To stand in your power

January 23, 2017 by keirartworks Leave a comment

In the face of such continuous and appalling lack of integrity, what are the choices?

Deeper roots will hold us all steady in our ground. Deeper roots will hold the ground steady.

Shall we grow roots together?

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Categories: Music | Tags: always choices, choose integrity like good glue, donald duck, Donald Trump, Grant Nicholson, lack of integrity, make invisible those who cannot take responsibility, no respect, what choices, what to do | Permalink.

Author: keirartworks

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

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polywog (detail), from What Makes Us, 2004

front

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.

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

underdrawing for “response to Selfies 1”

“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

drawing on background for ‘Axe’

Thanks for the rehearsal, L. More therapy.

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

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

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…

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

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

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

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.

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

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.

detail of the same painting

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

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

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

Cotton Factory / Hamilton Arts Council Residency studio, January 2019

taken September 27th, 5pm.

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

plant fire

three of five images, underdrawing…

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

me hiding behind my other self

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

‘shovel’ very close to finished

Bruce Peninsula tree in early spring

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

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

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

detail d. intervention 2

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

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

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

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

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

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

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

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.

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

drawing on background

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”

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

this one is singing now….

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

Me painting at age 16

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

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

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

Silence (detail), from Sea Hear, 2001

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

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

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

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.

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

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.

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

Bell 3: Dark near completion at Hamilton Residency

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

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

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how to contact me

keirartworks@gmail.com

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

To stand in your power

Author: keirartworks

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