Some of my achievements over the past year include:

• Establishing an outreach calendar resulting in a new committee role
• Implementing a new advertising strategy including negotiations that lead to a new, multi-year agreement with high profile arts publication, Preview Magazine!
• Launched a new program in spring 2022 allowing artists to practice their public speaking at Creative Mornings held in SFU Woodward’s. This resulted in Creative Mornings offering First Saturday partner status in January 2023! We are in good company with organizations like Mailchimp, Capilano University, Slack and others.
• Onboarded volunteer, Christina Peressini, who made an awesome A-Frame sign for Eastside Atelier’s First Saturday
• Created a new live music series attracting new attendees to Eastside Atelier while building awareness of First Saturday throughout the Lower Mainland and beyond
• Onboarded and art directed resident photographer, Paul Newton, in creating new photos of First Saturday at Eastside Atelier

Year-Over-Year Results

Attendance and membership have been the committee’s primary goals.

• First Saturday attendance was up 900% for some studios
• Membership is up 33% year-over-year, despite a new fee structure that increased dues

Hip hip hurray! 🙂

What’s next?

I plan to continue helping with First Saturday. Through managing Creative Morning speakers and continuing the music series I will focus on highest impact activities that support First Saturday. Hope to see you at one of the events!

Learn more!

• First Saturday
• Live music at my art studio durning First Saturday FAQ

Have you been to First Saturday? How did you hear about it? Do you enjoy the event? Any suggestions, questions or comments? Share your thoughts below! Thank you.

The post Celebrating One Year at First Saturday! appeared first on Joanne Probyn Art.

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I’m sooo excited about my recent conversation with Richard Tetrault, artist and one of the founding members of the Eastside Culture Crawl (aka The Crawl, a visual-arts festival that receives more than 30,000 visitors to 500 artists studios annually). If you’ve ever been to Vancouver you’ve probably seen Richard’s art—his murals can be found throughout the city and around the world. In addition to founding one of Western Canada’s largest cultural events, he’s a super nice, talented, and established printmaker, painter and muralist. He’s even been recognized with several awards including one from the Queen. In preparation for my first year in The Crawl, I recently spoke with Richard about his experience as a Vancouver artist.

Special thanks to one of my art collectors, Toni Pohl, Realtor, who recently introduced us.

What advice would you give an emerging artist?

I would advise finding a low-cost studio. By keeping your overhead to a minimum, you’re able to focus more on your artwork. This, in my opinion, needs a decade or two. Minimalist is good. You’ve got to have time to focus. Unfortunately, finding an affordable space in Vancouver is getting harder to do these days. Also, if you are lucky to find a good teacher/mentor, you will advance quicker than on your own.

Do you have any suggestions for artists who want to get the most out of the Culture Crawl?

The Crawl is an opportunity for artists, but it can’t do it all. See it as an established event that brings hundreds, even thousands to your studio over the course of the event. As an artist, you have to make your show work for you — mount only your best work, make sure the quality is engaging each year, and create an informative experience.

Many artists don’t realize how valuable juried shows and competitions are. If you are signed up, you find call-outs for juried shows through the Crawl website. The juried show venues presently include the Arts Factory, Cultch Gallery and Firehall Arts Centre. All provide good opportunities and are a great way to gain additional exposure. You can use these shows to build your CV, necessary for Canada Council applications and other grants that require a track record of juried exhibits. It’s also helpful to submit your work for the media package through the Crawl–you might get profiled in various media, introducing new people to your work. Volunteering is good too.

How important is having a shared artists’ studio space rather than working from a home studio?

Networking is essential for artists, even if you are essentially a loner. If you’re not in a shared space you really need to make an effort. In my experience (and much of my career has been in a studio separate from home), the people around me also helped build a community that supported my success. This has included artists, galleries, and public.

So in this sense, geography is important. Being involved in the Crawl, or other events — even once a year — can be a big shot in the arm early in your career. For me, it has over the years opened up opportunities for murals and other forms of collaboration. The energy you gain from that is great, and feedback is generally a validation of sorts. It can provide a barometer for insights.

