Susan G. Scott
Social Media Link: Social Media Link
Web Site Link: Web Site Link
Virtual Collection: Original CCCA
Country of Birth: Canada
Province of Birth: Quebec
Year of Birth: 1949
City: Montreal
Country: Canada
Type of Creator: Artist
Gender: Female
Mediums: commission, painting, public art
Add to List
Work by Susan G. Scott
Description of a Struggle #12
Work ID: 48613
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 55.88 cm x 76.2 cm/po
Collection:
Date Made: 1982-1983
Materials: acrylic on paper
Virtual Collection: Original CCCA
Description of a Struggle #5
Work ID: 48606
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #2
Work ID: 48603
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #4
Work ID: 48605
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #9
Work ID: 48610
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 137.16 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #6
Work ID: 48607
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #10
Work ID: 48611
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #11
Work ID: 48612
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 147.32 cm x 172.72 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
A Recurring Image: I Often Thought of Killing Him (study)
Work ID: 48614
Description: Study for Description of a Struggle #9. Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate'' the image.The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 55.88 cm x 76.2 cm/po
Collection:
Date Made: 1983
Materials: acrylic on paper
Virtual Collection: Original CCCA
Description of a Struggle #1
Work ID: 48602
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #8
Work ID: 48609
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #7
Work ID: 48608
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Description of a Struggle #3
Work ID: 48604
Description: Living 15 years in New York, I longed to escape the legacy of abstract expressionism. Description of a Struggle was my first series of narrative paintings. Painting in oils, I eliminated the brush stroke and formatted the canvases to mimic polaroid snap shots, complete with a white border on which I scribbled anecdotes to 'narrate' the image. The series tells a love story structured after the short story of the same name by Franz Kafka. I identified 3 characters: hero, heroine & rival.
Measurements: 157.48 cm x 147.32 cm/po
Collection:
Date Made: 1983
Materials: oil on canvas
Virtual Collection: Original CCCA
Are you really looking for me? #1
Work ID: 48615
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 142.24 cm x 162.56 cm/po
Collection:
Date Made: 1984
Materials: oil on canvas
Virtual Collection: Original CCCA
Are you really looking for me? #1, study
Work ID: 48623
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 134.62 cm x 154.94 cm/po
Collection:
Date Made: 1984
Materials: charcoal on paper
Virtual Collection: Original CCCA
Are you really looking for me? #5
Work ID: 48619
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 142.24 cm x 162.56 cm/po
Collection:
Date Made: 1985
Materials: oil on canvas
Virtual Collection: Original CCCA
Are you really looking for me? #8
Work ID: 48622
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 142.24 cm x 162.56 cm/po
Collection:
Date Made: 1985
Materials: oil on canvas
Virtual Collection: Original CCCA
Are you really looking for me? #4, study
Work ID: 48624
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 134.62 cm x 154.94 cm/po
Collection:
Date Made: 1985
Materials: acrylic , pencil on paper
Virtual Collection: drawn, Original CCCA
Are you really looking for me? #4
Work ID: 48618
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 162.56 cm x 142.24 cm/po
Collection:
Date Made: 1985
Materials: oil on canvas
Virtual Collection: Original CCCA
Are you really looking for me? #3
Work ID: 48617
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 152.4 cm x 172.72 cm/po
Collection:
Date Made: 1985
Materials: oil on canvas
Virtual Collection: Original CCCA
Are you really looking for me? #6
Work ID: 48620
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 208.28 cm x 304.8 cm/po
Collection:
Date Made: 1985
Materials: oil on canvas
Virtual Collection: Original CCCA
Are you really looking for me? #2
Work ID: 48616
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 142.24 cm x 162.56 cm/po
Collection:
Date Made: 1985
Materials: oil on canvas
Virtual Collection: Original CCCA
Are you really looking for me? #7
Work ID: 48621
Description: Each of the 8 paintings in my second narrative series based on Kafka text is surrounded by a white boarder containing the question 'Are you really looking for me'?. A pictorial narrative unfolds, with stages of encounter, intimacy, and separation, each haunted by the repetitive force of the written question, 'Are you really looking for me'?.
Measurements: 142.24 cm x 162.56 cm/po
Collection:
Date Made: 1985
Materials: oil on canvas
Virtual Collection: Original CCCA
A Kafka Parable #2, study
Work ID: 48635
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 185.42 cm x 259.08 cm/po
Collection:
Date Made: 1986
Materials: charcoal on stained paper
Virtual Collection: Original CCCA
A Kafka Parable #3, study
Work ID: 48634
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 190.5 cm x 127 cm/po
Collection:
Date Made: 1986
Materials: charcoal on stained paper
Virtual Collection: Original CCCA
A Kafka Parable #6
Work ID: 48630
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 190.5 cm x 157.48 cm/po
Collection:
Date Made: 1986
Materials: oil on canvas
Virtual Collection: Original CCCA
A Kafka Parable #1
Work ID: 48625
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 256.54 cm x 193.04 cm/po
Collection:
Date Made: 1986
Materials: oil on canvas
Virtual Collection: Original CCCA
A Kafka Parable #4
Work ID: 48628
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 190 cm x 252.5 cm
Collection:
Date Made: 1986
Materials: oil on canvas
Virtual Collection: Original CCCA
A Kafka Parable #7, study
Work ID: 48632
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 55.88 cm x 76.2 cm/po
Collection:
Date Made: 1986-1987
Materials: gouache on paper
Virtual Collection: Original CCCA
A Kafka Parable #3, study
Work ID: 48633
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 76.2 cm x 55.88 cm/po
Collection:
Date Made: 1986-1987
Materials: gouache on paper
Virtual Collection: Original CCCA
The Taxi-I can’t stay here , from the series Forgotten Histories
Work ID: 48641
Description: In a love letter written to the poet Paul Verlaine in 1873, Rimbaud wrote: Yes, I was in the wrong, Oh! You won't forget me, will you? No, you can't forget me. As for me, I still have you, here. Listen, answer your friend, must we not live together anymore? Be brave. Answer this quickly. I based the paintings of Forgotten Histories on these words at the beginning of the AIDS epidemic in the United States. The work is an ode to friends who were being diagnosed with, and dying of AIDS.
Measurements: 182.88 cm x 147.32 cm/po
Collection:
Date Made: 1987
Materials: oil on canvas
Virtual Collection: Original CCCA
A Kafka Parable #3
Work ID: 48627
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 142.24 cm x 177.8 cm/po
Collection:
Date Made: 1987
Materials: oil on canvas
Virtual Collection: Original CCCA
Forgotten Histories, study
Work ID: 48643
Description: In a love letter written to the poet Paul Verlaine in 1873, Rimbaud wrote: "Yes, I was in the wrong, Oh! You won't forget me, will you? No, you can't forget me. As for me, I still have you, here. Listen, answer your friend, must we not live together anymore? Be brave. Answer this quickly." I based the paintings of Forgotten Histories on these words at the beginning of the AIDS epidemic in the United States. The work is an ode to friends who were being diagnosed with, and dying of AIDS.
