/ˈpräˌses,ˈprōˌses/ noun 1. a series of actions or steps taken in order to achieve a particular end.
Pragmatically speaking, rarely are artists' sketches, doodles, words or ideas intended to be viewed by the public. They are the documentation of an idea or mode of creating that allows the artist to record and potentially recall for future use. We are thrilled to put on display what most viewers and collectors seldom get to experience. We are exhibiting these preparatory works as important ideas in an artist’ career versus major works in an artist’s career. Artists in the exhibition include: Graeme Patterson, Tom Forrestall, David Clark, Mathew Reichertz, Steve Farmer, Yorodeo (Paul Hammond & Seth Smith), Mark Bovey, Gary Markle, Nistal Prem de Boer, Sheila Provazza, Christopher Webb, Sarah Hartland-Rowe, Don Baker, Frances Dorsey, David Howard, Geoffrey Grantham, Andrew Hunt, Jeffrey Cowling, Lorraine Field, Nigel Konstam, Adrian Edwards and Marco Ferri.
This page is devoted to the entire exhibition. Below, in no particular order, are the participating artists along with their pieces and, in the artists' own words, a description of the importance of the work. All images have been cropped to better fit this page. For more information, prices and availability, please click any thumbnails to see the full image and then scroll over the image for more information. (Please note that image prices and info will be update by Wednesday, September 24,2015)
Originating from Saskatoon, Graeme Patterson now lives in Sackville NB. His intention as an artist is to bring the viewer in to the world of play he exists in while creating miniature environments based on personal memories and experiences. Graeme's practice stems from a self-taught method of producing stop-motion animations but has expanded into building large video/sculptural installations. HIs installations consist of animation, sculptural models, robotics, sound, music and some interactive elements. Graeme's inspiration comes from a desire to constantly develop an alternate reality that stimulates reflective engagement with universal themes of longing, loss and recovery. Since graduating from NSCAD in 2002 his work has shown nationally and internationally including several solo exhibitions at significant Canadian art galleries. Some of his recent accomplishments include; 2012 Canada Council for The Arts Victor Martyn Lynch-Staunton Award (media arts) Atlantic finalist for the 2014 and 2009 Sobey Art Award, finalist for the 2010 Lieutenant Governor of Nova Scotia Masterworks Arts Award, and a 2011 Juno Award nomination for album package of the year. Graeme recently completed a new body of work entitled "Secret Citadel" which is currently exhibiting as a national solo tour.
Why did you select these images for this exhibition: ""I'm not much of a sketchbook guy. I have nothing that really exists on paper or in 2-d. Often my physical experiments get recycled or worked into a larger project. These were a few puppets that I had in my studio that never got used for animations but managed to not be re-purposed."
Tom Forrestall was born in the Annapolis Valley of Nova Scotia on March 11th, 1936. In 1954 Forrestall was awarded an entrance scholarship to the Fine Arts Faculty at Mount Allison University from which he graduated in 1958. In the same year he received a Canada Council Grant for independent study (one of the first granted) and travelled throughout Europe. In 1959 he became the assistant curator of the Beaverbrook Art Gallery in Fredericton, and in 1960 received his first major commission -- a painting to be presented to Princess Margaret as a wedding gift from the Province of New Brunswick. Forrestall is one of the leading figures associated with the visual arts in the Maritime region. His work has been exhibited and is represented in every major public collection the region and beyond, including numerous solo exhibitions in prominent galleries worldwide.
Tom Forrestall's work has been included in numerous group exhibitions in Canada and Europe including ‘Colville, Forrestall, Pratt’ at the Beaverbrook Art Gallery and Aspects of Realism, an exhibition of international art organized by Rothman's. His work is reproduced in most histories of contemporary Canadian art and is featured in High Realism in Canada, the 1974 book by Paul Duval. Tom Forrestall: Paintings, Drawings, Writings (2008) was published in conjunction with his retrospective at the Art Gallery of Nova Scotia.
Why did you select these images for this exhibition: "I consider these (watercolours) drawings. For me, these works are preliminary and are the direct lead up to a definitive work - which is generally in egg tempera. I cut them into the shapes once they are complete. The shape is intended to help relate the particular concept to the viewer. These smaller works have greatly helped me move the development of my art practice."
