3

22 Planet of the Arts / March 1997

Age 41 Years

White Painting #2 (1960)

ordon Smith is a fulcrum: on the

one side the old garde of Canadian

art, namely, the Group of Seven,

while on the other side the diverse
new avant gardes.

Smith's generation of artists and design-
ers, includes Arthur Erickson, Cornelia
Oberlander, Ron Thom, and Jack Shadboldt.
“| think its really important that you keep
the friends you went to school with, because
they‘re the only support you've got. When
you say I’m humble, damn right | am,
because | have always looked up to these
people and I've learned a lot from them.”

Smith‘s generation is imbued with values
and ideas from the 1930's when the aesthetic
of Modernism had attained a strong pres-
ence in North America. This was a time when
artists, architects and designers collaborated
in support of modernist goals and ideals.

As this century draws to a close, we have
seen the dismemberment of Mother Earth; a
multitude. of atrocities have been branded
into our psyches. Recurring are:the night-
mares of Generation X’ers, whose imagina-
tions encompass a corresponding plethora of
subject matter, not often suitable for the
weak of heart.

Contrast this with the work of Gordon
Smith, a gentleman’s gentleman, and an
artist who has defined a place for himself on
the Canadian and International scene.

Smith’s works are not just pretty pictures
or expensive wallpaper for the blue rinse set.
Or are they?

Regionally the influence of Emily Carr and
her contemporaries on the landscape genre
is unmistakable. But there is a point at which
the inner spirit which drove Carr to capture
the forbidden wilderness becomes little more
than a trite myth. That moment is at hand.

We have less preserved wilderness, and
more people wanting to discover its mys-
tique; access to the wild is largely denied. Do
we want a piece of that experience pre-
served on our walls as some sort of after-
thought?

Lawrence Paul Yuxwelupten tackles land
claim issues we are afraid to engage with.
His works are large, flagrant in both scale
and hue, placing the onus on the viewer to
interpret the layers of meaning. They’re in
our face. They make us squirm.

So what we are going to do about them?

Many people choose to do nothing.

In his recent small exhibition entitled
Ponds at the Equinox Gallery, Smith explored
the cyclical nature of water and its phases.

In this review, | will focus on a few works

within the show, one being a work titled
Winnipeg ‘34, which has some personal sig-
nificance for me. From a distance Smith cap-
tures the frozen stillness of life in transition,
hibernating yet not without a piquant
sadness. Spring on the Prairies can be as
elusive and long awaited as the flush of
flowers after a desert rainstorm. March is the
time when the sunlight is concentrated
enough to thin the protective epidermis,
alluding to hope, patience and faith in
nature. Close up quips, darts, drips, strokes
both smooth and easy, combine with blotch-
es and more drips for a layered, yet cohesive
composition.

Pond is easy to like. The subject matter is
the most recognizable among the works in
the show. The colours are bright and
dynamic, and there is a sense of gaiety in the
overall tone of the work. A carefree sense of
delight is captured in the play of light and
shadow. A popular work, it sold early.

The paintings done in the 1970's at Long
Beach capture the essence of the West Coast.
Similar to the horizontality of the canola
fields and the Big Sky of the Prairies, a
feeling of solemnity and connection to some-
thing greater than the self embodied in
these works. The somberness of hue and the
technical skill with which these works have
been executed enhance the haunting quality
of the subject matter. Discipline and dedica-
tion to the study of light as well as the
refinement of craft separate the committed
from the less committed artist.

Be Je He

“Having your work framed and hanging
in an art gallery, with all its technical bril-
liance, reflecting the most current cause, and
marketing your product is not enough. Be a
risk taker.” Throughout the course of Smith’s
career, he has been experimenting. Yet, it is
the last decade which Smith feels has been
his most rewarding. His War, Winter and
Ponds series illustrate a shift in tempo.
Intensity and perseverance are heightened in
a crescendo of composing.

Appreciating the influences of such inter-
national artists as Anselm Kiefer and his
gritty style of portraying Earth lends cre-
dence to an artist such as Smith, who bal-
ances both old avant garde practices and
contemporary exploration.