Measurements: 76.2 cm x 55.88 cm/po
Collection:
Date Made: 1987
Materials: gouache on paper
Virtual Collection: Original CCCA
Forgotten Histories, installation view
Work ID: 48636
Description: In a love letter written to the poet Paul Verlaine in 1873, Rimbaud wrote: "Yes, I was in the wrong, Oh! You won't forget me, will you? No, you can't forget me. As for me, I still have you, here. Listen, answer your friend, must we not live together anymore? Be brave. Answer this quickly." I based the paintings of Forgotten Histories on these words at the beginning of the AIDS epidemic in the United States. The work is an ode to friends who were being diagnosed with, and dying of AIDS.
Collection:
Date Made: 1987
Materials:
Virtual Collection: Original CCCA
Listen, answer your friend, from the series Forgotten Histories
Work ID: 48640
Description: In a love letter written to the poet Paul Verlaine in 1873, Rimbaud wrote: Yes, I was in the wrong, Oh! You won't forget me, will you? No, you can't forget me. As for me, I still have you, here. Listen, answer your friend, must we not live together anymore? Be brave. Answer this quickly. I based the paintings of Forgotten Histories on these words at the beginning of the AIDS epidemic in the United States. The work is an ode to friends who were being diagnosed with, and dying of AIDS.
Measurements: 198.12 cm x 157.48 cm/po
Collection:
Date Made: 1987
Materials: oil on canvas
Virtual Collection: Original CCCA
Oh! You won’t forget me ?, from the series Forgotten Histories
Work ID: 48638
Description: In a love letter written to the poet Paul Verlaine in 1873, Rimbaud wrote: Yes, I was in the wrong, Oh! You won't forget me, will you? No, you can't forget me. As for me, I still have you, here. Listen, answer your friend, must we not live together anymore? Be brave. Answer this quickly. I based the paintings of Forgotten Histories on these words at the beginning of the AIDS epidemic in the United States. The work is an ode to friends who were being diagnosed with, and dying of AIDS.
Measurements: 133.35 cm x 228.6 cm/po
Collection:
Date Made: 1987
Materials: oil on canvas
Virtual Collection: Original CCCA
Forgotten Histories, installation view
Work ID: 48637
Description: In a love letter written to the poet Paul Verlaine in 1873, Rimbaud wrote: "Yes, I was in the wrong, Oh! You won't forget me, will you? No, you can't forget me. As for me, I still have you, here. Listen, answer your friend, must we not live together anymore? Be brave. Answer this quickly." I based the paintings of Forgotten Histories on these words at the beginning of the AIDS epidemic in the United States. The work is an ode to friends who were being diagnosed with, and dying of AIDS.
Collection:
Date Made: 1987
Materials:
Virtual Collection: Original CCCA
A Kafka Parable #7
Work ID: 48631
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 200.66 cm x 304.8 cm/po
Collection:
Date Made: 1987
Materials: oil on canvas
Virtual Collection: Original CCCA
A Kafka Parable #2
Work ID: 48626
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 256.54 cm x 193.04 cm/po
Collection:
Date Made: 1987
Materials: oil on canvas
Virtual Collection: Original CCCA
A Kafka Parable #5
Work ID: 48629
Description: During the exhibition of A Kafka Parable at Galerie Michel Tetreault, in Montreal, the entire short text of A Knock at the Manor Gate, by Kafka was handed out to visitors. Eight sentences within the story appeared in italics. Those 8 sentences are the titles for the 8 paintings. Using the story as a source, a completely different narrative was developed, thereby allowing for a double reading of Kafka's parable.
Measurements: 187.96 cm x 304.8 cm/po
Collection:
Date Made: 1987
Materials: oil on canvas
Virtual Collection: Original CCCA
Forgotten Histories, from the series Forgotten Histories
Work ID: 48639
Description: In a love letter written to the poet Paul Verlaine in 1873, Rimbaud wrote: "Yes, I was in the wrong, Oh! You won't forget me, will you? No, you can't forget me. As for me, I still have you, here. Listen, answer your friend, must we not live together anymore? Be brave. Answer this quickly." I based the paintings of Forgotten Histories on these words at the beginning of the AIDS epidemic in the United States. The work is an ode to friends who were being diagnosed with, and dying of AIDS.
Measurements: 241.3 cm x 185.42 cm/po
Collection:
Date Made: 1987
Materials: oil on canvas
Virtual Collection: Original CCCA
Forgotten Histories, study
Work ID: 48642
Description: In a love letter written to the poet Paul Verlaine in 1873, Rimbaud wrote: "Yes, I was in the wrong, Oh! You won't forget me, will you? No, you can't forget me. As for me, I still have you, here. Listen, answer your friend, must we not live together anymore? Be brave. Answer this quickly." I based the paintings of Forgotten Histories on these words at the beginning of the AIDS epidemic in the United States. The work is an ode to friends who were being diagnosed with, and dying of AIDS.
Measurements: 76.2 cm x 55.88 cm/po
Collection:
Date Made: 1987
Materials: gouache on paper
Virtual Collection: Original CCCA
The Couch, from the series Blindman’s Buff
Work ID: 48651
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 135.89 cm x 156.21 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
The Swing, from the series Blindman’s Buff
Work ID: 48647
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 195.58 cm x 157.48 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
The Telephone, from the series Blindman’s Buff
Work ID: 48648
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 152.4 cm x 185.42 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
Blindman’s Buff
Work ID: 48653
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's Blind Man's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 177.8 cm x 195.58 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
The Blindfold Blindman’s Buff
Work ID: 48646
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 137.16 cm x 172.72 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
Two Fighters, from the series Blindman’s Buff
Work ID: 48649
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 152.4 cm x 177.8 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
The Examination Blindman’s Buff
Work ID: 48652
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 172.72 cm x 157.48 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
Study-1988, for Blindman’s Buff
Work ID: 48659
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 55.88 cm x 76.2 cm/po
Collection:
Date Made: 1988
Materials: gouache on paper
Virtual Collection: Original CCCA
Study-1988, for Blindman’s Buff
Work ID: 48658
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 55.88 cm x 76.2 cm/po
Collection:
Date Made: 1988
Materials: gouache on paper
Virtual Collection: Original CCCA
The Swing, study, for Blindman’s Buff
Work ID: 48657
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 40.64 cm x 50.8 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
Hide & Seek, from the series Blindman’s Buff
Work ID: 48650
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 213.36 cm x 162.56 cm/po
Collection:
Date Made: 1988
Materials: oil on canvas
Virtual Collection: Original CCCA
Study, for Blindman’s Buff
Work ID: 48661
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 101.6 cm x 81.28 cm/po
Collection:
Date Made: 1989
Materials: pastel on tinted paper
Virtual Collection: Original CCCA
Study, for Blindman’s Buff
Work ID: 48654
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 40.64 cm x 35.56 cm/po
Collection:
Date Made: 1989
Materials: egg oil, oil on canvas
Virtual Collection: Original CCCA
Study, for Blindman’s Buff
Work ID: 48656
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 50.8 cm x 40.64 cm/po
Collection:
Date Made: 1989
Materials: egg oil, oil on canvas
Virtual Collection: Original CCCA
Study, for Blindman’s Buff
Work ID: 48655
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 35.56 cm x 40.64 cm/po
Collection:
Date Made: 1989
Materials: egg oil, oil on canvas
Virtual Collection: Original CCCA
2 Models, for Blindman’s Buff
Work ID: 48660
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's BlindMan's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 101.6 cm x 81.28 cm/po
Collection:
Date Made: 1989
Materials: pastel on tinted turquoise paper
Virtual Collection: Original CCCA
2 Models, for Blindman’s Buff
Work ID: 48662
Description: Blind Man's Buff was painted not around a text, but a single painting: Goya's Blind Man's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Measurements: 152.4 cm x 172.72 cm/po
Collection:
Date Made: 1989
Materials: pastel on coloured paper
Virtual Collection: Original CCCA
Blindman’ s Buff, installation
Work ID: 48644
Description: Installation view, Montreal, 1990. Blind Man's Buff was painted not around a text, but a single painting: Goya's Blind Man's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Collection:
Date Made: 1990
Materials:
Virtual Collection: Original CCCA
Blindman’ s Buff, installation
Work ID: 48645
Description: Installation view,Lethbridge. Blind Man's Buff was painted not around a text, but a single painting: Goya's Blind Man's Buff (1791). Goya's image represents a moment of innocence, later to be entirely obliterated by the horrors of war we have recorded in many works, including his, The Disasters of War etchings. In my paintings, the viewer is faced with the gaze and the evaded gaze. What one sees and what one refuses to look at are the themes of this series.