David Clark is a Halifax artist working in a wide variety of modes including drawing, sculpture, digital media, film, video, and sound. He is known for his large-scale interactive works for the web: ’88 Constellations for Wittgenstein’ and ‘A is for Apple’, work that has been exhibited at festivals and exhibitions around the world including the Sundance Film Festival, SIGGRAPH, the European Media Arts Festival, Transmediale in Berlin, and the Museum of Moving Images in New York. His work has won the top awards at FILE, Sao Paulo and the SXSW Interactive Festival. “88 Constellations for Wittgenstein” was included in the Electronic Literature Collection #2 and won the 2011 Nova Scotia Masterwork Award. He recently completed a public commission that used Augmented Reality to link an iPhone app to 24 sundials installed at Sir Sandford Fleming Park in Halifax. He teaches Media Arts at NSCAD University in Halifax.
Clark has consistently been a collagist; he samples the world and reforms it and reorganizes it in new juxtapositions. He is interested in narrative but feels more comfortable presenting stories as a territory to explore rather than a contrived linear story.
Why did you select these images for this exhibition: "All of these images are peripheral drawings related to my larger web-based projects. They evolved as a parallel process of researching and development. Even though I am thinking about the content of the pieces, they, in the end, contributed to the look and feel of my finished works."
Originally from Montreal, Mathew Reichertz completed his BFA at Concordia University and his MFA at NSCAD University. In 2005 Reichertz was the Eastern Canadian winner of the RBC Canadian Painting Competition and in 2006 was shortlisted for the Sobey Art Award. He has had numerous exhibitions nationally and his work can be found in a number of institutional collections including the Nova Scotia Art Bank, the Art Gallery of Nova Scotia and the Dalhousie Art Gallery. Reichertz’s interests are in narrative and contemporary painting. In 2006 he became a tenure track member of the Faculty at NSCAD University where he is now an Associate Professor.
Garbage (of which the works below derive) was an architectural-scale series of panels that transformed the gallery into a graphic novel. Each “page” of the story popped with colour off the wall, unfolding through painted panels, using the common tropes of comic books. The series told the story of an encounter between the protagonist and his neighbours in a transitional North End Halifax neighbourhood, concerning a mysterious couch that showed up one morning on the protagonist's front curb. As he confronts his neighbours, asking where it came from, he gains insight into their lives as well as his own. Garbage extends the narrative aspect that has long been characteristic of his work into a new realm that overlaps with contemporary printed matter.
Why did you select these images for this exhibition: "These preparatory works played a very significant part in the planning and execution of parts of "Garbage", a major, multiyear long project that was recently exhibited at Saint Mary's University Art Gallery. I had a lot to figure out in order to make the work. These studies show a little bit of that process.”
Originally from Halifax, Nova Scotia, Steve Farmer’s love of art led him to NSCAD University in the 1980′s where he found a connection with photography. He pursued undergraduate studies and graduated in 1989 with his BFA. Throughout his career Steve has photographed isolated Nova Scotian islands to large, consumptive industrial sites. He has been entrusted to photograph collections of some of the most prominent Canadian artists both privately, through the Art Gallery of Nova Scotia and by the National Gallery of Canada. He has been called upon to photograph dignitaries including Presidents, Prime Ministers and Royalty.
Currently, when Steve is not being contracted by some of Atlantic Canada’s largest corporations he can be found in the classrooms of NSCAD University where he teaches both Lighting and Digital Photography. Farmer's photographic strengths are in both art and industrial documentation, but industrial images feed his passion. His camera is an extension of himself and is a vehicle for interpretation.
Why did you select these images for this exhibition: "Contact sheets are the best way to examine work in a more tactile form – similar to the form they are going to exist in later. These are recent works in progress."
Yorodeo (Paul Hammond & Seth Smith)
Yorodeo is the name of Halifax-based screen-printing art team Seth Smith and Paul Hammond. The two partnered in 2003 primarily to design and create screen-printed show posters for local events. For more that a decade they have focused their collaborative energy on fine art prints and posters, among other projects. They draw inspiration from comic books, science fiction, fantasy and unintentional mistakes. Their work fuses collage, doodles, carefully rendered illustration, pattern and texture.
