Peter Harris was born in London,Ontario and currently lives and works in Toronto, Ontario. He completed a degree in Fine Arts at the University of Waterloo in 1997. In the years since he has exhibited his oil paintings in group and solo exhibitions in Canada and the United States.
The work included in this post is from the series Art and Architecture, in the words of the artist:
As a landscape painter, I strive to create images that connect viewers to their immediate surroundings. While my work is situated in the present, it often invokes artists from the past whose paintings linger in our collective memory and influence how we think about the landscape. Edward Hopper and Lawren Harris are two such artists whose iconic imagery still resonates, and whose reputation casts a long shadow over all artists working within the genre. In the exhibition Evening with Hopper I began by meticulously recreating their historical paintings in miniature and framing them within current urban architecture. I wanted their historical depictions to be subsumed by the modern, acknowledging the power of their legacy while challenging their continued relevancy to a contemporary audience. Source
Marianne Markvad’s architectural collages examines urban space mixing different images to reflect her own reality. The artworks question and reveal about the life we lead and the spaces we live in. To create her artworks Markvad visits the suburbs and cities of Denmark and abroad. Using photographs she records “moments” in places and situations that fascinate her. These photographs are the foundation material of her collages.
The seductive Utopian views constructed in Martyr’s work conjure a timeless sense of elegance and nostalgia, as Martyr marries together found images with remembered places. We find that these familiar settings become soft-focus templates for the mnemonic, at once heightening and embellishing reality. The artist promises us clear skies as flawless as beauty adverts. Martyr’s painting technique is extraordinarily precise. His uncompromising process is hand painted and involves many stages to create flawless canvases.
Martyr’s skilled observation of line and shadow brings depth to the paintings, emphasizing the horizontal with simple symmetrical planes. Inspired by post-war Americana/Pop Art, Modernism, Italian Futurist and Russian 1930’s Posters, his paintings are reminiscent of holiday postcards. Titles such as ‘Stay Until Tomorrow’, ‘Where We Belong’ and ‘It’s Only Us’ advertise themes of an almost unattainable vitality and effortless chic.
This series portrays changes that take place in everyday life, like the sun rising or ice cream melting. These ordinary events were photographed at regular intervals, printed on transparent film and assembled in sequence. Capturing the accumulation of time as a sculpture allows the viewer to experience the ephemerality of time.
We are all subject to the passing of time, yet each of us feels and perceives it in our own way. Time itself has no shape or boundary and cannot be fixed or grasped. When we look at the photographs in these sculptures, we attempt to fill in the gaps between the individual images. We draw from our physical experiences to fill in missing time and space, both ephemeral and vague. In this series, I attempt to depict time and space as sensations shared by both viewer and artist.
Heidi Annalise is the Colorado-based artist behind these 2×3-inch tiny oil painting, joyfully created on site amidst mosquitos, blistering heat, and frigid winds! Each painting captures a unique moment in time, and is painted on a wooden panel using a “mint tin palette”.
The quest for something new, distinctive forms and compositions, found in our exterior environments are the themes that are consistently sought after as the major contributors to my work. The main emphasis showcases the mundane within the landscape, for example, the poetry that happens in the sweeping utility lines along the backdrop of a morning or evening sky with the pinnacles of structures, treetops, telephone poles, and how each interacts with one another within the composition. Taking something so utilitarian for example, like that of a telephone pole with all of its components, on average would be, and usually are, looked upon as something that is less than visually desirable, yet when presented in a unique way this provides one with the tools needed to visually tune into not only their personal environments but also that of the world — therefore, giving viewers the capabilities to find beauty in the simplest of things.
The following quote by Henry Miller speaks volumes when it comes to embodying the personal philosophy as to what drives me to be an image maker; “What the painter sees he is duty-bound to share. Usually, he makes us see and feel what ordinarily we ignore or are immune to. His manner of approaching the world tells us, in effect, that nothing is hideous, nothing is stale, flat and unpalatable unless it be our own power of vision.”
A blog curated by Roberto Cruz Niemiec with the best of Architecture, Design and Art.