Patterns at Dusk
Artist: Steve Gouthro
Work ID: 6367
Des mesures : 109.22 x 152.4 cm
Collection:
Date de réalisation : 1990
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Oeuvre d'art par Steve Gouthro
Channeling One’s Energy – Trying to get more than one station
Artist: Steve Gouthro
ID : 6312
Description:
Des mesures : 44.45 x 64.77 cm
Collection: Canada Council Art Bank, Ottawa
Date de réalisation : 1978
Matériaux : lithograph
Collection virtuelle : Original CCCA
Relatives – Floating Between the Doors
Artist: Steve Gouthro
ID : 6313
Description:
Des mesures : 53.34 x 36.83 cm
Collection:
Date de réalisation : 1979
Matériaux : lithograph
Collection virtuelle : Original CCCA
The Shortest Way is not Always the Quickest
Artist: Steve Gouthro
ID : 6315
Description:
Des mesures : 43.18 x 55.88 cm
Collection:
Date de réalisation : 1980
Matériaux : lithograph
Collection virtuelle : Original CCCA
At an Uncontrolled Intersection
Artist: Steve Gouthro
ID : 6314
Description:
Des mesures : 43.18 x 55.88 cm
Collection:
Date de réalisation : 1980
Matériaux : lithograph
Collection virtuelle : Original CCCA
Tangents
Artist: Steve Gouthro
ID : 6317
Description:
Des mesures : 60.96 x 91.44 cm
Collection:
Date de réalisation : 1983
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
A Near Collision
Artist: Steve Gouthro
ID : 6316
Description:
Des mesures : 91.44 x 91.44 cm
Collection:
Date de réalisation : 1983
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Centrifugal Pink
Artist: Steve Gouthro
ID : 6318
Description:
Des mesures : 60.96 x 91.44 cm
Collection:
Date de réalisation : 1983
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Tensions
Artist: Steve Gouthro
ID : 6319
Description:
Des mesures : 152.4 x 116.84 cm
Collection: Canada Council Art Bank, Ottawa
Date de réalisation : 1984
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Current to the Future – Dark Dream
Artist: Steve Gouthro
ID : 6335
Description: Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future – Origins
Artist: Steve Gouthro
ID : 6330
Description: Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future, (detail 2 of 2)
Artist: Steve Gouthro
ID : 6323
Description: Detail of single wall installation at the Plug-In Gallery, Winnipeg, Manitoba, 1989.
Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : each: 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future – Fragment
Artist: Steve Gouthro
ID : 6327
Description: Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future, (detail 1 of 2)
Artist: Steve Gouthro
ID : 6322
Description: Detail of single wall installation at the Plug-In Gallery, Winnipeg, Manitoba, 1989.
Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : each: 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future, (view 1 of 2)
Artist: Steve Gouthro
ID : 6320
Description: View of the original room installation at the Brian Melnychenko Gallery, Winnipeg, Manitoba.
Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : each: 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future – Fire
Artist: Steve Gouthro
ID : 6331
Description: Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future, (view 2 of 2)
Artist: Steve Gouthro
ID : 6321
Description: View of the original room installation at the Brian Melnychenko Gallery, Winnipeg, Manitoba.
Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : each: 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future – Network
Artist: Steve Gouthro
ID : 6329
Description: Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future – Air
Artist: Steve Gouthro
ID : 6326
Description: Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future – Ocean
Artist: Steve Gouthro
ID : 6325
Description: Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Current to the Future – Mind
Artist: Steve Gouthro
ID : 6324
Description: Artist's Statement
Humankind has reached a crossroads in its development. There is potential for terrible destruction, and for wondrous growth. This painting attempts to embody this potential as a contemporaneous moment at the point of becoming.
The installation consists of 144 panels, 40x40 cm. each.
There are twelve sections of twelve panels each:
1. Mind
2. Ocean
3. Symbolic Landscapes
4. Fire
5. Dark Dreams
6. Origins
7. Clouds
8. Futures Forming
9. Fragments
10. Green Earth
11. Networks
12. Air
The panels may appear in any order provided that one from each group appears before another of the same group, in a manner similar to twelve-tone music.
The initial impact is of a barrage of visual images coming at the viewer with seemingly little order. As one looks more closely, connections of colour, shape and thematic content can be made.
The intent is to give the effect of a contemporaneous moment in time; the mixture that is encountered in a car accident, for example.
Des mesures : 40.005 x 40.005 cm
Collection:
Date de réalisation : 1985-1986
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Platform
Artist: Steve Gouthro
ID : 6333
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures : 172.72 x 203.2 cm
Collection:
Date de réalisation : 1987
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Across the River
Artist: Steve Gouthro
ID : 6334
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures : 172.72 x 203.2 cm
Collection:
Date de réalisation : 1987
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Spontaneous Combustion
Artist: Steve Gouthro
ID : 6332
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures : 172.72 x 203.2 cm
Collection:
Date de réalisation : 1987
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Ancestors or Progeny
Artist: Steve Gouthro
ID : 6336
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures : 172.72 x 203.2 cm
Collection:
Date de réalisation : 1988
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Ancestors or Progeny, (detail)
Artist: Steve Gouthro
ID : 6337
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Drowned Pontiac, (detail)
Artist: Steve Gouthro
ID : 6342
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Drowned Pontiac
Artist: Steve Gouthro
ID : 6341
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures : 172.72 x 203.2 cm
Collection:
Date de réalisation : 1988
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Phoenix, (detail)
Artist: Steve Gouthro
ID : 6339
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Phoenix
Artist: Steve Gouthro
ID : 6338
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures : 172.72 x 203.2 cm
Collection:
Date de réalisation : 1988
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
The Birth of Aethena
Artist: Steve Gouthro
ID : 6340
Description: From the exhibition: "Undergrowth and Open Water".
