Dartmouth artist Violet Rosengarten is showcasing a selection of her spring collection at Gallery Nineteen Nineteen in Halifax. The paintings in the exhibit, which is called Foliage and Flowers, Islands, Lakes and Sea, include some of Rosengarten’s plein air work inspired by natural locations around HRM.
“I wanted to show work I did outdoors,” Rosengarten says. “Everyone is tired of winter and looking forward to summer. People were commenting on the light in them. I can see I really developed my own style.”
Rosengarten’s process involves painting with oil sticks, which she says look like crayons with oil paint inside. She then draws into the paint, removing some of the paint and creating detailed patterns and texture on her work.
“I love texture and colour,” Rosengarten says.
“I usually spend an hour and a half painting outside and then I’m totally wiped out,” Rosengarten says. “It’s very intense. You have to work very fast before the conditions change. It’s very challenging at times, depending on the weather.”
The landscapes she’s painted include spots at the Salt Marsh at Chezzetcook and locations within the Blue Mountain-Birch Cove Lakes Wilderness Area, including Susies Lake. Rosengarten has a few paintings from the same locations, but each painting is different and reflects the conditions when she was painting. The looks can be mystical or rugged.
“I don’t know what’s going to come out,” Rosengarten says. “It’s a surprise each time.”
Rosengarten started her plein air painting when she arrived in Nova Scotia with her family 13 years ago, saying she was inspired by the province’s natural beauty. In Toronto, Rosengarten worked as an artist and taught art at Jarvis Collegiate Institute. She worked as a textile artist before she became a painter.
“This is where it’s beautiful,” Rosengarten says. “It’s hard to get out of Toronto. It takes hours to get out of the city. [Plein air] is something I developed here and found a real thrill to them.”
She paints in the summer and fall months. During the winter, she works on mixed media art in her studio.
She had a show a few years ago at The Craig Gallery in Dartmouth, exhibiting black and white paintings of winter gardens. She also had a show in September 2018 at Round Hill Studio in Annapolis Royal.
This summer, Rosengarten says she will be outside more, working on new pieces. She’s also working on abstract works for a show she hopes to have later this year. Rosengarten’s current show runs until Friday, April 26, at Gallery Nineteen Nineteen, which is located at 6025 Stanley St. in Halifax.
For more information, visit violetrosengarten.com or gallerynineteennineteen.com.
Chronicle Herald, Halifax, April 1st, 2019
VIOLET ROSENGARTEN’S SPRING COLLECTION Foliage & Flowers, Islands, Lakes & Sea
Charlie’s Lake, Blue Mountain Birch Cove Lakes
AT GALLERY NINETEEN NINETEEN 6025 Stanley St., Halifax, in the Dean’s Flowers Building
March 18 to April 26, 2019
Opening Reception Wed. March 20th, 6 to 8 pm.
You are cordially invited to my exhibition Sous-bois / Undergrowth currently on display at Galerie 12, Centre culturel Aberdeen, 140 rue Botsford, Moncton.
The reception will be held on Wednesday, March 06 from 5:00 to 7:00 PM.
FOR IMMEDIATE RELEASE: January 14 2019
Upstreet Craft Brewing and this town is small inc. partner for the second year of The Do Good Residency.
Launched in Summer 2018, The Do Good Residency is an artist-in-residence program located at Upstreet Craft Brewing’s warehouse in Charlottetown, PEI. The program is supported by Upstreet Craft Brewing’s Do Good Fund for Arts Initiatives and coordinated by this town is small inc., PEI’s Artist-Run Centre.
Deadline to Apply for the 2019 program is February 18 at midnight Atlantic Time.
This residency is a natural partnership for the brewing company and not-for-profit artist-run centre that share a deep love for their community in PEI, and believe in the power of collaboration, interactivity, and good-natured fun.
To help meet their mission of creating positive social and environmental impacts and supporting the community as a whole, Upstreet created the Do Good Fund – a fund dedicated to supporting artists and art initiatives throughout the year on Prince Edward Island. With every sale of their popular Do Gooder APA, a portion of the proceeds goes directly into this fund.
this town is small’s mission is to foster sustainability for contemporary arts practice on PEI, encouraging communication and collaboration among members of the artistic community and with the community at large.
Local, regional, national, or international professional contemporary artists with a strong interest in community engagement and collaboration are invited to apply. There are three 3-week slots available this year:
one in May reserved for an artist based in Atlantic Canada;
one in June and one in September, both open to all artists.
This is a self-directed residency that includes a collaboration with Upstreet: selected artists will work together with the Brewmaster and Head Chef at Upstreet to design a beer recipe and food menu. The artist will also create a design to be featured on the label of the custom beer. At the completion of the residency an artist talk and special event will be held to present the artist, as well as their beer collaboration and food menu.
Selected artists receive studio space, lodging, administrative support, community engagement & networking support, and a stipend. Travel costs and materials are not provided.
Full application details can be found at https://thistownissmall.com/the-do-good-residency/
or email Monica Lacey at firstname.lastname@example.org
with Do Good Residency in the subject line for more information.
this town is small inc.
PEI’s artist run centre
115 Richmond Street
Nova Scotia Society of Polish Artists would like to extend an invitation to our Art Show & Sale Jan. 5, 2019 till Jan. 27, 2019. It is first event in our annual series of fundraisers in support of The Canadian Centre to End Human Trafficking.
Opening ceremony will take place on Saturday, Jan. 5, 2019 at Chase Gallery, Public Archives of Nova Scotia, 6016 University Ave. Halifax, 1:00 pm – 4:00 pm.