How do you source and manage calls for artists?

 At this point in my career, most of my opportunities come from my built- up contacts, networks, and relationships. I seldom apply to broad callouts, and when I do it’s generally a public art call through a city in the Lower Mainland, or for an interesting or unconventional exhibition.

Starting out was different, and I have shown in many curated, un-curated, conventional and out of the box venues, locally and internationally. I’ve responded to calls for artist residencies, resulting in a 5-month paid residency in Germany in 1993, for example, as well as for exhibitions in Asia, Cuba, Argentina and Croatia, other regions of Canada and the United States. But I pass on more than I follow up on!

What are your thoughts about canvas prints?

There are a lot of ways to be an artist; in addition to painting and murals, I’m a traditional printmaker. I have learned the skills and discipline of making artist’s prints, from carving a matrix (generally woodcuts) to completing an editioned run. Commercially printed or open-ended prints — or any kind of poster-type prints — are just not a part of my aesthetic and sensibility. I believe open-edition, commercial prints can water down the uniqueness of an original, no matter how cutting edge the technology.

Although I have made a couple of exceptions (for example I make postcards as advertising for events, shows, etc.) I think that as an artist you need to ask yourself what your ultimate goal is. Historically, printmaking was the ultimate socialized form of image making and distribution showing us that creating unique prints is a viable way to disseminate visual material. I like the feel of a woodcut…the embossing, overlays, the language of the chisel marks and the gestures that make it a unique thing. Etching, relief prints and lithographs are all original works of art. When I create print runs, I consider the edition size when I price my work (generally keeping editions small, about 5-35 total). Larger runs are more affordable and often reserved for special events.

How did you get involved in making murals?

I became interested in murals through my extensive travels to Mexico in the early and mid 70s. I was influenced by the great muralists of their tradition, Rivera, Orozco, Siqueiros, and others. At SFU in 1977, I created my first mural in a public venue. It was strongly influenced by the Mexican sensibility and dynamics, but unique to my own iconography. And, most importantly, this started me on a path of doing more murals! The best cities to see great murals in North America are Mexico City, Guadalajara, San Francisco, Los Angeles, Chicago, Philadelphia and New York — popular murals are in every large city. Vancouver is getting stronger too. I have a great interest in architecture and love seeing how murals can interact with public spaces. I have a desire to work collaboratively with the involvement of various communities, locally and elsewhere, and murals are a great vehicle for making that happen. I belong to a group called La Raza Artists, through which we do international projects, including murals in Argentina, Mexico, Cuba and elsewhere. As well, my partner Esther Rausenberg and I are co-artistic directors of Creative Cultural Collaborations Society, an organization focused on local, relevant community-based initiatives. These are sometimes murals, but also can be multi-media based.

What advice would you give an emerging muralist?

Volunteering for an established muralist is a quick way to get skilled. You need to learn how to transcribe the image to the surface, scale things up, and activate the wall and architecture. There are a lot of technical challenges as well, and not all artists are muralists. It’s kind of a niche. Some muralists are focused primarily on decorative pieces while others, like myself, have a statement to make, whether subtle or overt. I work hard to substantiate and give layers to a theme. I don’t always work alone, nor do I always work in a group, but my favorite is to work with two or three other artists. I might take the lead. It’s important to me that the mural represents or reflects aspects of the community that it will become part of. I do outreach through workshops, using organizations such as community centres as home-base. I have, for example, worked on a series of murals on the Downtown Eastside (DTES) called Walls of Change (1998) that took six months, involved 300 people and covered 12,000 square feet in murals. More recently, Radius Mural at the Firehall Arts Centre courtyard, (2013) reflects the history of the DTES and the cultural intersections that make it so rich through the stories of the Japanese, Chinese and Aboriginal people who live there.

Have you had other jobs?

Yes, in the 70s and 80s I had several other jobs. Actually, I have had more than 45 different kinds of jobs in my ‘art career’! I’d work all day at my day job — that may or may not have anything to do with art — and then work at night on my art. Life is about capitalizing on your challenges and the skills you gain along the way. All these seemingly disparate jobs have provided something valuable to my career. I lived well below the official poverty line ($24,949 CAD, 2018 LICO Table) for the first two decades of my artistic career.

