comment 1

Beautiful morning

DSC03893.jpg

What a beautiful morning to be out with the partners. This photo was taken from the shore by the water filtration plant next to Sam Smith Park – looking south-west. Sunny, just a little bit cool. Perfect.

We walked through the field behind the yacht club. This field contains numerous boxes for the tree swallows, and from all the activity, I’d say that program has been very successful.

DSC03898.jpg

Almost all of the boxes had swallows perched on or near them and there were numerous swallows in the air, enjoying a tasty breakfast from the midge swarm cafeteria.

The birders with the jumbo lenses and the camo outfits were out again this morning, hunkered down on the beach, watching the water. Some of these folks are so serious about their birding, even their camera lenses are camo. Except for the birders and an occasional dog walker, the park was quiet. That will change later today if this beautiful weather holds. Plenty of walkers and cyclists and dog walkers will be out along the paths, enjoying the waterfront. When I’m out by the lake on a morning like this, I think how fortunate we are to live in such a beautiful spot.

comment 0

Avian Symphony

Out with the partners at dawn today, the avian symphony was spectacular. No construction. The stinky forklift constantly chugging away next door hadn’t started up yet. No generators. No idling construction vans. Just birds. Lots and lots of birds, creating a magical layers backdrop to the morning. Perfect.

comments 2

Mac Beattie and his Melodiers

Time for a fix of music from the Ottawa Valley featuring Mac Beattie and his Melodiers.

Here’s Little Shack up the Pontiac….

Here’s one I’ve shared before – but it’s so good it deserves to played over and over again – Old Tyme Fiddler’s Dream with Reg Hill on Fiddle.

Man, this tune ought to be played in schools so kids can grow up knowing all about some of the great Canadian fiddlers. Next up is Maple Sugar Blues. Mr. Beattie wrote this one to mark the passing Ward Allen, composer of Maple Sugar and loads of other great fiddle tunes…

Finally, I’d like to close this post with the tune perhaps most often associated with Mac Beattie, The Log Driver’s Song (not to be confused with Wade Hemsworth’s Log Driver’s Waltz). I could listen to these old tunes all day. I hope you enjoy them as much as I do.

 

comments 6

Living space – changing perspectives?

New houses in our neighbourhood, almost without exception, fill as much lot with building as possible. You can see that just looking across the street from us.

IMG_5396.jpg

The bungalow on the left is one of the original homes. The builder who bought both properties is building himself a new very large bungalow on the right. The old one looks so tiny compared to the new structure. The small one is soon to be replaced by a pair of tall narrow homes on newly severed lots which have been popping up around the area.

It isn’t clear to me if there is a real demand for more living space or simply more demand for all kinds of housing in Toronto and more profit in putting the biggest footprint possible on every property. It seems that most of the new builds are accompanied by applications for variances on size, which seem to be regularly granted. At the same time I’ve read in the papers about condos in Toronto which are mostly very modest spaces – an opposite phenomenon. I guess this too is all about profit.

I grew up in a suburban neighbourhood (central Etobicoke). My parents wanted to get out of the city as soon as they could afford to in favour of a new area which they felt would better meet the needs of their family. We lived in what I thought was quite a roomy home, a bungalow with a nice big basement. It was built in 1960 and my parents bought it for $19,000. As roomy as the houses on my old street are, none of them crowd the lot the way the new builds around here do. I think the first time I noticed a trend toward oversize housing was when I was in my teens and communities of very large homes were put up in some of our northern suburbs.

The new  homes here in Long Branch put a premium on interior space over green space, canopy, gardens and so on. I wonder if all those home and garden reno and design television shows have contributed to the change (need to have that thoroughly modern kitchen and all that jazz)? Perhaps the change was partially driven in some suburbs by demand for homes big enough to house extended families. Perhaps too, modest land costs simply made building a big home with big rooms easier to attain.

We lived in a very small house in the “Little Portugal” area of Toronto for several years. It was about 700 square feet, but seemed bigger with its private drive and lovely back garden (which included a 12X12′ shed which became my secret lab). For years it seemed like plenty of space, but eventually we started thinking about finding more room. Initially we looked at a renovation/addition, but eventually decided it made more sense to move. I think living in a smaller space created our perspective on how much space we need to live comfortably. Today we have lots more space with plenty of yard space and trees, but nothing like the new homes around here which seem to crowd the lots.

The change in character we are witnessing in Long Branch might be defined by the attitude of filling as much available space with home as possible, changing the relationship between home and yard and trees and so on. Many of the mature trees, which thrived in old Long Branch are in the way to builders motivated to create the largest footprint possible.

 

comments 2

Terminal Beef (blast from the past)

terminal-beef.jpg

For reasons I cannot begin to understand certain of my paintings stay front of mind for a very long time. Others don’t live with me for nearly so long. Terminal Beef is a painting I made back in 1998. Although it is a picture I have not exhibited, Terminal Beef is one that still resonates with me. I wish I could more easily identify what makes this particular piece sticky for me. I suppose in part it is because it is an orphan, an oddball in the greater body of my paintings. It’s awkward and the imagery evokes certain personal connections for me that make me laugh. The title of this painting comes from a sign in the old Stockyards in Toronto’s west end. Most of those stockyard buildings have been replaced with box stores and the like. I’m not sure if the sign is still standing, or even exactly where it was. I’m happy though, this painting has a good home.