Des mesures : 182.88 x 203.2 cm
Collection:
Date de réalisation : 1988
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Archeologists
Artist: Steve Gouthro
ID : 6350
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures : 203.2 x 182.88 cm
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Looking for the Black Box
Artist: Steve Gouthro
ID : 6351
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures : 182.88 x 203.2 cm
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Vestiges of the TITANIC, (detail 2 of 2)
Artist: Steve Gouthro
ID : 6347
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures :
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Looking Back at Child’s
Artist: Steve Gouthro
ID : 6366
Description:
Des mesures : 109.22 x 152.4 cm
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Venus & Fleurs
Artist: Steve Gouthro
ID : 6354
Description: From 'The Recovery of History.
Artist's Statement
The group as a whole depicts members of European culture in situations where the symbolic or mythological figures from their own pasts, or other belief systems seem to come to life. This is an attempt to bring home the reality that other belief systems have for their adherents by imposing it into the viewer's own experience. At the same time it is meant to make the audience question the validity of its own basic assumptions.
In Mme. Curie in Mexico on the Day of the Dead I imagined that the scientist who had been exposed for so many years to radio- activity might "see through" her fellow humans. By setting this during the Mexican religious holiday, a wry commentary on the ephemeral qualities of existence is made, as well as a reminder of the Medieval European tradition of the Dance of Death, or Death and the Maiden.
The modern Oedipus is still blind, and confounded by the Sphinx, who in her Las Vegas incarnation looks as much show girl as ancient symbol. This is intended as a tongue-in-cheek commentary on the twentieth century materialistic obsession with sex even into old age, to the detriment of psychic or spiritual growth.
In Elijah Harper Meets General Wolfe the cultural relation is inverted. Here we meet the Aboriginal MLA in symbolic conflict with a statue of General Wolfe from one of the entrances to the Manitoba Legislature - the site of Harper's gesture of defiance to the national government on behalf of his own people and the many other Canadians. Harper's spiritual symbol, the eagle feather eclipses the sword of the general who at the Plains of Abraham effectively conquered Canada. This powerful pacifistic gesture evokes the old saying "the pen is mightier than the sword."
Each drawing is a foray into this same world where objects and events are filtered through the fluid mind and juxtaposed to become something else.
Des mesures : 55.88 x 76.2 cm
Collection:
Date de réalisation : 1989
Matériaux : pen and ink
Collection virtuelle : Original CCCA
Vestiges of the TITANIC, (detail 1 of 2)
Artist: Steve Gouthro
ID : 6346
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures :
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Mme. Curie in Mexico on the Day of the Dead
Artist: Steve Gouthro
ID : 6355
Description: From 'The Recovery of History.
Artist's Statement
The group as a whole depicts members of European culture in situations where the symbolic or mythological figures from their own pasts, or other belief systems seem to come to life. This is an attempt to bring home the reality that other belief systems have for their adherents by imposing it into the viewer's own experience. At the same time it is meant to make the audience question the validity of its own basic assumptions.
In Mme. Curie in Mexico on the Day of the Dead I imagined that the scientist who had been exposed for so many years to radio- activity might "see through" her fellow humans. By setting this during the Mexican religious holiday, a wry commentary on the ephemeral qualities of existence is made, as well as a reminder of the Medieval European tradition of the Dance of Death, or Death and the Maiden.
The modern Oedipus is still blind, and confounded by the Sphinx, who in her Las Vegas incarnation looks as much show girl as ancient symbol. This is intended as a tongue-in-cheek commentary on the twentieth century materialistic obsession with sex even into old age, to the detriment of psychic or spiritual growth.
In Elijah Harper Meets General Wolfe the cultural relation is inverted. Here we meet the Aboriginal MLA in symbolic conflict with a statue of General Wolfe from one of the entrances to the Manitoba Legislature - the site of Harper's gesture of defiance to the national government on behalf of his own people and the many other Canadians. Harper's spiritual symbol, the eagle feather eclipses the sword of the general who at the Plains of Abraham effectively conquered Canada. This powerful pacifistic gesture evokes the old saying "the pen is mightier than the sword."
Each drawing is a foray into this same world where objects and events are filtered through the fluid mind and juxtaposed to become something else.
Des mesures : 55.88 x 76.2 cm
Collection:
Date de réalisation : 1989
Matériaux : pen and ink
Collection virtuelle : Original CCCA
Vestiges of the TITANIC
Artist: Steve Gouthro
ID : 6345
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures : 167.64 x 369.57 cm
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Resurrectionists
Artist: Steve Gouthro
ID : 6348
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures : 203.2 x 182.88 cm
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Wood and Stone
Artist: Steve Gouthro
ID : 6344
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures : 81.28 x 229.87 cm
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Resurrectionists, (detail)
Artist: Steve Gouthro
ID : 6349
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures :
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
The Birth of Astrology
Artist: Steve Gouthro
ID : 6343
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures : 81.28 x 83.82 cm
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Oedipus in Old Age
Artist: Steve Gouthro
ID : 6353
Description: From 'The Recovery of History.