Artistically, momentum is really important. You’ve got to keep dedicated to advancing your artistic expression every day, month, year. Sometimes artists get disillusioned because they are inactive for a while, sometimes even a few years. They might ask themselves if this is a career or something that they are just ‘doing’. And what makes it a career, more than the financial returns, is the degree to which you identify and live as an artist. Not that selling work isn’t important, as it is. But at least early on, just keep going, so long as you find substance in the work you are doing. Just be in it for the artistry, adventure and sense of discovery in being an artist. That’s the reward!

What are you working on? What’s coming up?

I’m working on a large community-based mural on Commercial Drive at the York Theatre that is thematically focused on the First Nation’s presence past and present, in this city. It revolves around a central figure of a beat-poet singer. I’ve been collaborating with people from The Cultch and local youth, as well as two of my friends who are excellent artists and fearless on scaffold and lifts, Sharifah Marsden and Jerry Whitehead.

After that, I’ll be working on a mural for the Women’s Centre downtown. This will be an interesting challenge, and we are excited about the possibilities of transforming the Atira building into something bright and meaningful in the urban landscape.

The post The Adventure of Being an Artist — An Interview with Richard Tetrault appeared first on Joanne Probyn Art.

When I test drove the new’ish Q&A feature on Instagram, I was a little surprised with the big question I received when asking if anyone had an inquiry about Vancouver Mural Festival.

“What drives your spirit?”

This question came from someone who I believed would deeply appreciate a thoughtful answer. And if she would value these ponderings, then perhaps others would as well.

So, I dove into my journal and began to write (with pen and paper, of course). My thoughts below are just a glimpse into what drives my spirit. There is really so much more yet these are a few fundamentals I’m happy to share. The numbered points are randomly ordered. Here is an expanded version of my Instagram answer:

What drives my spirit?

To:

1. Grow and Create Meaning
   “What drives my spirit” is a timely question as my word-of-the-year is VOICE. My intention is to deepen, expand and enrich my art practice and life. By seeking out what I want to say, how I want to say it and to whom…I will grow. By following my heart, asking tough questions and taking action, when needed, I will expand. Conversely, patience may be my lesson. And there are always more lessons! Every life has smooth and bumpy patches—and not always in equal proportion. Whatever the lessons, I believe we are on this planet to learn the most we can from every experience. If we are to make sense of things we must create meaning so we can grow and heal, and ultimately lead a life with purpose and passion. Read Viktor Frankl’s Man’s Search for Meaning to dive into this subject.
2. Honor Life
   We only get one life (at least this time around). As a cancer survivor, I feel blessed to have a second chance to make this life my best life possible. Every moment of every day is a gift and I strive to make all my decisions from a place of love, not fear. I aim to appreciate everything—to honor all my experiences—equally, and to value life at every stage and age. My life is perfectly imperfect and I love it! #gratitude
3. Love and Be Loved
   Wow! We are getting to the good stuff here, right?! Everything comes down to love. If it’s not love, it’s not real. And only love is real! I subscribe to the lessons I’ve learned in part through A Course in Miracles and Marianne Williamson’s A Return to Love (a more accessible version) that both inspired Gabrielle Bernstein. We are here to learn how to love and be loved. Sometimes this can be messy or painful. I’m still learning and I’m sure there are more juicy lessons for me to come. Most importantly, I’m grateful for my deep love and appreciation for all; myself, those who I am closest with, those who I don’t know—and even those who have wronged me for they are my greatest teachers. To allow love is a submissive yet equally powerful and graceful. By welcoming love we expand our presence in the weave of life. It starts with self-love. Then, it’s about being okay with being vulnerable. Perhaps it’s asking for help or accepting compassion or appreciation from people who accept you as you are. We are all better together when giving and welcoming love.
4. Be of Service
   We each share our gifts in unique ways. Be that a small act of love (a smile or a selfless gesture that benefits a stranger). Or, maybe a self-nurturing act, for if we are not well, we cannot serve. Alternatively, it may be a commitment to raise your children well or improve the world with your gifts. It’s our job in life to figure out how we can best share our skills. Through a heart-centred connection we can ask the big questions that arise from our experiences—how do we serve ourselves, families, our communities, our countries and beyond. We all have value, even if we can’t do anything—at all. There may be times we can only care for ourselves and need the help of others, or need a break from caring so much for others. It is even of service to let someone love you. Think about how another’s joy may be lost when their help is rejected. To me, being of service means aiming to do the right thing and doing all that I can do at any given moment, whatever that may be.
5. Share Art with Everyone
   There are as many kinds of art as reasons to create. As I continue to develop my art practice, I’m inspired by fierce artists who have developed a strong, unique voice. One way artists share art with everyone is through public art such as murals (different than graffiti because it’s legal). I was thrilled to accept an invitation to work on the THRIVE mural recently. THRIVE is a womens’ art collective based in Vancouver, Canada. Helping create the mural pushed me to grow in many ways and I’ll share my thoughts on that in another post. Being part of the Vancouver Mural Festival has been incredible! I was definitely in my element. By creating original paintings, limited edition prints and murals I am creating art for everyone! And for those who know me well, you know my creations can also be found in my fruit and vegetable garden and at the kitchen table. May my creativity serve you well now and always. xo

