not always pretty, but always beautiful.

January 23, 2011 by keirartworks 1 Comment

Looking north, windy wet winter morning @ dawn

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Categories: Uncategorized | Tags: cold, dawn, howl, pathetic fallacy, storm, Winter | Permalink.

Author: keirartworks

Artist, Musician, Writer, Teacher. Mum to an incredible person, friend to many Incredibles. Performer. Thinker. Collaborator. K

One thought on “not always pretty, but always beautiful.”

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← Previous Post

“Snakeroot”, 6×6″, graphite and acrylic on paper, 1999. Sold

Me painting at age 16

Pavement II: Gate. oil pastel, acrylic and vine charcoal on paper. Machine sewn bottom edge. Improvisation meets structure, and a narrative emerges.

detail of the same painting

Beaver River valley, from What Makes Us, 2004. 18″ w x 48″, sold.

The first of five pieces on paper I presented at the artists’ talk for the 2018-19 Cotton Factory Residency. Pavement 1: door and chain. A response to my month-long stay in a student apartment at Barton and Emerald Streets in Hamilton. Pretty disempowered neighbourhood – I found myself walking there with eyes down, was warned not to go out at night.

3pm today. It has since transformed again. Sold.

diptych Shovel/Axe. 29″w x 78″h (x 2). $1799. each; $3,600. as dyptich.

taken September 27th, 5pm.

from #Selfie (2014). inverse image of me on white indian cotton.

Pavement V: Three Crosses, 2019 conte, acrylic and vine charcoal on paper, machine sewn lowest edge.

paintings on silk, china marker drawings. Hmmm, what will these become? Hamilton Residency 2019

Bell 4: Sound Waves, and two other pieces in progress, Cotton Factory Residency, 2019

polywog (detail), from What Makes Us, 2004

detail of 4’x4′ painting in progress: D-ring snaffle bit

Chalk Horse, 2014; 48″sq, acrylic and mixed media on canvas. I wrote two blogs about the process of this painting called “Letting Go”. Not sold; $1,850.00

6×6″, mixed media on paper, 1999 (sold)

drawing on background

Bell 4: Dark, @ residency studio. working on push/pull surface reflections

detail d. intervention 2

Dad’s chopsaw – I cut an 1100 sq foot ash floor on this. Now it’s in a painting

“Throwback”, 2014, 60″x60″, Acrylic on a piece of artist’s canvas (I’d used as a housepainting drop sheet for 15 years). $2,950.00

Bruce Peninsula tree in early spring

front

From #Selfie (2014). ‘Masks’ – 84″ x 36″; mixed media on canvas; $3,250.00

The one just finished. 60″x72″; $3,350. It’s difficult to understand scale here (thumbnails are same size as my face). This one had me on lock-down for the last two days of its’ fulfillment.

Hologram, from a series of paintings about music from 2001. I’ve always wanted to create a third image that exists in front of the painting, depending on the light & time of day. It worked in this one. Impossible to photograph, tho.

taken when I was backing up Larry Jensen at The Court House, somewhere around 2004

“wishbones”, 1999, 6×8″, acrylic and graphite on paper. Sold

Silence (detail), from Sea Hear, 2001

blue ground from “Axe” before cheesecloth and netting layer applied

Cello Spine, from What Makes Us, 2004. Acrylic and vine charcoal on Linen, 6’x 28″, sold.

Bell 3: Dark near completion at Hamilton Residency

plant fire

Cotton Factory / Hamilton Arts Council Residency studio, January 2019

I wanted to put the ‘positive’ image on the black ground, and the inverse one on white… Here’s the drawing

moose – acrylic on paper, 2001 26″x40″ unframed. Not sold.

functional art – cobalt blue runner; sienna napkins – 5′ .5″ long by 24″ wide, back flannel back. $289.00 plus shipping

‘shovel’ very close to finished

Hip Cello, from 2008, recently come back to me, since the owner has drastically reduced his wall space.. I’ve missed this one.

this one is singing now….

detail of Snaffle Bit (in progress). 4′ square

underdrawing for “response to Selfies 1”

three of five images, underdrawing…

inheritance from two families on my mother’s side: A proud sign from Kennedy Foundry of Owen Sound, hanging on the wall of Circle Bar Ladies’ Hosiery factory, also in Owen Sound, owned and operated by my mom & aunt’s grandparents, Walter and Catherine Keebler.

‘Black’. 2014, 36×36, acrylic on dyed cotton.

#Selfie (Summer 2014 solo show): Round II: Surrender. 24″ Work in progress

detail from a painting I’m working on now. I think it’s about my parents…

By tomorrow morning these two will be in the hall, and the next two up & talking. Stay with me, folks….

Here’s the photoshop sketch for Red. Looking also for another image to layer on top of this for symbolic reasons… it will come.

This is a huge canvas that has served as the ‘catcher of drips’ on my studio wall for the past six years. it will become four huge paintings – each with five years of painting drips embedded

Bell 4: Sound Waves [detail] near completion at Hamilton Residency, 2019

“Bee”, acrylic and graphite on paper, 1999. 6×8″. Original is sold, but I am in the process of making prints. Will post on art page when they’re available

Algomarine at dock in Owen Sound harbour. I took this photo in 2009, and used in 2014 it as reference for the background of “Axe”

“Round I: Pilgrimage”, 36″, mixed media on canvas

View from the 3rd floor at Cotton Factory. You can see the old site for Ivor Wynn Stadium – my name could still be buried there somewhere on microfiilm to record a 1968 dedication ceremony involving Pierre Trudeau and the Mayor of Hamilton. I was five, I think.

Pavement IV: Fence 2019 acrylic, oil pastel and vine charcoal on paper. Machine sewn lower edge.

And shiny, reflective things…

apologies – this is a studio shot and I was in a rush – show opening 2 hours hence. It’s a bit blurry. Will post proper shot when I can…

me hiding behind my other self

“Resonance”, from Sea Hear (2001). 60″x48″; sold

We had goats when I was a kid [nubians]. I have enormous respect and love for them.

detail from “Manitoulin”, which I painted in 2004. This one’s big – approx 7’w x 5’h

Thanks for the rehearsal, L. More therapy.

drawing on background for ‘Axe’

Pavement III: Stairs 2019, conte, oil pastel, acrylic and vine charcoal on paper. Machine sewn edge.

The only painting I cannot sell the original of – inspired by Ted Huges’ book “Crow”, and painted after a near-death experience on the Gardiner Expressway in Toronto. Two full-sized high-quality prints are left of an edition of 4 – $600. unframed each.

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how to contact me

keirartworks@gmail.com

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hmmm. hmmm? Observations, actions and connection points through art.

not always pretty, but always beautiful.

Author: keirartworks

One thought on “not always pretty, but always beautiful.”

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Author: keirartworks

One thought on “not always pretty, but always beautiful.”

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