Collection:
Date Made: 1990
Materials:
Virtual Collection: Original CCCA
Study, for The Dreamer series
Work ID: 48668
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 27.94 cm x 35.56 cm/po
Collection:
Date Made: 1991
Materials: oil on canvas
Virtual Collection: Original CCCA
Study, for The Dreamer series
Work ID: 48667
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 35.56 cm x 40.64 cm/po
Collection:
Date Made: 1991
Materials: oil on canvas
Virtual Collection: Original CCCA
Study, for The Dreamer series
Work ID: 48664
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 88.9 cm x 66.04 cm/po
Collection:
Date Made: 1991
Materials: oil on canvas
Virtual Collection: Original CCCA
Study, for The Dreamer series
Work ID: 48669
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 35.56 cm x 40.64 cm/po
Collection:
Date Made: 1991
Materials: oil on canvas
Virtual Collection: Original CCCA
Study, for The Dreamer series
Work ID: 48666
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 66.04 cm x 60.96 cm/po
Collection:
Date Made: 1991
Materials: oil on canvas
Virtual Collection: Original CCCA
The Dreamer
Work ID: 48663
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 243.84 cm x 198.12 cm/po
Collection:
Date Made: 1991
Materials: oil on canvas
Virtual Collection: Original CCCA
The Dress, study, for The Dreamer series
Work ID: 48665
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 193.04 cm x 198.12 cm/po
Collection:
Date Made: 1991
Materials: pastel on paper)
Virtual Collection: Original CCCA
The Yellow Livingroom, from the series The Dreamer
Work ID: 48671
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 105.41 cm x 156.21 cm/po
Collection:
Date Made: 1994
Materials: oil on canvas
Virtual Collection: Original CCCA
The Blue Livingroom, from the series The Dreamer
Work ID: 48670
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 127 cm x 152.4 cm/po
Collection:
Date Made: 1994
Materials: oil on canvas
Virtual Collection: Original CCCA
The Large Mirror, from the series The Dreamer
Work ID: 48672
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 129.54 cm x 157.48 cm/po
Collection:
Date Made: 1994
Materials: oil on canvas
Virtual Collection: Original CCCA
The Meal, from the series The Dreamer
Work ID: 48673
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 152.4 cm x 127 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
The Red Scarf, from the series The Dreamer
Work ID: 48676
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 121.92 cm x 154.94 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
The Doorway, large, from the series The Dreamer
Work ID: 48674
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 132.08 cm x 109.22 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
The Princess, triptych, from the series The Dreamer
Work ID: 48680
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 124.46 cm x 236.22 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
The King, from the series The Dreamer
Work ID: 48678
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 127 cm x 157.48 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
Girl with Hand Mirror #2, from the series The Dreamer
Work ID: 48682
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 152.4 cm x 127 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
The Reunion, diptych, from the series The Dreamer
Work ID: 48681
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 238.76 cm x 279.4 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
The Dress, from the series The Dreamer
Work ID: 48675
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 152.4 cm x 177.8 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
The Pink Dress, from the series The Dreamer
Work ID: 48677
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 142.24 cm x 147.32 cm/po
Collection:
Date Made: 1996
Materials: oil on canvas
Virtual Collection: Original CCCA
The Golden Shoes, from the series Whispers
Work ID: 48683
Description: Whispers (The Yiddish Folk Tales), is based in the world of magic and wonder legends of Yiddish speaking Eastern Europe which my parents came from. Searching for a continuity between past and present, I focused on stories which allowed me to portray children reaching a stage of independence and completeness. Their transitional nature is echoed in the recurring image of the "Trickster", appearing as a "Jester" or "Rabbit", an allegorical figure hovering on the border of the unconscious, inhabiting the space in which light and shadow play tricks.
Measurements: 27.94 cm x 35.56 cm/po
Collection:
Date Made: 1997
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
The Princess Dress, from the series Whispers
Work ID: 48689
Description: Whispers (The Yiddish Folk Tales), is based in the world of magic and wonder legends of Yiddish speaking Eastern Europe which my parents came from. Searching for a continuity between past and present, I focused on stories which allowed me to portray children reaching a stage of independence and completeness. Their transitional nature is echoed in the recurring image of the "Trickster", appearing as a "Jester" or "Rabbit", an allegorical figure hovering on the border of the unconscious, inhabiting the space in which light and shadow play tricks.
Measurements: 182.88 cm x 137.16 cm/po
Collection:
Date Made: 1997
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
The Blue Mask, from the series Whispers
Work ID: 48686
Description: Whispers (The Yiddish Folk Tales), is based in the world of magic and wonder legends of Yiddish speaking Eastern Europe which my parents came from. Searching for a continuity between past and present, I focused on stories which allowed me to portray children reaching a stage of independence and completeness. Their transitional nature is echoed in the recurring image of the "Trickster", appearing as a "Jester" or "Rabbit", an allegorical figure hovering on the border of the unconscious, inhabiting the space in which light and shadow play tricks.