The post The Big Q: What Drives Your Spirit? appeared first on Joanne Probyn Art.

1. Find your circle

Creating some distance from a few negative people (the drama queens, the self-absorbed or doubters) was an instant priority. It wasn’t my job to comfort others in that difficult time. Small amounts of negative energy can chip away at wellness, like water carving stone. Do not underestimate its power. Because it seemed my survival counted on a super-tribe, it became clear that I needed to do some weeding and cherry-picking to tighten my circle. My clan of uplifting, caring, supportive peeps has helped make my life possible, enjoyable and fruitful. I’m so grateful. By cultivating strong, collaborative communities, such as female arts collective THRIVE Art Studio, I hope to empower others. Together we go farther! 

2. Seize the moment

Facing mortality seems to increase appreciation of everything. I waste less time on activities that I don’t align with. I choose carefully, freeing all involved for more valuable interactions. Goals are intentional and less fear-based. Each day is a bonus, underlined by a feeling of abundance instead of scarcity. It took a while, but my life is now simpler yet more impactful and joyous. As I opened to alternative healing modalities, I met amazing people who introduced me to new ways of being. Some of these healing journeys have inspired my paintings or guided my practice. While teaching therapeutic art for over eight years, I helped others heal and develop their voice. These days, I’m fully dedicated to sharing my own expressions. I wake up grateful and work hard to share my vision. My practice is rooted in joy, love and service.

3. Practice self-care

Health and wellness are a focus. I drink less alcohol (goodbye wine blog) and exercise more (hello yoga). My love of eating whatever I wanted to turned into a passion for nourishing foods and sustainability. By launching a successful bean-to-bar chocolate company, I have helped get powerful antioxidants into many bodies. I care for myself and others by growing organic vegetables and kombucha. When out of balance (‘cause life happens, right?!), I ramp up self-care in whatever way time allows. Giving my all means different things at different times; it’s the same in the art studio…some days I create, other days I organize. By accepting my imperfections, I channel more energy towards wellness, love and creation. These themes find their way into my art, like kintsugi-inspired gold. I don’t subscribe to the tormented, struggling artist myth. When I’m well, I’m consistent. In short, I do everything I can to secure a long, fabulous, love- and art-filled life! Yet, everything in moderation; sometimes, I “cake for breakfast”! 😉

4.  The truth will set you free

Growth has strengthened my voice. I have learned that only love is real, everything else is an illusion (A Course in Miracles). Knowing my truth and speaking it boldly is a kind of success for me. Fear, guilt, shame…all carry negative energy that I believe have the potential to become the seeds of distraction, disease—and bad art. Thankfully, meditation, yoga and mindfulness practices have deepened my connection to mind-body and my ability to create healthier boundaries. That might means protecting my time or the tender, new ideas of art itself. Ultimately, this clarity has helped me make values- and heart-based decisions with faith and conviction, such as forgiving quickly or releasing expectations. Art based in truth communicates successfully, has lasting power and leaves a great impact on many as we are all human.

