You are invited to the 5th Annual Under 100 Art Show and Fundraiser at the Lake Country Art Gallery that runs from Saturday, November 21 to Monday, December 21, 2015. This is a chance to pick up small pieces of art (the majority are under 100 square inches and priced under $100). The proceeds goes to the artist and the Lake Country Art Gallery. There will be over 600 pieces of art on display in the Gallery and in the adjoining Lake Country Coffee House.
I will have twelve Under 100, one Under 200, and one Under 300 pieces of art on sale. You can view these on my website in the 2015 Under 100 Gallery.
There is also an adjoining Lake Country Gift Shop this year with local art and art books for sale.
My recent work has been accepted into the annual arts extravaganza in Lake County -- ArtWalk 2015 with the theme "Light: Illuminating Art" that happens September 12 and 13th from 10 a.m. to 5 p.m. both days. I will be in the Foyer just before you enter the hallway leading to the large gym. Please stop by and see me or if for some reason I am away from my booth, please sign my guest book. I hope to see you there.
Admission to ArtWalk is $2 and for that you will be able to see over 300 artist's recent works. Musicians and dancers will spice up your journey through ArtWalk and this year Kinchira will give you a most unusual pairing of light and acrobatics. Children's art activities, food venues, and art talks are all part of the venue.
As well my work, "Keep Me Where the Light Is," is shown at The Lake Country Art Gallery ArtWalk theme gallery from September to October. All art works in the gallery depict the theme, "Light: Illuminating Art". The Lake Country Art Gallery is adjacent to the Lake Country Coffee House which is a comfy cozy place to have amazing food and beverages before or after your Art Gallery visit.
Opening Reception: Saturday, March 7, 1 - 3 p.m.
Come and see the work of over 50 Okanagan Artists. My new
work exhibited there called "Sunshine in a Jar," is a still life of flowers that I grew in my garden in Okanagan Centre.
ARTIST STATEMENT: Painting this still life was a great exercise for me. First, I felt very connected with the subject matter that came out of my own flower garden. I intimately know the butter-coloured roses with their silky, heavy, fragrant flower heads. The Shasta daisies bloomed every year at the same time as the roses so it made perfect sense to paint them together.
Second, the painting support called “Terraskin” helped the paint to “slide over,” not “sink into” the coated surface. I enjoyed the feel of creating the petals by pushing the paint with the brush. This support also felt right for creating the watery effects in the vase as the thinner, wetter mixtures of paint blended together on the surface in blurry shapes.
Third, this still life painting was an exercise in “learning to see” more deeply and developing my painting technique. I focused on the arrangement – the shapes, colour, light, texture, and shade of the dynamic relationship. Sergei Bongart is known to have said, "Still Life is the best school, the best exercise for artists." The painting exercise was spontaneous and yet at same time very concretely connected to the subject matter as a whole.
I will be exhibiting my work at Lake Country ArtWalk, September 7 & 8 in the small gym in the Community Complex. This year Lake Country ArtWalk is celebrating 20 years in the community. The theme for the event is "It's All About Time." The event is a juried show that features artists and artisans from throughout the Okanagan Valley in 5 different venues. Besides eye-popping art there will be good eats, music, and a children's area.
"Watching and Waiting," shown to the right, is featured at the theme gallery of the Lake Country Art Gallery and will be on display for the month of September.
Artist Statement: I remember driving by Wood Lake and seeing an ice fisherman huddled over his ice-fishing hole patiently waiting for a tug on the line. Not far behind him was a heron -- also waiting -- for something that the fisherman might throw the heron's way. It has been a compelling image for me of connectedness between humans and the natural world. Afterall, all creatures (humans included) have a need to find food and to eat. Humans, with a knowledge of the past and large capacity brains, are at the hub of the food chain and have a great responsibility to protect and maintain a balance. We are not independent from the web of life.
Collaging the Deep-Self
(based on "Soul Collage: Evolving" by Seena Frost)
Artist: Margaret Kyle
Description: I am one who feels at one with nature
More About this Card: This is the first card I created using the "Soul Collage" method and it brings me a lot of joy when I look at it. This card reminds me of a time, as a child of eight, that I sat on a hillside covered with the golden Arrowleaf Balsamroot flowers that bloom in the Okanagan Valley in May. I felt at one with the granite moss-covered rocks, the blue sky, the pungent, piney scent of the yellow flowers, and the hum of bees as I soaked the landscape into my being. The card contains images of connection and curiousity -- in the giant star clusters, as well as in the intricate web-spinning of a spider. May I always remember as part of my soul this curious and connected inner child.
In January 2013, I began a group called “Collaging the Deeper Self,” based on the book Soul Collage Evolving by Seena Frost. http://www.soulcollage.com/
The purpose of the group was to provide a time to create a deck of personal cards, using collage, intuition, and imagination, that would help participants get to know their deep self and to tell their personal stories. No artistic ability was necessary – just an open intuitive mindset, without pre-conceived ideas about what the results would be. The process was a vehicle to self-awareness.
We met once a week for one and a half hours. Card stock, small cutting boards, box knives, and magazines were supplied. Participants brought more magazines, glue sticks, scissors, and a container/folder to store and transport their supplies back and forth between sessions.
Each card was 5” x 8” (12.7 x 20.32 cm). The first week I brought samples of cards that I had made beforehand to show the variety and scope of what could be achieved and to explain that there was no right or wrong. Each card was totally personal. I put up a flip chart with the following instructions and tips:
- Before you begin centre yourself by taking some deep breaths, closing your eyes, imagining yourself in your a place of peace, and letting go of what went on before you came. Be present.
- Tear or cut out images that grasp your attention. Once you have a pile of these images, begin trimming parts of them out. Some will be backgrounds and some will be symbolic images.
- Take your time as you create your collaged cards. Glue the images carefully and intuitively. This is about quality, not quantity. Try not to premeditate what you will create. Enjoy the process.
- The cards can be created with either the short side to the top (portrait) or the wide side to the top (landscape).
- Try to create “one energy” or “one aspect of yourself” per card.
- The cards can be abstract or literal.
- There is no right or wrong – each card that you make is a part of your own spirit.
- Don’t compare what you do to other’s cards.
- After the card is made “sit” with the card to see what it might be saying to you. Let the card answer the statement, “I am one who…”
- When you are ready, give your card a title and write about “what the card might be saying to you” in your journal.
The process began with participants choosing images from magazines that seemed to “speak” to them. After they had a number of images they trimmed away extraneous parts. They then picked one image that seemed most powerful and chose other images that fit together meaningfully and then “collaged” (cut, arranged, and pasted) them onto a card to create one primary energy theme. Some of the images from magazines could be used as backgrounds and some became symbols to go on top of the backgrounds.
During the first session very few cards were created as participants spent time finding images before they could begin. This was a good thing. There was a kind of an expectant camaraderie as participants looked through magazines and ripped out images into their pile. During the process of searching for images, some images would inspire conversation and storytelling, laughter and questions.
People are just beginning to explore the process – it will develop over time.