sometimes work is beautiful.

August 23, 2012 by keirartworks Leave a comment

My dad’s chopsaw, that cut all 1000 sq feet of our 1 1/4″ ash floor.
Thanks dad.

Rate this:

Like this:

Like Loading...

Categories: Art, Music, The cordwood house- 2006-2013 | Permalink.

Author: keirartworks

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

Leave a Reply Cancel reply

Enter your comment here...

Fill in your details below or click an icon to log in:

Email (required) (Address never made public)

Name (required)

Website

You are commenting using your WordPress.com account. ( Log Out / Change )

You are commenting using your Google account. ( Log Out / Change )

You are commenting using your Twitter account. ( Log Out / Change )

You are commenting using your Facebook account. ( Log Out / Change )

Cancel

Connecting to %s

Notify me of new comments via email.

Notify me of new posts via email.

← Previous Post

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.

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

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

three of five images, underdrawing…

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

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

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

And shiny, reflective things…

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

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

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

“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

Cotton Factory / Hamilton Arts Council Residency studio, January 2019

Silence (detail), from Sea Hear, 2001

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

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…

Bruce Peninsula tree in early spring

plant fire

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

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

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

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

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

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

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.

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

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

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

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

underdrawing for “response to Selfies 1”

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

‘shovel’ very close to finished

Thanks for the rehearsal, L. More therapy.

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

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

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

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”

detail d. intervention 2

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

polywog (detail), from What Makes Us, 2004

detail of the same painting

this one is singing now….

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

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.

taken September 27th, 5pm.

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

drawing on background

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.

“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

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

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

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

drawing on background for ‘Axe’

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

me hiding behind my other self

front

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.

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

Me painting at age 16

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.