5. Be grateful

Always. Period. “As long you are breathing, there is more right with you than wrong with you, no matter how ill or despairing you may be feeling in a given moment.” Jon Kabat-Zinn. Sure, I still have bad days periodically. Nonetheless, I try to never loose sight of my good luck. Luckiness begins with a choice to see ourselves as lucky, regardless of our situation. This productive perception can begin (or be renewed) at any time. I believe gratitude and acceptance foster love while easing pain. My conclusion “why not me?” (vs. “why me?!) released my desire to find answers that weren’t really available anyway. Further, this helped me avoid unhelpful comments by those who struggled to make sense of my cancer diagnosis. Selectively inviting feedback creates a foundation for authenticity in art and life. I tried to heal with focused intentions, faith and compassion–without attachment to outcome. This attitude strengthened the very traits needed in any successful art practice.

The post Five Lessons from Cancer on Life and Art appeared first on Joanne Probyn Art.

THRIVE is a Vancouver-based, global female artists collective with 353 global members at the time of this writing. I’ve been a dedicated, delighted member of THRIVE for over two years and this summer I organized a private tour of Burnaby Art Gallery (BAG) for our membership on Wednesday, August 21, 2019.

BAG is located in a heritage home built in 1911 by Mrs. Ceperley known as Fairacres. Many people don’t realize that this home was in her own name legally and built under her direction for $150,000 (or $4M today). The property stretches out over 20 beautiful, hilly acres looking onto Deer Lake.

The home’s history is rich. Following the original Ceperley family residents, the building housed a group of Buddhists and followed by an SFU fraternity for a stint. The estate was purchased by the City of Burnaby in 1966 and assumed gallery management in 1999.

In the 80s, my mother, a knowledgeable, passionate arts-appreciator and supporter, volunteered at the Burnaby Art Gallery for over six years. I remember touring the gallery in my early years. She worked in the office, art rentals and at opening receptions. While my mom could tell you some ghost stories about Fairacres, this writing is about a different type of resurfacing…one of female artists of past and present finally finding their place in the BAG collection of over 5,500 works.

The gallery is the only one of its kind in Canada with a focus on collecting works on paper, a niche driven by an industry gap and their storage limitations. Like a museum, new works are acquired through generous donations and a set budget. BAG’s acquisition budget is $10,000 per year.

For context, 88% of the works collected have been created by white males—yet more than 50% of our population is female. Further, over 60% of Masters in Fine Arts graduates are women yet only 30% of women are shown in galleries. It’s a big gap that’s hard to wrap your head around in today’s time. The situation is even worse for women of color. Enter Ellen van Eijnsbergen, curator and director, BAG, who decided to do something about it.

Along with Jennifer Cane, BAG assistant curator, van Eijnsbergen increased collected works of female artists 3% and as a result showcased this exhibition, Women’s Work: New Acquisitions. The work was collected over three years and took some grit. There was pushback. She received aggressive, threatening emails including one person who said the BAG shouldn’t get involved in “neo-nazi, KKK, wacko feminist politics.” One man in van Eignsbergen’s circle of influence affirmed, “the reason so few female artists are collected is because there aren’t many good ones.” Herein lies a myth that’s easier to believe than to look deeper into complex systemic issues. While complicated, I’ll break this out into two main parts: the creation and collection of the work.

Over the past few hundred years, one reason many women hadn’t been creating much art was because of low self-esteem. Women were told they couldn’t or shouldn’t create. Perhaps they were told that they lacked talent, or if they had talent it was known that it simply wasn’t their place to do so. Art creation was seen as work, and women should only work inside the home. Those females who would have excelled given the encouragement, such as training and opportunities, became apathetic. They were frozen by the huge task of changing societal perceptions, fearful of judgements, exclusion or punishments. A very small number of female artists overcame all this. Yet, even when those in power acknowledged a woman’s talent, few were documented resulting in no role models.