Measurements: 142.24 cm x 121.92 cm/po
Collection:
Date Made: 1997
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
The Pull, from the series The Dreamer
Work ID: 48679
Description: The Dreamer, also called Josephine, reworks the Old Testament story of Joseph and the coat of many colours. It turned into a 6 year project with 2 major exhibitions in 1993 and 1996, both in Montreal. I used The Book of J. written by David Rosenberg and Harold Blume, who claimed that the Old Testament was written by a woman, who was a court writer of the time. The stories are cleansed of the Bible's moralizing, with god no longer a judgmental figure, but a hero of sorts, who sometimes makes good decisions and sometimes bad. I was drawn to this book's version of the story of Joseph because of the profound emotional turmoil in the sequence of events. The story of Joseph, complete with sibling rivalry, false identity, seperation and reconciliation. Inspired by the writers I changed the gender of the hero from Joseph to Josephine, who I then associated with myself, my daughter, the artist, the dreamer.
Measurements: 132.08 cm x 208.28 cm/po
Collection:
Date Made: 1997
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
Who is Chosen?, from the series Whispers
Work ID: 48685
Description: Whispers (The Yiddish Folk Tales), is based in the world of magic and wonder legends of Yiddish speaking Eastern Europe which my parents came from. Searching for a continuity between past and present, I focused on stories which allowed me to portray children reaching a stage of independence and completeness. Their transitional nature is echoed in the recurring image of the "Trickster", appearing as a "Jester" or "Rabbit", an allegorical figure hovering on the border of the unconscious, inhabiting the space in which light and shadow play tricks.
Measurements: 152.4 cm x 121.92 cm/po
Collection:
Date Made: 1998
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
What is Mine?, from the series Whispers
Work ID: 48687
Description: Whispers (The Yiddish Folk Tales), is based in the world of magic and wonder legends of Yiddish speaking Eastern Europe which my parents came from. Searching for a continuity between past and present, I focused on stories which allowed me to portray children reaching a stage of independence and completeness. Their transitional nature is echoed in the recurring image of the "Trickster", appearing as a "Jester" or "Rabbit", an allegorical figure hovering on the border of the unconscious, inhabiting the space in which light and shadow play tricks.
Measurements: 142.24 cm x 106.68 cm/po
Collection:
Date Made: 1998
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
The Bellhop II, from the series Fragments
Work ID: 48690
Description: Fragments is a series which departs from linear narrative to imply history through surface qualities and the interaction between the painted "fragments'. Using a combination of acrylics, oils and pumice medium I worked to create interactive layers of image and ambiguity, which mimic the decomposing surface of ancient structures. Each 'fragmented' gesture reveals the history of its making, the fragility of its construction and its dependence for interpretation on a greater context which can only be supplied by the viewer.
Measurements: 35.56 cm x 27.94 cm/po
Collection:
Date Made: 1998
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
Page from the Song of Songs, from the series Whispers
Work ID: 48684
Description: Whispers (The Yiddish Folk Tales), is based in the world of magic and wonder legends of Yiddish speaking Eastern Europe which my parents came from. Searching for a continuity between past and present, I focused on stories which allowed me to portray children reaching a stage of independence and completeness. Their transitional nature is echoed in the recurring image of the "Trickster", appearing as a "Jester" or "Rabbit", an allegorical figure hovering on the border of the unconscious, inhabiting the space in which light and shadow play tricks.
Measurements: 127 cm x 152.4 cm/po
Collection:
Date Made: 1998
Materials: oil on canvas
Virtual Collection: Original CCCA
Holding Court, from the series Whispers
Work ID: 48688
Description: Whispers (The Yiddish Folk Tales), is based in the world of magic and wonder legends of Yiddish speaking Eastern Europe which my parents came from. Searching for a continuity between past and present, I focused on stories which allowed me to portray children reaching a stage of independence and completeness. Their transitional nature is echoed in the recurring image of the "Trickster", appearing as a "Jester" or "Rabbit", an allegorical figure hovering on the border of the unconscious, inhabiting the space in which light and shadow play tricks.
Measurements: 142.24 cm x 106.68 cm/po
Collection:
Date Made: 1998
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
Fragment #15, from the series Fragments
Work ID: 48695
Description: Fragments is a series which departs from linear narrative to imply history through surface qualities and the interaction between the painted 'fragments'. Using a combination of acrylics, oils and pumice medium I worked to create interactive layers of image and ambiguity, which mimic the decomposing surface of ancient structures. Each 'fragmented' gesture reveals the history of its making, the fragility of its construction and its dependence for interpretation on a greater context which can only be supplied by the viewer.
Measurements: 50.8 cm x 63.5 cm/po
Collection:
Date Made: 1999
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
Fragment #7, from the series Fragments
Work ID: 48691
Description: Fragments is a series which departs from linear narrative to imply history through surface qualities and the interaction between the painted 'fragments'. Using a combination of acrylics, oils and pumice medium I worked to create interactive layers of image and ambiguity, which mimic the decomposing surface of ancient structures. Each 'fragmented' gesture reveals the history of its making, the fragility of its construction and its dependence for interpretation on a greater context which can only be supplied by the viewer.
Measurements: 63.5 cm x 50.8 cm/po
Collection:
Date Made: 1999
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
Fragment #19, from the series Fragments
Work ID: 48696
Description: Fragments is a series which departs from linear narrative to imply history through surface qualities and the interaction between the painted 'fragments'. Using a combination of acrylics, oils and pumice medium I worked to create interactive layers of image and ambiguity, which mimic the decomposing surface of ancient structures. Each 'fragmented' gesture reveals the history of its making, the fragility of its construction and its dependence for interpretation on a greater context which can only be supplied by the viewer.
Measurements: 111.76 cm x 76.2 cm/po
Collection:
Date Made: 1999
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
Fragment #9, from the series Fragments
Work ID: 48693
Description: Fragments is a series which departs from linear narrative to imply history through surface qualities and the interaction between the painted 'fragments'. Using a combination of acrylics, oils and pumice medium I worked to create interactive layers of image and ambiguity, which mimic the decomposing surface of ancient structures. Each 'fragmented' gesture reveals the history of its making, the fragility of its construction and its dependence for interpretation on a greater context which can only be supplied by the viewer.
Measurements: 50.8 cm x 40.64 cm/po
Collection:
Date Made: 1999
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
Fragment #5, from the series Fragments
Work ID: 48694
Description: Fragments is a series which departs from linear narrative to imply history through surface qualities and the interaction between the painted 'fragments'. Using a combination of acrylics, oils and pumice medium I worked to create interactive layers of image and ambiguity, which mimic the decomposing surface of ancient structures. Each 'fragmented' gesture reveals the history of its making, the fragility of its construction and its dependence for interpretation on a greater context which can only be supplied by the viewer.
Measurements: 50.8 cm x 40.64 cm/po
Collection:
Date Made: 1999
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
Fragment #40, from the series Fragments
Work ID: 48692
Description: Fragments is a series which departs from linear narrative to imply history through surface qualities and the interaction between the painted 'fragments'. Using a combination of acrylics, oils and pumice medium I worked to create interactive layers of image and ambiguity, which mimic the decomposing surface of ancient structures. Each 'fragmented' gesture reveals the history of its making, the fragility of its construction and its dependence for interpretation on a greater context which can only be supplied by the viewer.