Artist's Statement
The group as a whole depicts members of European culture in situations where the symbolic or mythological figures from their own pasts, or other belief systems seem to come to life. This is an attempt to bring home the reality that other belief systems have for their adherents by imposing it into the viewer's own experience. At the same time it is meant to make the audience question the validity of its own basic assumptions.
In Mme. Curie in Mexico on the Day of the Dead I imagined that the scientist who had been exposed for so many years to radio- activity might "see through" her fellow humans. By setting this during the Mexican religious holiday, a wry commentary on the ephemeral qualities of existence is made, as well as a reminder of the Medieval European tradition of the Dance of Death, or Death and the Maiden.
The modern Oedipus is still blind, and confounded by the Sphinx, who in her Las Vegas incarnation looks as much show girl as ancient symbol. This is intended as a tongue-in-cheek commentary on the twentieth century materialistic obsession with sex even into old age, to the detriment of psychic or spiritual growth.
In Elijah Harper Meets General Wolfe the cultural relation is inverted. Here we meet the Aboriginal MLA in symbolic conflict with a statue of General Wolfe from one of the entrances to the Manitoba Legislature - the site of Harper's gesture of defiance to the national government on behalf of his own people and the many other Canadians. Harper's spiritual symbol, the eagle feather eclipses the sword of the general who at the Plains of Abraham effectively conquered Canada. This powerful pacifistic gesture evokes the old saying "the pen is mightier than the sword."
Each drawing is a foray into this same world where objects and events are filtered through the fluid mind and juxtaposed to become something else.
Des mesures : 55.88 x 76.2 cm
Collection:
Date de réalisation : 1989
Matériaux : pen and ink
Collection virtuelle : Original CCCA
Looking for the Black Box, (detail)
Artist: Steve Gouthro
ID : 6352
Description: From the exhibition: 'Gazing Into the Dark Pool'.
Artist's Statement
For the show 'Gazing Into the Dark Pool', each of the six paintings explores a different aspect of death on either a personal or cultural level, some- times both.
In each work I have tried to achieve a focus and intensity of vision that allows the participant to respond to it with the clarity of a dream or the presence of a memory. I want the eye to move from one subject to another as the mind moves among images and thoughts.
The triptych Wood and Stone portrays the earliest transformations of the environment from a natural one to a cultural one, and the assimilation of external forms and beings into the psyche. Humans are buried with ceremony and dignity, and Nature's creatures become symbols of the human aspiration for eternity.
The Birth of Astrology is a commentary on the conversion of the awe in which we held the heavenly firmament into the ordered relationship that eventually formed the basis of modern science. Astrology is an attempt to find a meaningful unity in birth and death, to make sense of events that all to often seem arbitrary and chaotic.
The six canvases of Vestiges of the TITANIC present different views of the remaining relics of the once 'unsinkable' vessel. Until its recent discovery the wreckage of the Titanic was more a legend than a reality. The probe into its watery grave became an obsession for its seekers, which took them to the outside limits of the habitable environment and back in time to another era. For those of us living in a materialistic society, this may be as close to death as we are permitted to go, and for this reason the Titanic holds a special fascination. There is of course also the morbid curiosity which other people's disasters hold for many of us (fires, car accidents), and the Titanic is one of the biggest and most famous of these.
Two of the large canvases, Resurrectionists et Archaeologists hang close together and offer visual commentary on one another. Resurrectionists is a painting of 18th c. grave robbers forced to work at night to obtain cadavers for medical study. (The term 'resurrectionist' was a cynical contemporary commentary on this little loved profession.) Archaeologists depicts the modern desecration of the graves of another culture in broad daylight in order to satisfy the craving to better know others.
Looking for the Black Box deals with a different form of curiosity. Here is a quiet winter scene, with the fragments of a large passenger plane and a search party in a Breugelesque landscape. (Inspired in fact by The Hunters in the Snow.) This is a more immediate and visceral experience than the remote and legendary TITANIC which has become an archetype of the unconscious. Fears of plane crashes are a part of everyone's life. The black box with its recordings of the cockpit conversations offers us hope of an answer.
Des mesures :
Collection:
Date de réalisation : 1989
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
BUILDING, (detail 3 of 3)
Artist: Steve Gouthro
ID : 6363
Description:
Des mesures :
Collection:
Date de réalisation : 1990
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
BUILDING, (detail 2 of 3)
Artist: Steve Gouthro
ID : 6362
Description:
Des mesures :
Collection:
Date de réalisation : 1990
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
BUILDING, (detail 1 of 3)
Artist: Steve Gouthro
ID : 6361
Description:
Des mesures :
Collection:
Date de réalisation : 1990
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Elijah Harper Meets General Wolfe
Artist: Steve Gouthro
ID : 6358
Description: From 'The Recovery of History.