I love art and there are so many amazing male artists. It seems that someone such as myself with a creative education and career, should have a greater awareness of female artists. I am constantly researching to uncover my art sisters of the past, to raise their voices for my own knowledge and to inspire the next generation.

Van Eijnsbergen is doing important work. Without context one might think there isn’t an issue, or that a 3% shift doesn’t seem like much. Yet, it takes more energy to begin change than it does to keep going in the same direction. On the contrary, this marks a beginning of a new trajectory that reflects the courage to disrupt the status quo. It’s worth noting again that these challenges are industry-wide and by no means special to BAG. What is special is that BAG acknowledges their gender gap and is doing something about it.

Women’s Work: New Acquisitions Review

“I encourage people to consider and learn. Ask why that piece of art makes you uncomfortable and listen—your brain will figure it out,” says van Einjnsbergen on viewing art that stirs difficult emotions.

With this exhibition, Van Eijnsbergen hoped to diversify the collection by including more female artists, women of color and untraditional works on paper. Themes include exclusion, domesticity, sexuality, sensuality, competition, victimization, racism, resilience, reflection, performance, judgement and others.

Highlights include Leonor Fini, one of the original surrealists, who’s sensual work, La Jeunne Mémoire, mystifies.

Lyse Lemieux, a contemporary artist who, against the odds carved out a place in fine art in her 60s following a successful career at CBC Radio. Works from her TDL series are featured.

Sylvia Tait who speaks to women as both the consumer and the consumed in her representational line art, Lunch Table, that has the intricacy of lace and the expressiveness of a Pollock.

Diyan Achjadi, an Indonesian immigrant and ECIAD teacher, invites us into a world of imagined characters living among traditional and contemporary patterns and shapes in The Only One Digging to the Other Side

Marianna Schmidt who fled WWII, lived in internment camps and was separated from her family at 20 years old. She ended up in Canada and found work at Vancouver General Hospital. Over 800 of her works remain in Belgium even though many have been gifted to BAG.

Mary Cassatt, perhaps the most popular artist of the collection, is one of the original impressionists, who (along with Berta Morriseau) painted domestic scenes as she was not welcome or encouraged to create in public places among her male contemporaries.

Daphne Odjig, a contemporary Indigenous artist who has developed a very strong voice. Work featured here, Medicine Dream, is an image from book Tales from the Smokehouse.

When van Eijnsbergen was asked which female artist deserved more recognition she named two; Anna Wong and Claire Leighton. Anna Wong is a contemporary artist who was recently featured in a BAG exhibition and Claire Leighton, who is a printmaker of the 19th century and was highlighted in Women’s Work.

Select Exhibition Images

More Information and Upcoming

To learn more about why women have been largely excluded from art history books, museums and gallery collections, read the following article Why are Female Artists Underrepresented?

Women’s Work: New Acquisitions is now closed.

Current and upcoming BAG exhibitions include:

• Italian Masters Saints, Sinners and Souvenirs by guest curator Hilary Letwin, PhD. to November 17, 2019;

• Echos, starting November 29, 2019, which contemplates the physical and embodied ways in which memory reappears and continues to resonate within the individual and across generations, and;

•Genevieve Robertson‘s solo show, starting February 7, 2020, on the environment.

The post Burnaby Art Gallery Narrows Gender Gap appeared first on Joanne Probyn Art.

Our group began meeting in person at The PROFILE Coworking Club about eight months before the pandemic. Jen Clark was our fearless leader.  Our meetings moved online when we could no longer meet in person due to public safety guidelines. It’s hard to believe nobody knew what Zoom was back then! For many people around the world, it’s an integral part of daily life now. We are fifteen months into the pandemic at the time of this post. Many original members our group still remain. Our format has changed to include broader discussions and artist talks. It was time to give us a name.

