multiple trips to Bali, where the Hindu Balinese hold that all objects are possessed of a life force. The parallels between these beliefs and those of some North American First Nations are alluded to, but not literal. Her canoes are also conventional metaphors: of exploration and discovery; journeys geographic and spiritual; and vessels for the voyage through life.
As in many works in the series, there is only one paddler in Winter’s Paddle, heading off into the mist. The setting and the destination are unknown, suggesting an atmosphere more than a narrative, and evoking the experience of European explorers setting off into uncharted lands. And in several paintings, a canoe floats empty, as in Spring Melt, offering an invitation to climb aboard and become part of the journey.
Many of the painterly qualities Goldberg incorporates enhance the mystique of the canoe and emphasize its image as an archetype. Inspired by bokeh, a Japanese photographic term referring to a grainy, soft background against a sharply focussed image, the artist sometimes plays with pastel-coloured orbs that engulf the paddler, as in Spirit Canoe. In Homage, the gold paint of the birch-bark and the interference acrylics in the sky create an especially rich surface; the materials respect and honour the canoe’s indigenous origins. By contrast, Outreach, a painted digital photograph printed on canvas, brings the viewer back to the urban environment. Making a trio with Portage and Into the Grasslands, it re-contextualizes the painted canoe in unexpected ways.
The exhibition title refers to Canadian historian Pierre Berton’s tongue-in-cheek definition of a Canadian as “someone who knows how to make love in a canoe without tipping it over.” Goldberg makes her own kind of love in the canoe, infusing her paintings with an animated and painterly expression, employing variety, animus, and constantly shifting contexts to upend conventional notions of this highly iconic Canadian symbol.
This September I spent the month in NYC. I participated in an Artist Residency. I created a Public art project titled ‘ONENESS’ Lost Sock Project. It was a collaborative project to celebrate our diversity and to create connections. Here are some photos that capture the experience.
Visited Tailors in the Lower East Side and they gave me fabric scraps to use to stuff the lost socks.
Socks collected at Laundromats throughout the Lower East Side
Residency on Governors Island, 10 minutes by ferry off the south end of Manhattan. Throughout the summer the City of New York dedicated this small Island to the arts. On the weekend the studios opened up to the public where hundred’s came and participated and viewed art.
‘Socks visit the Forest’
Digital photo and oil paint on canvas