Measurements: 63.5 cm x 50.8 cm/po
Collection:
Date Made: 1999
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
He’s Waiting for You, from the series Les Enfants Terrible
Work ID: 48709
Description: The point of departure for Les Enfants Terrible is the 1929 novel of the same title by French writer, Jean Cocteau. The novel describes the relationship between an orphaned brother and sister on the cusp of adulthood. Their symbiotic relationship begins with an air of innocence but slowly builds to a dramatic finale created through the depiciton of a series of moments, each with a distinct poetry of gestural description. Having read this novel as a youth, the impressions, which this novel's gestural descriptions left on my psyche have become intensely personalized and each painting has become a deconstruction of my aesthetic process.
Measurements: 127 cm x 101.6 cm/po
Collection:
Date Made: 2000
Materials: acrylic, oil, pumice on canvas
Virtual Collection: Original CCCA
The Red Room, from the series Les Enfants Terrible
Work ID: 48710
Description: The point of departure for Les Enfants Terrible is the 1929 novel of the same title by French writer, Jean Cocteau. The novel describes the relationship between an orphaned brother and sister on the cusp of adulthood. Their symbiotic relationship begins with an air of innocence but slowly builds to a dramatic finale created through the depiciton of a series of moments, each with a distinct poetry of gestural description. Having read this novel as a youth, the impressions, which this novel's gestural descriptions left on my psyche have become intensely personalized and each painting has become a deconstruction of my aesthetic process.
Measurements: 127 cm x 101.6 cm/po
Collection:
Date Made: 2000
Materials: acrylic, oil, pumice on canvas
Virtual Collection: Original CCCA
And I’m Still Watching, from the series Les Enfants Terrible
Work ID: 48707
Description: The point of departure for Les Enfants Terrible is the 1929 novel of the same title by French writer, Jean Cocteau. The novel describes the relationship between an orphaned brother and sister on the cusp of adulthood. Their symbiotic relationship begins with an air of innocence but slowly builds to a dramatic finale created through the depiciton of a series of moments, each with a distinct poetry of gestural description. Having read this novel as a youth, the impressions, which this novel's gestural descriptions left on my psyche have become intensely personalized and each painting has become a deconstruction of my aesthetic process.
Measurements: 127 cm x 101.6 cm/po
Collection:
Date Made: 2000
Materials: acrylic, oil, pumice on canvas
Virtual Collection: Original CCCA
My Brother’s Body, from the series Les Enfants Terrible
Work ID: 48706
Description: The point of departure for Les Enfants Terrible is the 1929 novel of the same title by French writer, Jean Cocteau. The novel describes the relationship between an orphaned brother and sister on the cusp of adulthood. Their symbiotic relationship begins with an air of innocence but slowly builds to a dramatic finale created through the depiciton of a series of moments, each with a distinct poetry of gestural description. Having read this novel as a youth, the impressions, which this novel's gestural descriptions left on my psyche have become intensely personalized and each painting has become a deconstruction of my aesthetic process.
Measurements: 127 cm x 101.6 cm/po
Collection:
Date Made: 2000
Materials: acrylic, oil, pumice on canvas
Virtual Collection: Original CCCA
I Forgot (to tell you), from the series Les Enfants Terrible
Work ID: 48708
Description: The point of departure for Les Enfants Terrible is the 1929 novel of the same title by French writer, Jean Cocteau. The novel describes the relationship between an orphaned brother and sister on the cusp of adulthood. Their symbiotic relationship begins with an air of innocence but slowly builds to a dramatic finale created through the depiciton of a series of moments, each with a distinct poetry of gestural description. Having read this novel as a youth, the impressions, which this novel's gestural descriptions left on my psyche have become intensely personalized and each painting has become a deconstruction of my aesthetic process.
Measurements: 127 cm x 101.6 cm/po
Collection:
Date Made: 2000
Materials: acrylic, oil, pumice on canvas
Virtual Collection: Original CCCA
My Brother’s Heart, from the series Les Enfants Terrible
Work ID: 48711
Description: The point of departure for Les Enfants Terrible is the 1929 novel of the same title by French writer, Jean Cocteau. The novel describes the relationship between an orphaned brother and sister on the cusp of adulthood. Their symbiotic relationship begins with an air of innocence but slowly builds to a dramatic finale created through the depiciton of a series of moments, each with a distinct poetry of gestural description. Having read this novel as a youth, the impressions, which this novel's gestural descriptions left on my psyche have become intensely personalized and each painting has become a deconstruction of my aesthetic process.
Measurements: 127 cm x 101.6 cm/po
Collection:
Date Made: 2000
Materials: acrylic, oil, pumice on canvas
Virtual Collection: Original CCCA
still at rest, from the series Reverie
Work ID: 48697
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 106.68 cm x 142.24 cm/po
Collection:
Date Made: 2001
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
air de defi, from the series Reverie
Work ID: 48705
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 40.64 cm x 35.56 cm/po
Collection:
Date Made: 2001
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
Sieste, from the series Reverie
Work ID: 48704
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 40.64 cm x 50.8 cm/po
Collection:
Date Made: 2001
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
Les Enfants Terrible – study
Work ID: 48712
Description: The point of departure for Les Enfants Terrible is the 1929 novel of the same title by French writer, Jean Cocteau. The novel describes the relationship between an orphaned brother and sister on the cusp of adulthood. Their symbiotic relationship begins with an air of innocence but slowly builds to a dramatic finale created through the depiciton of a series of moments, each with a distinct poetry of gestural description. Having read this novel as a youth, the impressions, which this novel's gestural descriptions left on my psyche have become intensely personalized and each painting has become a deconstruction of my aesthetic process.
Measurements: 35.56 cm x 27.94 cm/po
Collection:
Date Made: 2001
Materials: watercolour on paper
Virtual Collection: Original CCCA
repos de narcis, from the series Reverie
Work ID: 48701
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 127 cm x 152.4 cm/po
Collection:
Date Made: 2001
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
nuit blanche, from the series Reverie
Work ID: 48699
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 132.08 cm x 157.48 cm/po
Collection:
Date Made: 2001
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
white rest, from the series Reverie
Work ID: 48700
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 111.76 cm x 152.4 cm/po
Collection:
Date Made: 2001
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
Les Enfants Terrible – study
Work ID: 48713
Description: The point of departure for Les Enfants Terrible is the 1929 novel of the same title by French writer, Jean Cocteau. The novel describes the relationship between an orphaned brother and sister on the cusp of adulthood. Their symbiotic relationship begins with an air of innocence but slowly builds to a dramatic finale created through the depiciton of a series of moments, each with a distinct poetry of gestural description. Having read this novel as a youth, the impressions, which this novel's gestural descriptions left on my psyche have become intensely personalized and each painting has become a deconstruction of my aesthetic process.