Artist's Statement
The group as a whole depicts members of European culture in situations where the symbolic or mythological figures from their own pasts, or other belief systems seem to come to life. This is an attempt to bring home the reality that other belief systems have for their adherents by imposing it into the viewer's own experience. At the same time it is meant to make the audience question the validity of its own basic assumptions.
In Mme. Curie in Mexico on the Day of the Dead I imagined that the scientist who had been exposed for so many years to radio- activity might "see through" her fellow humans. By setting this during the Mexican religious holiday, a wry commentary on the ephemeral qualities of existence is made, as well as a reminder of the Medieval European tradition of the Dance of Death, or Death and the Maiden.
The modern Oedipus is still blind, and confounded by the Sphinx, who in her Las Vegas incarnation looks as much show girl as ancient symbol. This is intended as a tongue-in-cheek commentary on the twentieth century materialistic obsession with sex even into old age, to the detriment of psychic or spiritual growth.
In Elijah Harper Meets General Wolfe the cultural relation is inverted. Here we meet the Aboriginal MLA in symbolic conflict with a statue of General Wolfe from one of the entrances to the Manitoba Legislature - the site of Harper's gesture of defiance to the national government on behalf of his own people and the many other Canadians. Harper's spiritual symbol, the eagle feather eclipses the sword of the general who at the Plains of Abraham effectively conquered Canada. This powerful pacifistic gesture evokes the old saying "the pen is mightier than the sword."
Each drawing is a foray into this same world where objects and events are filtered through the fluid mind and juxtaposed to become something else.
Des mesures : 55.88 x 76.2 cm
Collection:
Date de réalisation : 1990
Matériaux : pen and ink
Collection virtuelle : Original CCCA
BUILDING
Artist: Steve Gouthro
ID : 6360
Description: Proposal for the painting/installation, BUILDING
[The Winnipeg art Gallery]
TOWER OF BABEL
In different ways, most of my work in the last five years explores the workings of the mind from the inside out, as it intersects with physical reality. Some works such as Platform, Across the River, et Drowned Pontiac deal with these ideas in an individual, personal way. Others like Spontaneous Combustion, Wood and Stone, et The Birth of Astrology, deal with the origins of culture, religion, and philosophy. Ancestors or Progeny et Phoenix explore these concepts in continuum and crisis.
Another aspect of the human mind that intrigues me is the phenomenon of obsession and how it affects us socially and as individuals. I am proposing a painting which concerns itself with this idea using the theme of the Tower of Babel in a contemporary fashion.
This would hang on the west wall in the foyer of the Winnipeg Art Gallery. The total dimensions would be 6m. x 5m. It would be comprised of twenty-five canvases each 1.2m. x 1m. These would loosely conform to the structure of a massive building or tower. (I've been watching the death of the Child's Building from my studio window, and the ensuing new construction.)
As an introduction to his book Bricks to Babel, Arthur Koestler states:
Go to, let us make bricks unto Babel, and burn them hard...
Let us build a city and a tower whose top may reach unto heaven.
We continue to Go to, and carry bricks to Babel, although we
know that the tower will never be completed, and that even its
existing parts might be smitten by lightning and destroyed at any
time.
Carrying bricks to Babel is neither a duty, nor a privilege; it
seems to be a necessity built into the chromosomes of our species.
It is this aspect of the Tower of Babel that particularly interests me; - how it embodys obsession at the cultural or social level. I think this is the same impetus that drives ants and termites to construct mounds or birds to build nests. The Watts Towers of Simon Rodia represent this same urge expressed through a simple labourer over 33 years.
Making this painting would be my own expression of this same need. As I learned from my last big project, Current to the Future, (which spanned two years) there is a kind of clarity, intensity, and build up of creative inertia that occurs as one works towards the end of this kind of project.
Des mesures : 88.9 canvases, each: 99.06 x 119.38 cm; 254 x 304.8 cm / total width at base: 599.44 cm; 1524 cm / total height: 500.38 cm; 1270 cm
Collection:
Date de réalisation : 1990
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Lenya Goes Back to Berlin
Artist: Steve Gouthro
ID : 6356
Description: From 'The Recovery of History.
Artist's Statement
The group as a whole depicts members of European culture in situations where the symbolic or mythological figures from their own pasts, or other belief systems seem to come to life. This is an attempt to bring home the reality that other belief systems have for their adherents by imposing it into the viewer's own experience. At the same time it is meant to make the audience question the validity of its own basic assumptions.
In Mme. Curie in Mexico on the Day of the Dead I imagined that the scientist who had been exposed for so many years to radio- activity might "see through" her fellow humans. By setting this during the Mexican religious holiday, a wry commentary on the ephemeral qualities of existence is made, as well as a reminder of the Medieval European tradition of the Dance of Death, or Death and the Maiden.
The modern Oedipus is still blind, and confounded by the Sphinx, who in her Las Vegas incarnation looks as much show girl as ancient symbol. This is intended as a tongue-in-cheek commentary on the twentieth century materialistic obsession with sex even into old age, to the detriment of psychic or spiritual growth.