Why did you select these images for this exhibition: "We're showing two types of images - hand-drawn patterns, and doodles - both very important to our collaborative image-making. We tend to work on loose, random paper, and keep drawings like these in overstuffed boxes of scraps, rather than proper sketchbooks, so they can get pretty beat up, but that describes our practice pretty well." - Paul Hammond
Mark Bovey is an Artist, and Associate Professor in the Printmaking Area and current Chair of Fine Art at the Nova Scotia College of Art and Design in Halifax, Nova Scotia, Canada (2004-present). He received his MVA in Printmaking from the University of Alberta in 1992 and his BFA from Queen’s University in Kingston Ontario in 1989. Bovey’s work has represented Canada internationally in juried biennial and triennial exhibitions in 17 nations worldwide. He has exhibited in solo and group exhibitions across Canada including 15 curatorial projects. Bovey’s practice ranges from traditional printmaking (combinations of Intaglio, Lithography, screen printing and woodcut) to print installations works incorporating inkjet and digital video projection that reference and incorporate the history of printed forms. His work is in numerous collections most recently, SGCI Theme Portfolio Collection at the Kennesaw Museum of Art, Canadian Foreign Affairs Visual Art Collection, The Art Gallery of Nova Scotia, Tama Arts University - Japan, and the Danforth Museum - Boston. His practice involves actively seeking images found in the ocean of documents over the past 600 years. The images, as both evidence of knowledge and as time markers are reinserted back into a printing matrix (digital or analog). The reintroduction into a new relative context makes new a field of possibilities for the viewer to traverse.
Why did you select these images for this exhibition: "These two trials show my interest in playing with potential formats – image/object- the real and the illusion. The elements in the work come from the 36 volume Rees Cyclopedia pages. They are composed in a digital matrix and are intended to be printed 200% larger in their final state. Often, the drawn elements are also scanned and incorporated into the digital illusion. In the sketches I draw directly on the prints and will test numerous versions before arriving at the selection to take forward.”
Gary Markle was born in 1963 in Bella Bella, British Columbia. In the late 60s he moved with his family to Toronto, Ontario, where at age five he began attempting fashion design by draping beach towels on his older and very patient sister. He also created gowns using clothespins to hold the forms. In 1983 Markle moved to New York and began his studies in fashion design at the post-secondary level. He graduated from Parson’s School of Design in 1988 with a BFA in Fashion. In the winter of 1990, he moved to Halifax, Nova Scotia to continue his studies. Markel graduated from the Nova Scotia College of Art and Design University (NSCAD) with a MFA in Textiles in 1995. In 2009 Markle returned to NSCAD, this time as Assistant Professor of Textiles/Fashion with a specialization in fashion. According to Markle, “I continue to feel like a student when it comes to being a maker of things. Imagination is still my favourite playground and fashion design is still my preferred escape from the ordinary.”
Why did you select these images for this exhibition: "These sketches mark part of the process that remains long after the "event" is over. It's great to have this opportunity to share them with people."
Nistal Prem de Boer
Nistal Prem de Boer was born in Amsterdam and immigrated to Montreal, Canada after finishing his degree in Architecture and Engineering at the Technical University of Delft, the Netherlands. While in Montreal he worked for several architectural offices. In 1976 he moved to Canada Creek, Nova Scotia, where he started his career as an independent architect. The concept of sculpture has presented itself throughout this life. Nistal’s architecture and landscape design can certainly be called sculptural and his way of working could be considered more that of a craftsman/artist than of a designer. Many of Nistal’s sculptures in terra cotta have been integrated in the buildings he created. He is intrigued as to how to express the ephemeral, the fleeting and transitory in the permanent, lasting medium of bronze. The human form is his greatest inspiration, certainly its unspeakable beauty, but especially its ability to change and to show the processes of transformation..
Why did you select these images for this exhibition: "All of my sketching is in 3 dimensions. I don't draw. Even when I was an architect I would create maquettes of clay to see how the buildings would look. This is just how I worked. It is an easy medium for me. These are my most recent works and ideas."
Sheila Provazza studied Fine Arts at the University of Massachusetts, Dartmouth and received her Masters of Fine Arts degree at Cranbrook Academy of Art in Michigan. Her work has been exhibited in the United States and Canada and has been collected by the Art Gallery of Nova Scotia, Mount St. Vincent University and the Nova Scotia Art Bank. Sheila has taught Painting and Drawing at NSCAD University since 1994 and has worked as a scenic artist and designer for theater and opera. The techniques and subjects she is involved with draw upon Provazza's experiences as a visual and scenic artist, in particular, still life painting and scenic painting for opera.
Why did you select these images for this exhibition: "I chose to exhibit my working drawings for "In the Sweet By and By, A Panorama" because they are quite different from my typical compositional thumbnails studies. Rather the drawings were executed to the exact scale of the painted image, giving an opportunity to compose with the elements of the painting by arranging them directly on the surface of the canvas.”