Measurements: 35.56 cm x 27.94 cm/po
Collection:
Date Made: 2001
Materials: watercolour on paper
Virtual Collection: Original CCCA
dodo, from the series Reverie
Work ID: 48698
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 111.76 cm x 157.48 cm/po
Collection:
Date Made: 2001
Materials: oil, pumice on canvas
Virtual Collection: Original CCCA
passage libre, from the series Reverie
Work ID: 48703
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 40.64 cm x 50.8 cm/po
Collection:
Date Made: 2001
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
passage tranquille, from the series Reverie
Work ID: 48702
Description: Each painting in the Reverie series presents a single sleeping character. There is no confrontational stare or overt gesture to provide a dramatic narrative. The paintings are an examination of stillness and reflection. Whithout the model's opposing gaze I am at liberty to observe without apology. These paintings are not portraits, they are works of self discovery. They project a passionate nostalgia for absolute contentment which alternates from simple sensual enjoyment of rest in the full colour paintings to something approaching morbidity in the larger than life, grisaille (monochromatic) paintings.
Measurements: 101.6 cm x 127 cm/po
Collection:
Date Made: 2001
Materials: oil, acrylic, pumice on canvas
Virtual Collection: Original CCCA
Les Enfants Terrible, [installation view]
Work ID: 50953
Description: Installed at the Dalhousie Art Gallery, Halifax, 2004.
Collection:
Date Made: 2004
Materials:
Virtual Collection: Original CCCA
Les Enfants Terrible, [installation view]
Work ID: 50956
Description: Installed at the Dalhousie Art Gallery, Halifax, 2004.
Collection:
Date Made: 2004
Materials:
Virtual Collection: Original CCCA
Les Enfants Terrible, [installation view]
Work ID: 50955
Description: Installed at the Dalhousie Art Gallery, Halifax, 2004.
Collection:
Date Made: 2004
Materials:
Virtual Collection: Original CCCA
Les Enfants Terrible, [installation view]
Work ID: 50954
Description: Installed at the Dalhousie Art Gallery, Halifax, 2004.
Collection:
Date Made: 2004
Materials:
Virtual Collection: Original CCCA
The Opening, (diptych)
Work ID: 71282
Description: In this image from the Young Artists, series I am examining the significance of multivalent stories and their "telling" to the construction of self and culture. In picturing students at work, I am exploring both the 'behind the scenes' daily lives of young artists, as well as recalling my own years as a young painter.
Measurements: 101.6 x 152.4 cm
Collection:
Date Made: 2005
Materials: oil and acrylic on canvas
Virtual Collection: Original CCCA
Yellow Donkey, (diptych)
Work ID: 71281
Description: In this image from the Young Artists, series I am examining the significance of multivalent stories and their "telling" to the construction of self and culture. In picturing students at work, I am exploring both the 'behind the scenes' daily lives of young artists, as well as recalling my own years as a young painter.
Measurements: 101.6 x 152.4 cm
Collection:
Date Made: 2006
Materials: oil and acrylic on canvas
Virtual Collection: Original CCCA
Stealing Love
Work ID: 71284
Description: In this image from the Young Artists/Studio Days, series I am examining the significance of multivalent stories and their "telling" to the construction of self and culture. In picturing students at work, I am exploring both the 'behind the scenes' daily lives of young artists, as well as recalling my own years as a young painter.
Measurements: 76.2 x 111.8 cm
Collection:
Date Made: 2007
Materials: gouache on paper
Virtual Collection: Original CCCA
Ambition
Work ID: 71286
Description: In this image from the Young Artists/Studio Days, series I am examining the significance of multivalent stories and their "telling" to the construction of self and culture. In picturing students at work, I am exploring both the 'behind the scenes' daily lives of young artists, as well as recalling my own years as a young painter.
Measurements: 101.6 x 152.4 cm
Collection:
Date Made: 2008
Materials: watercolour, acrylic and shellac on waterford paper
Virtual Collection: Original CCCA
Blue Angel
Work ID: 71285
Description: In this image from the Young Artists/Studio Days, series I am examining the significance of multivalent stories and their "telling" to the construction of self and culture. In picturing students at work, I am exploring both the 'behind the scenes' daily lives of young artists, as well as recalling my own years as a young painter.
Measurements: 101.6 x 152.4 cm
Collection:
Date Made: 2008
Materials: watercolour, acrylic and shellac on waterford paper
Virtual Collection: Original CCCA
Young Artists Series – Installation
Work ID: 71289
Description: Projex-Mtl Galerie, Montréal, Quebec, 2008.
Collection:
Date Made: 2008
Materials:
Virtual Collection: Original CCCA
Blue Day
Work ID: 71287
Description: In this image from the Young Artists/Studio Days, series I am examining the significance of multivalent stories and their "telling" to the construction of self and culture. In picturing students at work, I am exploring both the 'behind the scenes' daily lives of young artists, as well as recalling my own years as a young painter.
Measurements: 101.6 x 152.4 cm
Collection:
Date Made: 2008
Materials: watercolour, acrylic and shellac on waterford paper
Virtual Collection: Original CCCA
Young Artists Series – Installation
Work ID: 71290
Description: Projex-Mtl Galerie, Montréal, Quebec, 2008.
Collection:
Date Made: 2008
Materials:
Virtual Collection: Original CCCA
Young Artists Series – Installation
Work ID: 71288
Description: Galerie d'art du Parc, Trois rivières, Quebec, 2008.
Collection:
Date Made: 2008
Materials:
Virtual Collection: Original CCCA
Blue Curtain, (diptych)
Work ID: 71283
Description: In this image from the Young Artists, series I am examining the significance of multivalent stories and their "telling" to the construction of self and culture. In picturing students at work, I am exploring both the 'behind the scenes' daily lives of young artists, as well as recalling my own years as a young painter.
Measurements: diptych, each panel: 322.58 x 258.064 cm; 127 x 101.6 cm
Collection:
Date Made: 2008
Materials: oil and acrylic on canvas
Virtual Collection: Original CCCA
Midway
Work ID: 75091
Description: Midway is part of the series Oasis. The landscapes of Oasis are fragile and elusive. Figures are submersed in a highly abstracted and gestural landscape. They emphasize the ever-present sense of shifting time and space that the uneven light and evasive natural forms of moving trees, water, and undergrowth can conjure: simultaneously invoking memory and a sense of imminence.
Measurements: 96.52 cm x 116.84 cm/po
Collection:
Date Made: 2010
Materials: oil on canvas
Virtual Collection: Original CCCA
Somewhere Just Below the Knees
Work ID: 75089
Description: Somewhere Just Below the Knees is part of the series Oasis. The landscapes of Oasis are fragile and elusive. Figures are submersed in a highly abstracted and gestural landscape. They emphasize the ever-present sense of shifting time and space that the uneven light and evasive natural forms of moving trees, water, and undergrowth can conjure: simultaneously invoking memory and a sense of imminence.
Measurements: 63.5 cm x 76.2 cm / po
Collection:
Date Made: 2010
Materials: oil on canvas
Virtual Collection: Original CCCA
Cool Lianas
Work ID: 75090
Description: Cool Lianas is part of the series Oasis. The landscapes of Oasis are fragile and elusive. Figures are submersed in a highly abstracted and gestural landscape. They emphasize the ever-present sense of shifting time and space that the uneven light and evasive natural forms of moving trees, water, and undergrowth can conjure: simultaneously invoking memory and a sense of imminence.