In Elijah Harper Meets General Wolfe the cultural relation is inverted. Here we meet the Aboriginal MLA in symbolic conflict with a statue of General Wolfe from one of the entrances to the Manitoba Legislature - the site of Harper's gesture of defiance to the national government on behalf of his own people and the many other Canadians. Harper's spiritual symbol, the eagle feather eclipses the sword of the general who at the Plains of Abraham effectively conquered Canada. This powerful pacifistic gesture evokes the old saying "the pen is mightier than the sword."
Each drawing is a foray into this same world where objects and events are filtered through the fluid mind and juxtaposed to become something else.
Des mesures : 55.88 x 76.2 cm
Collection:
Date de réalisation : 1990
Matériaux : lithograph
Collection virtuelle : Original CCCA
Patterns at Dusk
Artist: Steve Gouthro
ID : 6367
Description:
Des mesures : 109.22 x 152.4 cm
Collection:
Date de réalisation : 1990
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Napoleon in Egypt
Artist: Steve Gouthro
ID : 6357
Description: From 'The Recovery of History.
Artist's Statement
The group as a whole depicts members of European culture in situations where the symbolic or mythological figures from their own pasts, or other belief systems seem to come to life. This is an attempt to bring home the reality that other belief systems have for their adherents by imposing it into the viewer's own experience. At the same time it is meant to make the audience question the validity of its own basic assumptions.
In Mme. Curie in Mexico on the Day of the Dead I imagined that the scientist who had been exposed for so many years to radio- activity might "see through" her fellow humans. By setting this during the Mexican religious holiday, a wry commentary on the ephemeral qualities of existence is made, as well as a reminder of the Medieval European tradition of the Dance of Death, or Death and the Maiden.
The modern Oedipus is still blind, and confounded by the Sphinx, who in her Las Vegas incarnation looks as much show girl as ancient symbol. This is intended as a tongue-in-cheek commentary on the twentieth century materialistic obsession with sex even into old age, to the detriment of psychic or spiritual growth.
In Elijah Harper Meets General Wolfe the cultural relation is inverted. Here we meet the Aboriginal MLA in symbolic conflict with a statue of General Wolfe from one of the entrances to the Manitoba Legislature - the site of Harper's gesture of defiance to the national government on behalf of his own people and the many other Canadians. Harper's spiritual symbol, the eagle feather eclipses the sword of the general who at the Plains of Abraham effectively conquered Canada. This powerful pacifistic gesture evokes the old saying "the pen is mightier than the sword."
Each drawing is a foray into this same world where objects and events are filtered through the fluid mind and juxtaposed to become something else.
Des mesures : 55.88 x 76.2 cm
Collection:
Date de réalisation : 1990
Matériaux : pen and ink
Collection virtuelle : Original CCCA
O Fortuna
Artist: Steve Gouthro
ID : 6364
Description:
Des mesures : 297.18 x 533.4 cm
Collection:
Date de réalisation : 1992
Matériaux : ink on paper
Collection virtuelle : Original CCCA
O Fortuna, (detail)
Artist: Steve Gouthro
ID : 6365
Description:
Des mesures :
Collection:
Date de réalisation : 1992
Matériaux : ink on paper
Collection virtuelle : Original CCCA
Orange on Red
Artist: Steve Gouthro
ID : 6372
Description:
Des mesures : 40.64 x 30.48 cm
Collection:
Date de réalisation : 1993
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Bone on Red Shirt
Artist: Steve Gouthro
ID : 6371
Description:
Des mesures : 30.48 x 22.86 cm
Collection:
Date de réalisation : 1993
Matériaux : oil on panel
Collection virtuelle : Original CCCA
Adaptation Strategies Among Amphibians and Reptiles – Orange
Artist: Steve Gouthro
ID : 6385
Description:
Des mesures : 69.85 x 69.85 cm
Collection:
Date de réalisation : 1993
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Mexican Duck
Artist: Steve Gouthro
ID : 6373
Description:
Des mesures : 40.64 x 30.48 cm
Collection:
Date de réalisation : 1994
Matériaux : oil on panel
Collection virtuelle : Original CCCA
No. 4 Mill at MRM Steel
Artist: Steve Gouthro
ID : 6370
Description:
Des mesures : 45.72 x 60.96 cm
Collection:
Date de réalisation : 1995
Matériaux : lithograph
Collection virtuelle : Original CCCA
Permanence and Transitoriness in Concepts of Beauty – Venus & Fleurs
Artist: Steve Gouthro
ID : 6387
Description:
Des mesures : 69.85 x 147.32 cm
Collection:
Date de réalisation : 1995
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Adaptation Strategies Among Amphibians and Reptiles – Waves
Artist: Steve Gouthro
ID : 6386
Description: Artist's Statement
Adaptation Strategies Among Amphibians and Reptiles -- Waves explores an interest in artifice and nature. The turtle depicted, painted from a rubber model, is given a life-like character in translation. The wave pattern is based on a scrap of marbled paper, reproduced flaws and all. In creating the original, the marbler uses various pigments and tools to arrive at an organic, harmonious surface. The surface of my interpretation combines optical vibration with a physical presence achievable only through the painstaking application of oil paint by hand.