Originally from Halifax, Webb studied painting under the tutelage of his grandmother, artist Madeleine Asprey (Pavia). He holds a degree from Saint Mary's University and has given lectures on Art, Creativity & Entrepreneurship across Canada and the United States. He is an active member of the arts community and in 2006 was named the President of Visual Arts Nova Scotia (VANS). He has served as a Member of the Board for Saint Mary's University and as Member of the Board of the Art Gallery of Nova Scotia. He recently has taken on the curatorial role at Pavia Gallery. Webb also leads Art & Cultural Excursions every spring to Italy with his partner, and PAVIA Owner Victoria Foulger
At its core, his paintings are rooted in questions of spirituality and morality. Compositions are calculated, controlled and are an attempt to reach perfection. They are resolved. Meditative. Conflict has been removed. The written word (on paper) has become frequent compositional elements used to evoke a duality.
Why these works are important: "Eight years ago I essentially re-defined my art practice. I had been trying to directly work things out on canvas. There were varying degrees of success, but nothing definitively succeeded. These images come from 6 sequential pages in my sketchbook and essentially laid the groundwork for the last number of years. To this day I still use them as reference points for works. The other image is a quick sketch while in Todi (Italy). It represents the collaborative effort between myself and Victoria."
Sara Hartland-Rowe has shown work throughout Canada, in the United States, the Netherlands, and Argentina. She has produced large-scale wall paintings for the Art Gallery of Nova Scotia, the Windsor Art Gallery, Museum London, the Durham Art Gallery, the Koffler Gallery and Harbourfront Gallery. She has won several grants and awards, most recently a Canada Council Creation Grant (2008) and a Nova Scotia Arts Council Grant (2008). Her work can be found in public galleries and institutions, and private collections. She has recently been short listed for the Nova Scotia Lieutenant Governor’s Masterworks Award. In addition to her studio practice, Hartland-Rowe writes about contemporary art for c magazine (Canada). She is an instructor in the painting department at the NSCAD.
Hartland-Rowe's work is centered in drawing and painting, though varied in terms of materials, scale and modes of production (miniature sewn drawings to wall-scale installation). She is primarily interested in the observable world, particularly in the flash of perception before identification of forms begins.
Why these works are important: "Sketchbook and other preparatory drawings can be provisional – one’s thoughts are unfixed, there can be a high level of experimentation. This is partly because of scale. The drawings I selected for Process show a range of possible drawing modes: collage, cut paper, traditional drawing, wet media, all of which offer their own material characteristics that can then be carried into a longer work."
Don Baker was born in Port Elgin, New Brunswick in 1943. Five years later he moved to Dartmouth, Nova Scotia. He graduated from St. Francis Xavier and went on to complete his Mechanical Engineer degree from the Technical University of Nova Scotia (TUNS) in 1964. After working for a number of years, in 1974 he created his own firm All Energy Engineering. He began painting in 1979 as a watercolourist but over the years has incorporated egg tempera and acrylic. His work has been collected privately and publicly across Canada and the United States and he has shown as part of numerous group and solo exhibitions. Baker expresses his ideas from his two unique visions: the shared visions of the artist and the viewers interpretation the meaning of the finished painting.
Don Baker passed away on September 6th, 2015 with his loved ones at his side.
Why these works are important: "I met with Don and his wife Catherine a few weeks before his passing. He placed seven heavily used sketchbooks on the table in front of me. They were filled from the first pages to the last. Within the pages contained drawings, ticket stubs, paintings, notes and doodles. I was drawn to two themes in particular. The first were the balloons that transitioned into ‘Ned the Scarecrow’ (which is a common theme of both Don Baker and his friend Tom Forrestall). The second was the back-of-head portraits he did while in various church services which, to me, captured the serious playfulness of Don Baker.” -Christopher Webb
Frances Dorsey moved to Ontario from the United States during the Vietnam war and has lived in Nova Scotia with partner and children since 1995, teaching at NSCAD. A childhood spent moving around the world offered her wonderful opportunities to observe humanity and nature in a range of situations that still influence her ideas. She holds undergraduate degrees from the University of Pennsylvania and Ontario College of Art, and an MFA from the University of Michigan. Her work has shown in Canada, the United States, Australia and Korea, and is held in private and public collections including the Nova Scotia Art Bank, the Canada Council Art Bank, the Mount Saint Vincent University Art Gallery Collection, the Cambridge Gallery Collection of Contemporary Textiles.
