Author Archives: Val Nelson

VAL NELSON STUDIO PAINTING WORKSHOPS

I just wanted to let you know that I’m planning a couple of painting workshops in the spring: a reprise of my “Loosen Up!” workshop, and “The Language of Paint” workshop. This time you have an opportunity to work on your goals over 6 classes, which take place once a week. Please let any of your painter friends know about it. I look forward to seeing you there!

Please see below for details:

Loosen Up! Painting Workshop
This six-week session is for painters with some experience who are interested in creating more flow and energy in their work. Oil painters and acrylic painters can all benefit. Bring your ideas: photographic references, drawings, or a still life––the class is open-ended in terms of subject matter in order for you to push your own ideas and develop what interests you.

When: Tuesdays, 7-10 pm, April 26 – May 31
Where: 322B-1000 Parker St, Vancouver
Fee: $300.
Materials: Bring your paint supplies and a pre-gessoed canvas or hard support such as wood or MDF, both of which should be available at your local art supply store.

Easels and tables will be provided.
To register please contact: val@valnelson.ca

The Language of Paint Workshop
This six-week workshop is for painters with some experience who want to further their painting process. Oil painters and acrylic painters can all benefit. Val will facilitate participants in recognizing and developing their own unique painting language. Bring your ideas, a sample or two of your work, some goals for the course, and an open mind.

When: Saturdays, 3-6 pm, April 23 – June 5 (one week off for Victoria Day holidays)
Where: 322B-1000 Parker St, Vancouver
Fee: $300.
Materials: Bring your paint supplies and a pre-gessoed canvas or hard support such as wood or MDF, both of which should be available at your local art supply store.

Easels and tables will be provided.
To register please contact: val@valnelson.ca

Testimonials:
Amazing workshop. One of the best painting classes I have taken. Val  seems to know what everyone needs and has the skill and insight to
convey that information in a way that is understood by her students.
– Dorothy Doherty, Vancouver 2009 workshop participant

Val gave each participant a great deal of personal feedback. Her lovely personality and interesting anecdotes added to the overall experience. This painting weekend reignited my passion for painting! - Miyeko Nabata, Vancouver 2009 workshop participant

Surface Tension

If you’re in Vancouver, be sure to check out the thoughtfully curated show at Malaspina Printmakers on Granville Island. Andrea Pinheiro has brought together five conceptual printmakers whose work contains “traces of an interaction with a material surface; marks recorded through evocative acts ranging from violence, to tenderness and devotion.”

One of my favorites is Denise Hawrysio’s  installation which consists of a copper-plated “brick” (presented on a plinth), each side of which was etched and printed, the resulting work on paper accompanying the sculpture possesses an arresting beauty in its bold black-patterned marks. The other artists in the show are Jennifer Bowes, Joyce Wieland, Jessica Jackson Hutchins, and Niall McLelland.
February 10 – April 11, 2011
Malaspina Printmakers
1555 Duranleau Street,
Granville Island, Vancouver

Joyful Bungling: Vermont Studio Center Residency

I have received an Artist’s Grant from the Vermont Studio Center, where I’ve been invited to attend a four-week residency in March. Founded by artists in 1984, the Vermont Studio Center is the largest international artists’ and writers’ Residency Program in the United States, hosting 50 visual artists and writers each month from across the country and around the world.

After the Residency I’ll visit Montreal for a few days, then undertake an intensive gallery/museum-hop in New York City for a week. Super excited!

Drawing in the Dark (Part 2)

Vancouver Opera premiere of Lillian Alling, Act 1

Excerpt from Vancouver Opera’s Blog

The things people do in the dark of a theatre.

Some people sit riveted and try to taking in everything that is happening on stage. Others glance upwards and down as they read the surtitles. And others may close their eyes and simply let the music and singing overtake them.

Not artist Val Nelson.

Val draws the opera when the lights go down. Ever so discretely and imperceptibly that her fellow seatmates do not even know this was happening. Val first came to our attention when she drew at Madama Butterfly last season.

On opening night, she was once again armed with her drawing pen to help us record the world premiere of Lillian Alling.

(read more…)

The Wanderer

Ever toil away at a problem, getting nowhere, then finally give up in despair and take a shower, or go for a drive? If you have read Jay Ingram‘s book “Theatre of the Mind”, you will recognize that state he talks about, where in doing something familiar that requires little brain energy, your imagination is free to wander and relax, and “eureka!” the solution to your problem pops seemingly out of nowhere.

Creativity needs that open space in order to forge new “links” previously unrecognized. For me, that freedom to follow my instincts in the painting studio is key to making work that engages me, and hopefully the viewer as well.

There is beauty in the world. -Macy Gray

Macy Gray, on a CBC radio interview yesterday with Jian Gomeshi, stated that she doesn’t pay attention to the numbers. She commented that as soon as producers focussed on marketing to teenagers, the music industry started to suffer. Gray, now in her forties, feels that there is plenty to say with her music to people who are a little older. In order to be true to her own voice, she “went back to basics” to produce her new record, “The Sellout”; the basics for her means making great music. This video is proof that she is onto something. Thank you, Macy Gray.

Drawing in the dark

Last week I went with my husband to see Vancouver Opera‘s production of Madama Butterfly. I wanted to see if I could do some drawings of the production. Since you can’t see what you are doing while sitting in the dark, there is little opportunity to self-edit, and no choice but to be free to make marks, constantly obliterating the actions that have just been carried out, without preciousness. The resulting drawings are records of movement through space and time.

Val Nelson, Madama Butterfly, Act 2, 2010, 8.5 x 11 inches, ink on Stonehenge paper

This way of working reminds me of something I read about Cy Twombly, who reportedly practiced drawing in the dark when he was drafted into the army and worked as a cryptographer in 1953. Having seen “primitive” mark-making in North Africa, he was intent on recovering the directness of the unschooled, unselfconscious artist. One can’t help but also think of the drypoints and drawings of Ann Kipling. This is the kind of drawing that I find very exciting to do, something that retains the essence of a state of mind in focussed absorption.

Films about Artists

David Hillman Curtis is a filmmaker, designer and author whose company hillmancurtis, inc. has designed sites for Yahoo, Adobe, Aquent, the American Institute of Graphic Design, Paramount and Fox Searchlight Pictures among others. His film work includes the popular documentary series “Artist Series”, as well as award winning short films. His commercial film work includes spots for Rolling Stone, Adobe, Sprint, Blackberry and BMW.

A fine example  of his work is this film on designer Stefan Sagmeister, who had a gallery exhibition at Deitch Projects in New York in 2008. The film shows Sagmeister’s playful imagination at work.

http://www.hillmancurtis.com/index.php?/film/watch/sagmeister08/

Go and make stuff

John Baldessari and respecting one’s audience

John Baldessari, Beethoven's Trumpet (With Ear), Opus 127 2007 Courtesy Marian Goodman Gallery, New York © John Baldessari Resin, fibreglass, bronze, aluminuim and electronics

The American artist John Baldessari, in a podcast from Tate Modern, states that he acknowledes his audience when making his artwork. His opinion on this developed through his need to communicate with his students; he needed to find ways to hold their attention. In his artist talk he says that he feels it is his job to provide enough “meat” for a more intellectual audience, but also to be able to connect with the average viewer; “I can’t control who will be looking at the work.”

Famous for sometimes poking fun at the artworld, here’s Baldessari in a version of I’m Making Art circa 1971.