I was thinking about Terminal Beef today and I was trying to recall what other paintings I was doing at the same time and how they might have been related to this one. I usually work on more than one painting at a time, and sometimes several at once, and often paintings share certain visual ideas. The one painting I can think of that was made around the same time is a quite large two-panel job called The Source.

the-source.jpg

The two don’t look much alike. I think they are related some though in that I used spray enamel in each of them, and the process or approach to both was similar. The Source was exhibited in an exhibition called Canadian Shield along with a suite of small paintings. I remember this very well because I was really excited about exhibiting this painting, but it turned out many people really liked the small paintings but few had any time for The Source (and some people even took the trouble to share some criticism of this one). Fortunately, I have thick skin. I’ve kept this big diptych in storage. As with Terminal Beef this painting is still very satisfying to me. Maybe one day I’ll exhibit it again. It would be interesting to see if after a couple decades it gets a more positive response.

Filed under: Art
comment 0

Studio Clean-up

One way I know I’ve completed a series of paintings and I’m ready to move on to a new set is that I start thinking about doing a studio clean-up and re-organization. This is that time. I have a small studio in the basement of our house. When I was a young painter I thought I needed a big warehouse studio, and in fact I had an excellent live-work space for several years. Curiously enough, except for those occasions when I painted very large, I mostly used one corner of the space for my actual painting. Then for several years I painted in what I called my secret lab, a 12X12 foot shed behind our old house on Blackthorn Ave. It had a baseboard heater and it had lights, but it did not have running water. Still, it was fine.

My basement studio is fine too, but the thing about working in a small space is it benefits greatly from a little bit of organization and tidiness. My studio is a big mess. It is not so spectacular in that regard as for instance, Frances Bacon’s studio was, but his was extra-special. Today I’m going through all the junk in there, getting rid of un-needed crap I’ve been hanging on to, reorganizing a bit, and generally getting ready for another bout of painting.

comments 4

Sunday Painting

There was a time when Tuffy P (AKA Sheila Gregory) and I, along with our friends Tim Noonan and Ardis Breeze and the late Ronald Bloore made regular Sunday drawing/painting trips to various locations around Southern Ontario. We did it for a few years, almost every Sunday the weather permitted. We even went on a painting weekend trip once up to the Sundridge area.

We had an opportunity recently to look through a selection of the drawings Ron Bloore made with us. Looking at each drawing brought back special memories of the particular day or place it was made. This was a very emotional experience, both because those Sundays were very special to us, and because Ron was very dear to us, and even though he has been gone several years now, we miss him and we think of him often.

Ron was not just our friend, he was also one of our painting teachers at York University in the early 80s, not to mention one of Canada’s most prominent painters. Somehow or another we became good friends after graduation, and somehow or another we all started doing these painting/drawing trips together. I know Tuffy P and I had been doing some outdoor drawing previous to this, and so had Ron, sometimes with his friend, the late David Partridge. Curiously enough I don’t know just how it came about we all went out together.

I remember one trip we were somewhere down in the Grimsby area . We had parked at the side of the road and set up to attempt drawings of an orchard. Bloore had a little portable stool he perched on while he drew. He was hard at work on a pencil drawing, when a car stopped on the road beside him. “Are you OK, do you need any help?” Without missing a beat, Ron looked at the guy and said, “Only if you can help me with this drawing….”

Hank Roest splendidly maintains the Ronald Bloore website. He has recently put up a page dedicated to Bloore’s Sunday sketches, including some photos we provided from those trips. I encourage you to visit both the Sunday sketches page and the whole site, particularly if you are not familiar with Bloore’s work.

comments 2

The Things We Used to Do

I haven’t posted anything about my paintings for a while, so here’s a sneak peak at what I’ve been up to.

I’ve been working on a series of smallish, shaped encaustic paintings to be part of my next exhibition at Yumart in September. For those unfamiliar with encaustic, it is a wax paint. The word comes from the greek enkaustikos, meaning to burn in. Traditionally, the wax paint is applied to a surface and then gently heated again. I’m using pigment and in some cases oil paint in a medium made from refined beeswax with a small amount of damar resin. The damar adds hardness and raises the melting point of the medium for a tougher surface. These days electric fry pans and heat guns make the whole process easier than it once was.

Here is one of the new paintings, called The Things We Used to Do.

The Things we used to Do_.jpg

This painting (and the whole series) is on a wood ground which I have carved to shape using a mini-grinder. It’s about 18X12. At this point there are 6 new encaustic paintings ready and I think that is going to be it for this series.

It’s time to do a studio clean-up and reorganization, which I’ll be working on next week. After that I’ll be back at it and we’ll see where the new work goes from here.

 

Filed under: Art