Measurements: 96.52 cm x 116.84 cm/po
Collection:
Date Made: 2010
Materials: oil on canvas
Virtual Collection: Original CCCA
The Scent May Be Lost
Work ID: 75088
Description: The Scent May Be Lost is part of the series Oasis. The landscapes of Oasis are fragile and elusive. Figures are submersed in a highly abstracted and gestural landscape. They emphasize the ever-present sense of shifting time and space that the uneven light and evasive natural forms of moving trees, water, and undergrowth can conjure: simultaneously invoking memory and a sense of imminence.
Measurements: 63.5 cm x 76.2 cm/po
Collection:
Date Made: 2010
Materials: oil on canvas
Virtual Collection: Original CCCA
Wading into Yellow
Work ID: 75092
Description: Wading into Yellow is part of the series Oasis. The landscapes of Oasis are fragile and elusive. Figures are submersed in a highly abstracted and gestural landscape. They emphasize the ever-present sense of shifting time and space that the uneven light and evasive natural forms of moving trees, water, and undergrowth can conjure: simultaneously invoking memory and a sense of imminence.
Measurements: 106.68 cm x 127 cm / po
Collection:
Date Made: 2010
Materials: oil on canvas
Virtual Collection: Original CCCA
Fallen
Work ID: 75093
Description: Fallen is part of the series Oasis. The landscapes of Oasis are fragile and elusive. Figures are submersed in a highly abstracted and gestural landscape. They emphasize the ever-present sense of shifting time and space that the uneven light and evasive natural forms of moving trees, water, and undergrowth can conjure: simultaneously invoking memory and a sense of imminence.
Measurements: 182.88 cm x 304.8 cm / po
Collection:
Date Made: 2011
Materials: oil on canvas
Virtual Collection: Original CCCA
Night Incomplete
Work ID: 75094
Description: Night Incomplete is part of the series Oasis. The landscapes of Oasis are fragile and elusive. Figures are submersed in a highly abstracted and gestural landscape. They emphasize the ever-present sense of shifting time and space that the uneven light and evasive natural forms of moving trees, water, and undergrowth can conjure: simultaneously invoking memory and a sense of imminence.
Measurements: 147.32 cm x 193.04 cm / po
Collection:
Date Made: 2011
Materials: oil on canvas
Virtual Collection: Original CCCA
Waters 25
Work ID: 81344
Description: Throughout my career I have maintained a practice of working from nature for a period of weeks or months each year. My studio practice is focused on narrative figure painting— building interrelated thematic interiors. The work I create outdoors is an escape from my urban existence as well as a way to refresh specific mark making that results from painting from direct observation.
My work from nature began to take prominence over the studio narrative in my series, Summertime. The paintings in Oasis and Forest have continued to give voice to landscape as a primary subject.
Waters is a series that developed its own artistic trajectory as I embraced the challenge of working from nature on Terraskin, a stone based paper that demands its own technique and carries its own potentials. Using the white of the paper these works have a lightness that sets them apart from previous work.
Measurements: 101.6 x 147.32 cm (103 x 374.1928 cm)
Collection:
Date Made: 2013
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Waters 27 (triptych)
Work ID: 82624
Description: Throughout my career I have maintained a practice of working from nature for a period of weeks or months each year. My studio practice is focused on narrative figure painting— building interrelated thematic interiors. The work I create outdoors is an escape from my urban existence as well as a way to refresh specific mark making that results from painting from direct observation.
My work from nature began to take prominence over the studio narrative in my series, Summertime. The paintings in Oasis and Forest have continued to give voice to landscape as a primary subject.
Waters is a series that developed its own artistic trajectory as I embraced the challenge of working from nature on Terraskin, a stone based paper that demands its own technique and carries its own potentials. Using the white of the paper these works have a lightness that sets them apart from previous work.
Measurements: 261.62 x 551.18 cm (40 x 213.36 cm)
Collection:
Date Made: 2013
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Waters 12
Work ID: 81340
Description: Throughout my career I have maintained a practice of working from nature for a period of weeks or months each year. My studio practice is focused on narrative figure painting— building interrelated thematic interiors. The work I create outdoors is an escape from my urban existence as well as a way to refresh specific mark making that results from painting from direct observation.
My work from nature began to take prominence over the studio narrative in my series, Summertime. The paintings in Oasis and Forest have continued to give voice to landscape as a primary subject.
Waters is a series that developed its own artistic trajectory as I embraced the challenge of working from nature on Terraskin, a stone based paper that demands its own technique and carries its own potentials. Using the white of the paper these works have a lightness that sets them apart from previous work.
Measurements: 101.6 x 116.84 cm (102 x 296.7736 cm)
Collection:
Date Made: 2013
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Waters 17
Work ID: 81343
Description: Throughout my career I have maintained a practice of working from nature for a period of weeks or months each year. My studio practice is focused on narrative figure painting— building interrelated thematic interiors. The work I create outdoors is an escape from my urban existence as well as a way to refresh specific mark making that results from painting from direct observation.
My work from nature began to take prominence over the studio narrative in my series, Summertime. The paintings in Oasis and Forest have continued to give voice to landscape as a primary subject.
Waters is a series that developed its own artistic trajectory as I embraced the challenge of working from nature on Terraskin, a stone based paper that demands its own technique and carries its own potentials. Using the white of the paper these works have a lightness that sets them apart from previous work.
Measurements: 71.12 x 101.6 cm (71 x 258.064 cm)
Collection:
Date Made: 2014
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Waters 34
Work ID: 81345
Description: Throughout my career I have maintained a practice of working from nature for a period of weeks or months each year. My studio practice is focused on narrative figure painting— building interrelated thematic interiors. The work I create outdoors is an escape from my urban existence as well as a way to refresh specific mark making that results from painting from direct observation.
My work from nature began to take prominence over the studio narrative in my series, Summertime. The paintings in Oasis and Forest have continued to give voice to landscape as a primary subject.
Waters is a series that developed its own artistic trajectory as I embraced the challenge of working from nature on Terraskin, a stone based paper that demands its own technique and carries its own potentials. Using the white of the paper these works have a lightness that sets them apart from previous work.