Des mesures : 69.85 x 69.85 cm
Collection:
Date de réalisation : 1995
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Ellice Afternoon
Artist: Steve Gouthro
ID : 6368
Description:
Des mesures : 109.22 x 152.4 cm
Collection:
Date de réalisation : 1996
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Standing Waves
Artist: Steve Gouthro
ID : 6379
Description:
Des mesures : 27.94 x 35.56 cm
Collection:
Date de réalisation : 1997
Matériaux : watercolour and marbling on paper
Collection virtuelle : Original CCCA
Afternoon Flowers, (detail)
Artist: Steve Gouthro
ID : 6375
Description:
Des mesures :
Collection:
Date de réalisation : 1997
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Afternoon Flowers
Artist: Steve Gouthro
ID : 6374
Description:
Des mesures : 81.28 x 83.82 cm
Collection:
Date de réalisation : 1997
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Modesty
Artist: Steve Gouthro
ID : 6391
Description:
Des mesures : 152.4 x 182.88 cm
Collection:
Date de réalisation : 1997
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Modesty, (detail)
Artist: Steve Gouthro
ID : 6392
Description:
Des mesures :
Collection:
Date de réalisation : 1997
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Rain Forest Floor
Artist: Steve Gouthro
ID : 6382
Description:
Des mesures : 35.56 x 27.94 cm
Collection:
Date de réalisation : 1997
Matériaux : watercolour and marbling on paper
Collection virtuelle : Original CCCA
Chaotic Green
Artist: Steve Gouthro
ID : 6380
Description:
Des mesures : 27.94 x 35.56 cm
Collection:
Date de réalisation : 1997
Matériaux : watercolour and marbling on paper
Collection virtuelle : Original CCCA
The Copper Wall
Artist: Steve Gouthro
ID : 6376
Description:
Des mesures : 35.56 x 30.48 cm
Collection:
Date de réalisation : 1997
Matériaux : watercolour on drypoint
Collection virtuelle : Original CCCA
Serenade
Artist: Steve Gouthro
ID : 6390
Description: Artist's Statement
Although I am primarily seen as a realist, in many ways I identify with abstract pattern painters such as Bridgette Riley or Guido Molinari. However, it is in the divergences from the ideal, the 'imperfections' in nature and the deviations that occur in my translation from the source that my work gains its visual power. The painting, Serenade, combines the rigid structure of the cut stone, and its complex natural textures, with the expressive gesture of the artist's hand to yield a pattern that suggests the music which the god, Apollo, uses to woo his human admirer.
Des mesures : 152.4 x 182.88 cm
Collection:
Date de réalisation : 1997
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Fragments of Debris
Artist: Steve Gouthro
ID : 6381
Description:
Des mesures : 27.94 x 35.56 cm
Collection:
Date de réalisation : 1997
Matériaux : watercolour and marbling on paper
Collection virtuelle : Original CCCA
White Aster
Artist: Steve Gouthro
ID : 6377
Description:
Des mesures : 35.56 x 30.48 cm
Collection:
Date de réalisation : 1998
Matériaux : watercolour on drypoint
Collection virtuelle : Original CCCA
Caton’s Window
Artist: Steve Gouthro
ID : 6369
Description:
Des mesures : 35.56 x 55.88 cm
Collection:
Date de réalisation : 1998
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Rain of Frogs
Artist: Steve Gouthro
ID : 6384
Description:
Des mesures : 35.56 x 27.94 cm
Collection:
Date de réalisation : 1998
Matériaux : watercolour and marbling on paper
Collection virtuelle : Original CCCA
Wrapped in the Art – a conundrum in black and white
Artist: Steve Gouthro
ID : 6393
Description:
Des mesures : 30.48 x 45.72 cm
Collection:
Date de réalisation : 1998
Matériaux : lithograph
Collection virtuelle : Original CCCA
Orange Lichen
Artist: Steve Gouthro
ID : 6383
Description:
Des mesures : 35.56 x 27.94 cm
Collection:
Date de réalisation : 1998
Matériaux : watercolour and marbling on paper
Collection virtuelle : Original CCCA
Permanence and Transitoriness in Concepts of Beauty – Mars and Venus
Artist: Steve Gouthro
ID : 6388
Description:
Des mesures : 69.85 x 147.32 cm
Collection:
Date de réalisation : 1999
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Flowers from J.