Cloth has offered Dorsey a kind of language to help her to figure out the world and reflect upon seemingly inexplicable events. It has created a way to respond to the historic events that have encompass her life and, subsequently, offered a personal, unpretentious way that acknowledges how everyone is included and implicated in the larger political picture
Why these works are important: "I spend a ridiculous amount of time figuring out how to collect information about dyes in the most efficient way possible, how to document it and how to record it in a way that I can comprehend it later when I have forgotten what I was thinking originally. These pages are the rough drafts for the system I am currently using so they represent some kind of apex of the moment, until I have another brainstorm about an even better idea.”
Dr. David Howard received his Ph.D. from the University of British Columbia in Art History in 1993 and also holds degrees both in Canadian History as well as Fine Arts (Painting). He has published numerous book chapters, articles, and reviews on the history, politics, and theory of modernism and postmodernism in the United States and Canada after World War II. David has also curated a critical retrospective of the work of the Canadian abstract painter Art McKay. His current research examines the complex phenomena of allegory in European and North American culture.
Dr. Howard's scholarly research examines the relationship between image and text and has been the focal point of much critical and poetic experimentation in the Western art world over the last 150 years. His use of quotations by other authors from a diverse range of authors, juxtaposing these quotations with a large array of art historical and mass media imagery. His allegorical technique deliberately emphasizes citation, appropriation, copying, and reproduction, as a means of calling into question the artificiality of the concept of originality and traditional notions of authorial voice. His intent is to create a radical form of poetry/art that could function both in the world of academia, as scholarship, and in the worlds of art and poetry simultaneously.
Why did you select these images for this exhibition: "I selected these sketches because they are the earliest most tentative moves towards the scholarship and literary work that I have produced in the four decades since I produced the sketches. The four largest sketches are all included in my new book which I am currently working on because of how they resonate with the intellectual and artistic interests that I have pursued over the years, especially while being a professor of Art History at NSCAD."
Geoffrey Grantham began painting en plein air early in his career, in 1995. He paints throughout his native Nova Scotia, but has repeatedly returned to certain inspiring locations, such as the globally rare ecosystem found in the Purcell’s Cove Backlands, just outside of Halifax, with its spectacular whaleback rock formations and spindly jack pines. He also returns to the stark, majestic Cape Breton Highlands as well as the expansive Annapolis Valley. Grantham’s multi-layered, powerful and complex paintings capture the uniqueness of Nova Scotia’s landscapes in their infinitely changing moods.
Grantham has felt compelled to capture the essence of each season. Painting en plein air has allowed him a direct channel between the landscape and his interpretation of it. This has resulted in work that viewers often describe as spontaneous, exciting and fresh.
Why did you select these images for this exhibition: "Sketching with pen and ink has been a recent addition to my en plein air work. The sketches themselves are not meant to be worked up into large canvases, but stand as finished pieces. Using the medium of pen and ink picks up where my oil paintings leave off, furthering the outdoor creative process. The sketches contain a quiet rhythm and reveal the essence of the scene, inviting the viewer to closely examine the image."
Andrew Hunt is a Halifax, Nova Scotia based artist working in painting, sculpture and collage. He has exhibited in Canada, the US, and Europe. Andrew taught colour and drawing classes at LIM College in New York City from 2007-2011 before teaching painting at NSCAD. He currently teaches at Davinci College in Halifax. He received his BFA from NSCAD and his MFA from State University of New York at Purchase College.
Hunt is best known for manipulating the natural appearance or character of objects in his paintings in order to create new possibilities for the narrative or formal logic. Colours and forms are altered to accentuate irregularities and create flawed representations of ordinary things, with the goal of creating an atmosphere where banal objects and environments bear more allegorical significance than they are normally granted.
Why did you select these images for this exhibition: "I selected the work because it is evidence of the sketch process I use to work out ideas and get a feel for images or relationships between images, before committing them to paint or incorporating them into a narrative composition.”
Jeffrey Cowling studied art and design, museum display, illustration and bookmaking in London England and developed a particular interest in ancient history. He has worked as an illustrator, furniture designer/maker and design instructor at NSCAD University in Halifax, Nova Scotia, Canada. Cowling has traveled much of the world, visiting iconic buildings in many exotic destinations. Along the way he has collected unique, hard to acquire rare artifacts, antique ribbons and textiles, amber, jade and other semiprecious materials which he incorporate into his work.
He has always been intrigued and fascinated by architecture. As a young boy he played for hours with wood blocks, trying to create fantasy buildings that he wished he could visit.
Why did you select these images for this exhibition: "I chose these works as they represent a brief history of my sketchbook adventures when traveling alone. They were my companion and my visual memory of another time and place.”