“Winter Bay” by Prince Edward artist Karen Gallant
Acrylic on Wood panel, 2017
Together, we are making a difference. Since 1958, we have been there for you, the professional artist. CARFAC Maritimes thanks you for your support and during this busy holiday season urges you to reflect on the power of the arts. Whether supporting your own practice or as a collective, we will continue to work on your behalf.
Nancy Cole takes her journalism skills and applies them to art
SUMMERSIDE, P.E.I. – Artist Nancy Cole was on a seven-week international residency in a remote and rural community dotted in the Serra da Estrela mountains of Portugal, when on her last night wildfires engulfed the area and killed more than 40 people.
“Sunday, the night before I was to leave I got caught in the wildfires and we literally had to run for our lives,” she remembered with a troubled look in her eyes as people paused over each one of her images hanging in the latest Eptek Art and Culture Centre exhibition called ‘Reveal to Conceal.’
“It made all of these pieces more important to me because it was no longer just a nostalgic look at rural Portugal, but now I don’t know if those people survived,” she motioned to a particular image of an elderly widow with a warmness attached to her eyes.
“This elderly widow was in a small village and was sitting on a dry stone wall wearing a traditional hat. She was lamenting that the village water at the top of the hill wasn’t good, but for her to carry the buckets back up to her home from the newer, better well was a weight too much for her to bear,” said Cole, who was in Portugal in Oct. 2017.
“I did a whole series where I put 44 red French knots on each of the portraits because 44 people died that one night when the wildfires broke out in that area where we were staying,” she noted.
“It made all of these pieces more important to me because it was no longer just a nostalgic look at rural Portugal, but now I don’t know if those people survived.” – Nancy Cole
Cole’s contemporary artwork is done on Tyvek, which is a brand of flash-spun high-density polyethylene fibers used to wrap homes in.
“My materials are part of the allegory for what I am creating. Tyvek is part of the art in that it’s an industrial housing product, but also artistically it gives the feeling of fragility because it looks like paper. All these moments that I am trying to capture are very fragile moments but also very tough.”
Every one of her pieces has a story behind the face that has been originally drawn by Bic pen while incorporating reflections of her journalism career, and then hand-quilted to the Tyvek.
“Journalism was a tough job, but I was always very drawn to the human interest story. As I grew older I began to realize that perhaps I could say better what I wanted through visual art.”
Cole took with her to Portugal at a Bic pen and a sketchbook, capturing moments that will forever be treasured.
“It’s being journalistic, but trying to do it visually,” she said as her eyes lit-up.
As people weaved their way through the creative pieces, some stopped to speculate on Becka Viau’s creative display.
“It’s called postpartum,” she motioned. “I did the series the year after my second child was born, but I tend to work in the abstract. There are real elements in my drawing you can notice like mountains, teardrops, and birds, but for me, it was a release of energy that leads to these drawing.”
The exhibition that opened on Sunday afternoon will continue until mid-February.
Nikki Gallant, the site director, said the exhibition would not be possible without the support of Innovation P.E.I. Culture Action Plan.
this town is small presents an exhibition of new work by Nancy Cole consisting of hand quilted textiles and BIC pen drawings. On view at Receiver Coffee Co.’s Victoria Row location from May 17 through June 20.
This exhibition series is generously supported by Innovation PEI through the PEI Culture Action Plan.
Nancy says about the work:
“I arrived at the international residency in rural Portugal, October 2, 2017. The first two weeks were filled with exploring, interacting and drawing the beautiful people of the area. We travelled the narrow, winding roads up into the high mountains discovering tiny villages with few inhabitants. Experiencing the culture of an area virtually unchanged was cathartic and had already supplied me with a wealth of material.
Sunday, October 15, was an eerie day with restless farm animals, a red sun and ash showers from distant fires fell like flakes of snow. It hadn’t rained since June. We joked about Armageddon. We could hear the wailing of distant fire sirens and the undulating mountain horizon glowed red.
I settled into a restless sleep. Fires broke out at 2:00 am in the village. I awoke to the screams of the villagers. When I looked out the window of my room, the smoke was as thick as a Nova Scotia fundy fog. I could see sparks skipping through the murk. The wind was ferocious. My fellow artists were scrambling. I grabbed tea towels and tablecloths and soaked them in water to wrap around our heads. As I waited for the others in the courtyard, I saw the flames and live embers bouncing along the narrow, cobblestone lane. I couldn’t wait any longer and ran. My plan was to head to the church. Embers brushed my legs and burdened with my sketchbook and laptop, I told myself, quite frankly, that I was going to die.
I made it to the village square. A steady stream of cars was leaving the area. My instinct was to flee but none of the cars would stop. I hooked up with my fellow artists and we huddled together with our heads wrapped in the wet cloths. Londoner Liam, 22, kept asking if we were going to die. I said I didn’t know. I found a house with a large, in-ground swimming pool and we settled near the pool. The fires raged all around us. Houses burst into flames as the incendiary gas bottles exploded. The villagers were all stunned into silence. We waited for hours. No fire trucks arrived, no alarms, no emergency measures, just a few of us huddled, waiting and wondering. I sent an SOS to Global Canada so at least I could be found.
The 500+ wildfires destroyed 1/10th of western Europe’s forests. The mountains around Coimbra were a scorched badland. Forty-four people died that night. Three people perished when they fled by car and got caught between two uncontrolled fires. Countless others lost their homes, livestock and crops. This area is populated with poor, subsistence farmers and the lack of a comprehensive census means Portugal may have lost so many more than officially recorded. I am tormented knowing that perhaps the lovely, old mountain couple that welcomed us into their home and offered us bread, wine and cheese, may not have survived. The images I took of the people and the bric-brac inside abandoned houses is perhaps the only and last record of what was once. “