Artist: Steve Gouthro
ID : 6378
Description:
Des mesures : 35.56 x 30.48 cm
Collection:
Date de réalisation : 1999
Matériaux : etching
Collection virtuelle : Original CCCA
Views of Mount Rundle: Across the Valley
Artist: Steve Gouthro
ID : 57581
Description:
Des mesures : 71.12 x 71.12 cm/po
Collection:
Date de réalisation : 1999
Matériaux : acrylic on canvas
Collection virtuelle : Original CCCA
Permanence and Transitoriness in Concepts of Beauty – Mars and Venus, (detail)
Artist: Steve Gouthro
ID : 6389
Description:
Des mesures :
Collection:
Date de réalisation : 1999
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Views of Mount Rundle: Red Rundle
Artist: Steve Gouthro
ID : 57582
Description:
Des mesures : 71.12 x 71.12 cm/po
Collection:
Date de réalisation : 1999
Matériaux : acrylic on canvas
Collection virtuelle : Original CCCA
Views of Mount Rundle: Mountain Rain
Artist: Steve Gouthro
ID : 57583
Description:
Des mesures : 71.12 x 71.12 cm/po
Collection:
Date de réalisation : 1999
Matériaux : acrylic on canvas
Collection virtuelle : Original CCCA
Views of Mount Rundle: Post Card Ideal
Artist: Steve Gouthro
ID : 57584
Description:
Des mesures : 71.12 x 71.12 cm/po
Collection:
Date de réalisation : 2000
Matériaux : acrylic on canvas
Collection virtuelle : Original CCCA
Waiting Outside
Artist: Steve Gouthro
ID : 57586
Description:
Des mesures : 172.72 x 213.36 cm/po
Collection:
Date de réalisation : 2001
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Waiting
Artist: Steve Gouthro
ID : 57585
Description:
Des mesures : 172.72 x 213.36 cm/po
Collection:
Date de réalisation : 2001
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Scrap Bay
Artist: Steve Gouthro
ID : 57589
Description:
Des mesures : 274.32 x 198.12 cm/po
Collection:
Date de réalisation : 2002
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Collector
Artist: Steve Gouthro
ID : 57587
Description:
Des mesures : 71.12 x 71.12 cm/po
Collection:
Date de réalisation : 2002
Matériaux : acrylic on canvas
Collection virtuelle : Original CCCA
Molten
Artist: Steve Gouthro
ID : 82511
Description:
Des mesures : 274.32 x 198.12 cm/po.
Collection:
Date de réalisation : 2002
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Overview
Artist: Steve Gouthro
ID : 57588
Description:
Des mesures : 71.12 x 71.12 cm/po
Collection:
Date de réalisation : 2002
Matériaux : acrylic on canvas
Collection virtuelle : Original CCCA
Transformation
Artist: Steve Gouthro
ID : 57591
Description:
Des mesures : 172.72 x 203.2 cm/po
Collection:
Date de réalisation : 2003
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Looming
Artist: Steve Gouthro
ID : 57595
Description:
Des mesures : 157.48 x 132.08 cm/po
Collection:
Date de réalisation : 2004
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Vortex
Artist: Steve Gouthro
ID : 57597
Description:
Des mesures : 71.12 x 71.12 cm/po
Collection:
Date de réalisation : 2004
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Distance Breeds Enchantment
Artist: Steve Gouthro
ID : 57592
Description:
Des mesures : 198.12 x 274.32 cm/po
Collection:
Date de réalisation : 2004
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
80
Artist: Steve Gouthro
ID : 57593
Description:
Des mesures : 228.6 x 198.12 cm/po
Collection:
Date de réalisation : 2004
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Inferno and Daylight
Artist: Steve Gouthro
ID : 57594
Description:
Des mesures : 157.48 x 132.08 cm/po
Collection:
Date de réalisation : 2004
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Control
Artist: Steve Gouthro
ID : 57596
Description:
Des mesures : 71.12 x 71.12 cm/po
Collection:
Date de réalisation : 2004
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Milling
Artist: Steve Gouthro
ID : 57598
Description:
Des mesures : 228.6 x 198.12 cm/po
Collection:
Date de réalisation : 2004
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
![Through the Mill, [installation view]](https://ccca.art/wp-content/uploads/2024/04/gou101.jpg)
Through the Mill, [installation view]
Artist: Steve Gouthro
ID : 57601
Description: Installation view of exhibition: Through the Mill.
Winnipeg Art Gallery, 2004-05.
Artist's Statement
Death and decay, in conjunction with generation and regeneration, are essential natural principles that permeate all of our experience, including culture and its artifacts. Yet it seems to be inherent in the human make-up to yearn to break the cycle and achieve some transcendent permanence. Like the alchemists of old, we aspire to take gross matter and transform it into gold. The steel mill in Selkirk is one manifestation of this whole great process. Flux, decay, regeneration, change - these fluid states are present throughout the mill in the constant modernizations of the physical plant and the rapid erosion of everything, giving even the most up-to-date equipment a patina of grime and age. The amalgamation of scrap steel with various other metals in the huge retort, yielding the golden glowing billets of steel, is like alchemy on a gigantic scale.
The camera is a valued tool to record the particulars of light and the intricacies of form. The mutable paint evokes the flux and change of the human and natural process. The gross matter of subject and materials are melded together to create the work of art.
Des mesures :
Collection:
Date de réalisation : 2004-05
Matériaux :
Collection virtuelle : Original CCCA
![Through the Mill, [installation view]](https://ccca.art/wp-content/uploads/2024/04/gou100.jpg)
Through the Mill, [installation view]
Artist: Steve Gouthro
ID : 57600
Description: Installation view of exhibition: Through the Mill.
Winnipeg Art Gallery, 2004-05.
Artist's Statement
Death and decay, in conjunction with generation and regeneration, are essential natural principles that permeate all of our experience, including culture and its artifacts. Yet it seems to be inherent in the human make-up to yearn to break the cycle and achieve some transcendent permanence. Like the alchemists of old, we aspire to take gross matter and transform it into gold. The steel mill in Selkirk is one manifestation of this whole great process. Flux, decay, regeneration, change - these fluid states are present throughout the mill in the constant modernizations of the physical plant and the rapid erosion of everything, giving even the most up-to-date equipment a patina of grime and age. The amalgamation of scrap steel with various other metals in the huge retort, yielding the golden glowing billets of steel, is like alchemy on a gigantic scale.