Lorraine Field has a BFA and an MA in Art Ed from NSCAD. She has been a grant recipient of the Canada Council, the Nova Scotia Art Council, the Banff Centre, and the Barbara Spohr Award for Contemporary Photography. Her work has been shown nationally and internationally and is in the following collections: the Art Bank of Nova Scotia, the Canadian Department of Foreign Affairs and International Trade, Halifax Harbour Commission, and Government House, Halifax.
Field's works show the photographic process is resolved into imagery that can explore issues as varied as feminism, global tourism, migration, oil production, and environmental concerns through landscape, movement, and temporality. She is interested in what Roland Barthes calls the affect of the image. This is ultimately a non-verbal condition of photography he explores “not as a question (a theme) but as a wound: I see, I feel, hence, I observe, and I think.” (Barthes 1980: 21) Field strives to realize the marriage of a considered conceptual ground with an image that through its affect compels the viewer to see, feel, observe, and think.
Why did you select these images for this exhibition: "I do not keep a “traditional” sketchbook but rely on germinal images such as these to identify the visual way forward in realizing a concept that I am actively engaged in exploring. They are arranged in this exhibition in diptychs to show the trajectory of that train of thought."
Nigel Konstam is a sculptor and art historian with an original perspective on his field. His art historical research includes a well-known study exploring painters’ use of mirrors. His research has led him to a new way of understanding visual imagination and new methods of extending its range and power. His book Sculpture, the Art and the Practice (Verrocchio Arts) was praised by critics for its “lively, knowledgeable and stimulating discussion on the nature of art and the way an artist’s mind works.”
Based on his experience, Konstam challenges recent findings by Rembrandt scholars regarding the number of drawings and paintings they accept as real Rembrandts. Based on extensive appraisal of Rembrandt’s work with an artist’s eye, Konstam has convincing evidence that the scholars are wrong.
In 2002, Konstam presented two great discoveries in The Oxford Journal of Archaeology. He found an ancient chimney that rose from the furnace that Phidias and other ancient sculptors used to melt the bronze for their monumental sculptures. He also demonstrated that the Greeks used life-casting frequently, as early as Phidias. The Museum of Artists’ Secrets is at his residence in Tuscany, where he offers courses in sculpture, drawing and art appreciation. Konstam also regularly lectures on the art and art history of the region.
Why did you select these images for this exhibition: "Drawing is a part of my art practice although they are not intended to be preparatory for my sculptural work. When I teach and have a life model I will try to spend some time to create my own works. My life sketches are done with intention and confidence that keeps me fit for the task of carving."
Born in Wales, Adrian Edwards was educated in the United Kingdom . He has an M.A. in the History of Modern Art & Design, P.G.C.E., and a B.A. in Fine Art. He has had a varied and influential career as an art educator and adjudicator. Edwards exhibition history ranges from exhibiting throughout the South-West of England with solo exhibitions in Falmouth to the South West Academy of Art, Bristol. He has been actively involved in the arts and has served on the Executive of Visual Arts Nova Scotia. Edwards currently resides in Upton Cross, Cornwall (U.K.) having returned after four years of living in Halifax.
Drawing in its many facets has been the basis of his philosophy and vision which has entailed working for extended periods through sketch/notebooks, frequently revisiting, rearranging and sorting. These works, produced whilst on vacation in Canada, is an example of Edwards' range of visual responses largely from observation evolved through visual investigation.
Why did you select these images for this exhibition: "This work is a fair example of my approach of recording through drawing, developing ideas, fusions, re-connections, frequently revisiting, rearranging and sorting."
Marco Ferri was born in Tarquinia, in the Region of Lazio, Italy. Although he continues to be an accomplished painter, at his heart Ferri is a sculptor. When Ferri creates his sculptures, he employs the use of found objects – the most basic wire and metal objects. He then combines elements of wood and bits of painted canvas. The result often times feels basic. Ferri also attempts to give his sculptures the possibility of movement. His miniature mobile carts on wheels (wagons), or curious machines operated by hand cranks, are created to be devoid of a concrete outcome or functional logic.
Ferri has exhibited throughout Europe. Most recently he has had a solo exhibition at the National Gallery of Modern Art in Rome.
Why did you select these images for this exhibition: "I spend most of my life in my studio. I am always working on images and concepts. These works are my attempt to bring together many of my lesser or faster sketches into some semblance of order. From these initial works I generally spring-board to more 3 dimensional work."