This group has been a pillar of comfort, inspiration and strength to me throughout the pandemic. When blursday described the day of the week, borders suddenly closed, art shows cancelled and our worlds turned upside down, we still had us. Only now we were safe in our living rooms.

Each artist brings her own unique skill set and creative style. We are an unlikely artist collective. Styles range from illustration, to abstraction and realism. We are at different ages and career stages. Some are mothers, some are not. Some early members include a mural artist, poet and even a circus performer. That performer, Renee Mak, graciously launched a wonderful online life drawing group that I was part of for many months early on in the pandemic. It grounded me in a difficult time and informed my art practice. Sadly, many performers were out of work. Renee kindly did her part to help her friends make some money. I digress, but it’s important. This group supported me when I launched Make Safe Brigade, a mask-making coalition. More on that later.

We are a passionate, kind, creative group. We strive to grow as individuals and as a collective. It’s simple yet very special. We help each other flourish in art and life. This is especially important in the art world. Female artists are undervalued and underrepresented.

One thing I know for sure? I’m lucky to have this gang in my corner!

Members:

FLOURISH ~ ACTIVE MEMBERS (alphabetical)
@thechowstudio Maggie Chow
@naturescardigan Susan Jessop
@janaraynemac Jana Rayne MacDonald
@lindsaymacmillanart Lindsay Macmillan
@mira_creates Miranda Maslany
@probynart Joanne Probyn
@ashwoodworth Ash Woodworth
SPECIAL MENTIONS
@jamiesmithstudio Jamie Smith
@tara.lee.bennett Tara Lee Bennett
@jenclark.art Jen Clark
@renee.mak Renee Mak
@lindschroeder Lindsay Schroeder
@karladeco_ Karla Decoran

The post Introducing Flourish Art Group appeared first on Joanne Probyn Art.

Introducing a series of acrylic paintings on paper! This collection of studies is inspired by female painters. Why? Because women artists are underrepresented and undervalued in the art world—throughout history and today! The art world lags behind most industries.

Art Girl Rising raises awareness about inequalities in the arts through swag, education and collaboration. Their goal is to spark conversations while inspiring change. Art Girl Rising was inspired by National Museum of Women in the Arts. This series is a reaction to their important work.

Additionally, I’m paying homage art sisters who came before me. However, these studies may or may not reflect their style. Actually, my aim was to deepen my mark-making and art history knowledge while reducing my impact on the environment. Initially, I had no intention to share these works. However, I’ve enjoyed them so much. More importantly, I hope the question of who belongs to these names continues to be asked—and answered—as they find their way into the world. 

I researched historic female painters and my contemporaries who have mark-making strengths. Next, my goal was to play! Play is liberating. Some of the best creative work comes simply from a sense of enjoyment and exploration. I integrated many of my favourite techniques such as building up layers to develop depth. Light was breathed into the work with gold leaf. Imperfection was conveyed with scratches and texture. I escaped into worlds of dots, splashes, raindrops and love. My thoughts lingered on their life experiences. I do hope you enjoy the first of this series! Introducing… Helen. Helen Frankenthaler.

Let me know what you think!

15% of proceeds will be donated to Downtown Eastside Women’s Centre.

Downtown Eastside Women’s Centre

Downtown Eastside Women’s Centre (DEWC) is one of the few safe spaces within the Downtown Eastside exclusively for self-identified women and their children. High levels of violence, homelessness, addictions and poverty characterize the Downtown Eastside community. Women and children are particularly vulnerable to exploitation, injustice and injury. DEWC provides practical support to over 500 women, children and seniors, every day. As well as providing a refuge and shelter from conditions of poverty and violence, the Centre provides basic necessities while reducing the effect of economic disadvantage. The Centre assists women with their immediate and crisis needs so they can develop stability and access the resources they need to improve health, family, employment and housing situations. We promote positive change by offering individual long-term support, education, advocacy, peer mentorship and exposure to alternatives. Our community also works towards increasing awareness of systemic injustice and inequalities that contribute to women’s vulnerability.

The post Female Painters Series appeared first on Joanne Probyn Art.