The camera is a valued tool to record the particulars of light and the intricacies of form. The mutable paint evokes the flux and change of the human and natural process. The gross matter of subject and materials are melded together to create the work of art.
Des mesures :
Collection:
Date de réalisation : 2004-05
Matériaux :
Collection virtuelle : Original CCCA
![Through the Mill, [installation view]](https://ccca.art/wp-content/uploads/2024/04/gou099.jpg)
Through the Mill, [installation view]
Artist: Steve Gouthro
ID : 57599
Description: Installation view of exhibition: Through the Mill.
Winnipeg Art Gallery, 2004-05.
Artist's Statement
Death and decay, in conjunction with generation and regeneration, are essential natural principles that permeate all of our experience, including culture and its artifacts. Yet it seems to be inherent in the human make-up to yearn to break the cycle and achieve some transcendent permanence. Like the alchemists of old, we aspire to take gross matter and transform it into gold. The steel mill in Selkirk is one manifestation of this whole great process. Flux, decay, regeneration, change - these fluid states are present throughout the mill in the constant modernizations of the physical plant and the rapid erosion of everything, giving even the most up-to-date equipment a patina of grime and age. The amalgamation of scrap steel with various other metals in the huge retort, yielding the golden glowing billets of steel, is like alchemy on a gigantic scale.
The camera is a valued tool to record the particulars of light and the intricacies of form. The mutable paint evokes the flux and change of the human and natural process. The gross matter of subject and materials are melded together to create the work of art.
Des mesures :
Collection:
Date de réalisation : 2004-05
Matériaux :
Collection virtuelle : Original CCCA
Furnace in Flames
Artist: Steve Gouthro
ID : 82512
Description:
Des mesures : 71.12 x 71.12 cm
Collection:
Date de réalisation : 2005
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Loading Zone
Artist: Steve Gouthro
ID : 82515
Description:
Des mesures : 121.92 x 121.92 cm
Collection:
Date de réalisation : 2008
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
In the Trees
Artist: Steve Gouthro
ID : 82514
Description:
Des mesures : 121.92 x 121.92 cm
Collection:
Date de réalisation : 2008
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Man in Armour
Artist: Steve Gouthro
ID : 82516
Description:
Des mesures : 121.92 x 121.92 cm
Collection:
Date de réalisation : 2008
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Flag on His Shoulder
Artist: Steve Gouthro
ID : 82513
Description:
Des mesures : 121.92 x 121.92 cm
Collection:
Date de réalisation : 2008
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Fracturing
Artist: Steve Gouthro
ID : 82520
Description:
Des mesures : 101.6 x 121.92 cm
Collection:
Date de réalisation : 2010
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Between
Artist: Steve Gouthro
ID : 82518
Description:
Des mesures : 121.92 x 121.92 cm
Collection:
Date de réalisation : 2010
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Memento
Artist: Steve Gouthro
ID : 82521
Description:
Des mesures : 71.12 x 147.32 cm
Collection:
Date de réalisation : 2010
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Fissure
Artist: Steve Gouthro
ID : 82519
Description:
Des mesures : 121.92 x 121.92 cm
Collection:
Date de réalisation : 2010
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Trio
Artist: Steve Gouthro
ID : 82524
Description:
Des mesures : 101.6 x 121.92 cm
Collection:
Date de réalisation : 2010
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Intersection
Artist: Steve Gouthro
ID : 82517
Description:
Des mesures : 101.6 x 121.92 cm
Collection:
Date de réalisation : 2010
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Still
Artist: Steve Gouthro
ID : 82523
Description:
Des mesures : 121.92 x 121.92 cm
Collection:
Date de réalisation : 2010
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Moving
Artist: Steve Gouthro
ID : 82522
Description:
Des mesures : 121.92 x 121.92 cm
Collection:
Date de réalisation : 2010
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Green Rider
Artist: Steve Gouthro
ID : 82525
Description:
Des mesures : 172.72 x 213.36 cm
Collection:
Date de réalisation : 2012
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Painter
Artist: Steve Gouthro
ID : 82526
Description:
Des mesures : 71.12 x 147.32 cm
Collection:
Date de réalisation : 2012
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
The Church & the Word
Artist: Steve Gouthro
ID : 82529
Description:
Des mesures : 101.6 x 121.92 cm
Collection:
Date de réalisation : 2016
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Black Night in Eden
Artist: Steve Gouthro
ID : 82527
Description:
Des mesures : 101.6 x 121.92 cm
Collection:
Date de réalisation : 2016
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Dark Cloud Above the Highway
Artist: Steve Gouthro
ID : 82528
Description:
Des mesures : 213.36 x 121.92 cm
Collection:
Date de réalisation : 2016
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Mist on the Snow-Damp Highway
Artist: Steve Gouthro
ID : 82530
Description:
Des mesures : 101.6 x 213.36 cm
Collection:
Date de réalisation : 2017
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
Sunrise at Winnipeg Beach
Artist: Steve Gouthro
ID : 82531
Description:
Des mesures : 35.56 x 60.96 cm
Collection:
Date de réalisation : 2017
Matériaux : oil on canvas
Collection virtuelle : Original CCCA