Measurements: 0 x 218.44 cm (101.6 x 554.736 cm)
Collection:
Date Made: 2014
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Notations 1
Work ID: 81347
Description: "Susan G. Scott’s lyrical lines and rich colours bear testimony to a lifetime spent in the discovery of an authentic expression of her world. She describes landscape interiors with the fluent ease of someone grounded in abstract expressionism, reborn in narrative figuration and now evolved into a full blown landscape artist on par with Canada’s very best. Her works on Terraskin embrace this stone-based paper with the delicacy and sensitivity of Chinese watercolours and simultaneously reflect the sophistication of space that is completely contemporary and evocative of our disappearing natural world. "
Christine Unger
Measurements: 71.12 x 101.6 cm (71 x 259.08 cm)
Collection:
Date Made: 2014
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Light Spills Down
Work ID: 82630
Description: "The winter landscapes of Before the Spring masterfully capitalize on the cool white, opaque quality of the stone-based TerraSkin they are painted on. The stillness of the images demands our attention to form and the utter surpise of colour that sporadically coats, saturates, spatters, drifts, and then streaks across the surface of these landscapes, capturing lengthened shadows, rythmic lines of denuded trees and the insistent rarity of crumpled leaves caught in premature falls of winter snow. "
Christine Unger
Measurements: 76.2 x 83.82 cm (6 panels)
Collection:
Date Made: 2015
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Enduring Tree
Work ID: 81354
Description: "The winter landscapes of Before the Spring masterfully capitalize on the cool white, opaque quality of the stone-based TerraSkin they are painted on. The stillness of the images demands our attention to form and the utter surpise of colour that sporadically coats, saturates, spatters, drifts, and then streaks across the surface of these landscapes, capturing lengthened shadows, rythmic lines of denuded trees and the insistent rarity of crumpled leaves caught in premature falls of winter snow. "
Christine Unger
Measurements: 203.2 x 213.36 cm ( 516.128 x 541.9344 cm)
Collection:
Date Made: 2015
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Under water
Work ID: 81358
Description: "The winter landscapes of Before the Spring masterfully capitalize on the cool white, opaque quality of the stone-based TerraSkin they are painted on. The stillness of the images demands our attention to form and the utter surpise of colour that sporadically coats, saturates, spatters, drifts, and then streaks across the surface of these landscapes, capturing lengthened shadows, rythmic lines of denuded trees and the insistent rarity of crumpled leaves caught in premature falls of winter snow. "
Christine Unger
Measurements: 38.1 x 27.94 cm
Collection:
Date Made: 2015
Materials: oil on Terraskin
Virtual Collection: Original CCCA
Sun West and Low
Work ID: 81353
Description: "The winter landscapes of Before the Spring masterfully capitalize on the cool white, opaque quality of the stone-based TerraSkin they are painted on. The stillness of the images demands our attention to form and the utter surpise of colour that sporadically coats, saturates, spatters, drifts, and then streaks across the surface of these landscapes, capturing lengthened shadows, rythmic lines of denuded trees and the insistent rarity of crumpled leaves caught in premature falls of winter snow. "
Christine Unger
Measurements: 203.2 x 213.36 cm ( 516.128 x 541.9344 cm)
Collection:
Date Made: 2015
Materials: oil on Terraskin
Virtual Collection: Original CCCA
The world is round
Work ID: 82625
Description: In my latest series of paintings, Variations, I have worked towards a poetic revision of the landscape genre. For many years I have used my brush to describe the woodlands that surround my studio. The paintings of Variations were realized on an immersive scale, removed from the easy orientation of earth and sky, I wanted them to feel both intimate and disorienting.
Pursuing a refinement of both my vision and technique, I expanded beyond my early expressionist training and western sense of weight and volume, through travels to Asia. Studying Buddhist philosophy and the great landscape painters of China and Japan, I want my work to play with a sense of negative and positive space that questions a sense of permanence.
The paintings of Variations use a grisaille palette, created exclusively with Paynes grey. The monochromatic canvases move away from traditional landscape painting and deliberately evoke another time and place, reminiscent of the travelogues of an early explorer. The occasional figure is embedded within the brushwork, partially consumed by light and shadow. A nod to our fleeting passage through nature’s framework.
Measurements: 387.096 x 929.0304 cm (60 x 365.76 cm)
Collection:
Date Made: 2017
Materials: oil on canvas
Virtual Collection: Original CCCA
Past the Fallen Tree
Work ID: 82628
Description: In my latest series of paintings, Variations, I have worked towards a poetic revision of the landscape genre. For many years I have used my brush to describe the woodlands that surround my studio. The paintings of Variations were realized on an immersive scale, removed from the easy orientation of earth and sky, I wanted them to feel both intimate and disorienting.
Pursuing a refinement of both my vision and technique, I expanded beyond my early expressionist training and western sense of weight and volume, through travels to Asia. Studying Buddhist philosophy and the great landscape painters of China and Japan, I want my work to play with a sense of negative and positive space that questions a sense of permanence.
The paintings of Variations use a grisaille palette, created exclusively with Paynes grey. The monochromatic canvases move away from traditional landscape painting and deliberately evoke another time and place, reminiscent of the travelogues of an early explorer. The occasional figure is embedded within the brushwork, partially consumed by light and shadow. A nod to our fleeting passage through nature’s framework.
Measurements: 464.5152 x 503.2248 cm (72 x 198.12 cm)
Collection:
Date Made: 2017
Materials: oil on canvas
Virtual Collection: Original CCCA
Where Water Grows Still
Work ID: 82626
Description: In my latest series of paintings, Variations, I have worked towards a poetic revision of the landscape genre. For many years I have used my brush to describe the woodlands that surround my studio. The paintings of Variations were realized on an immersive scale, removed from the easy orientation of earth and sky, I wanted them to feel both intimate and disorienting.
Pursuing a refinement of both my vision and technique, I expanded beyond my early expressionist training and western sense of weight and volume, through travels to Asia. Studying Buddhist philosophy and the great landscape painters of China and Japan, I want my work to play with a sense of negative and positive space that questions a sense of permanence.
The paintings of Variations use a grisaille palette, created exclusively with Paynes grey. The monochromatic canvases move away from traditional landscape painting and deliberately evoke another time and place, reminiscent of the travelogues of an early explorer. The occasional figure is embedded within the brushwork, partially consumed by light and shadow. A nod to our fleeting passage through nature’s framework.
Measurements: 464.82 x 787.4 cm (72 x 309.88 cm)
Collection:
Date Made: 2017
Materials: oil on canvas
Virtual Collection: Original CCCA
Deep Woods (Summer)
Work ID: 82627
Description: In my latest series of paintings, Variations, I have worked towards a poetic revision of the landscape genre. For many years I have used my brush to describe the woodlands that surround my studio. The paintings of Variations were realized on an immersive scale, removed from the easy orientation of earth and sky, I wanted them to feel both intimate and disorienting.
Pursuing a refinement of both my vision and technique, I expanded beyond my early expressionist training and western sense of weight and volume, through travels to Asia. Studying Buddhist philosophy and the great landscape painters of China and Japan, I want my work to play with a sense of negative and positive space that questions a sense of permanence.
The paintings of Variations use a grisaille palette, created exclusively with Paynes grey. The monochromatic canvases move away from traditional landscape painting and deliberately evoke another time and place, reminiscent of the travelogues of an early explorer. The occasional figure is embedded within the brushwork, partially consumed by light and shadow. A nod to our fleeting passage through nature’s framework.
Measurements: 296.7736 x 412.9024 cm (46 x 162.56 cm)
Collection:
Date Made: 2017
Materials: oil on canvas
Virtual Collection: Original CCCA