Kiefer’s series March Sand portrays the
landscape of a post-industrial age. It is gooey
and coarse. Tar, sand, straw, and hair provide
a tangible context for self and Environment.
Within the primordial ritual of painting is

J Practice

Review of Gordon Smith

uncovered a reverence for Earth. Revealed is
a Mother exhausted, depleted; that which
she has borne has nearly killed her.

The parallel between Smith and Kiefer is
an experimentation with the rituals of paint-
ing and the use of large brushes, tar and
kerosene. Strokes do not merely play on the
surface; they inform the viewer, with a defin-
ing physicality.

Attila Richard Lukacs, one of the New
Romantics and a 1980's graduate of the
Emily Carr Institute, is considered by Smith to
be one of the best painters in Canada.
Cutting edge subject matter, canvasses of
grandiose scale, overt use of symbolism and
highly accomplished brush work define this
young master. Some of the details are incred-
ible, like “miniatures in pink”.

Smith graduated from Emily Carr four
decades before Lukacs, and has fond memo-
ries of his instructors and peers. His instructor
and mentor, Lawren Harris, was a key influ-
ence on the fledgling artist.

Art education improves the quality of life.
An open door policy for enrollment in the
high calibre courses at Emily Carr Institute is
key. Smith and his contemporaries had gen-
erous access to a high quality art curriculum.
But it is not only these noteworthy practi-
tioners who merit mention; it is those who
feel that art is essential to their everyday
lives.

Smith commended Emily Carr Institute for
its advocacy in providing an education to a
wide demographic of student artists.

Considering that artists take on the task
of being the conscience of society, Smith

On This Side Of The Edge

by Karen Myskiw

readily admits that he is not trying to pound
home a message. Yet he paints with an
obvious fervour. The energy which Smith has
been bringing to his canvasses in recent years
is not a continuation of the vigour he
brought to his work 35 years ago when he
was just becoming established.

This becomes apparent when we compare
White Painting #2 (1960) with Winnipeg
‘34 (1996). Both are abstract works, but the.
former is flat, framed and finite, while the
latter is fresh and frenzied. In White
Painting #2 painstaking effort defines the
planes, volumes and subject matter. The com-
position is a meagre appetizer, a primer
before the entrée —.a morsel here and a
nibble there.

Winnipeg ‘34 on the other hand, is like
bouillabaisse: even better the following day.
Its composition is rich and melded, the brush
strokes almost soupy in their flavour. A
depth engages and satisfies.

But this metaphor does not address
Smith's choice of colours — blacks, browns,
greys and whites with hints of red and blue
and green, plaited together.

Nor does it explain his need to apologize
for his earlier works, and the repudiation
and catharsis he obtained by burning a
number of his canvasses produced before
1970.

As Gordon Smith faces his own mortality
he is free to paint as he pleases, perhaps
making up for Jost time. Those young artists,
he says, “put me on edge”.

And he’s fighting to stay on this side of
the edge. <@

Age 77 years

Winnipeg ‘34 (1996)

Teaching visual culture

Ron Burnett
chief executive artist

Telephone: (604) 844-3854

E-Mail:

rburnett@eciad.bc.ca

And making B.C. Beautifuller

Emily Carr Institute
of Art and Design

Vancouver, Canada
http://www.eciad.bc.ca

Admissions
Endowments
Gallery

PoA Magazine

(604) 844-3850
844-3871
844-3811
844-3861
22 Planet of the Arts / March 1997

sy

‘Age 41 Years

ry

te anti 12 (960)

‘ordon Smith i fulerum: on the
fone side the old garde of Canadian
‘7, namely, the Group of Seven,

‘hile on the other side the diverse
new avant gardes.

‘Smith's generation of artists and design-
er, includes Arthur Erickson, Cornelia
‘Oberlander, Ron Thom, and Jack Shadbotdt
think its really important that you keep
the fiends you went to school with, because
‘they're the only support you've got. When
you say Fm humble, dam right 'am,
because | have aways looked up to these
people and ve learned alot from them.”

‘smiths generation is imbued with values
and ideas from the 1930 when the aesthetic
‘of Modernism had attained a strong pres
fence in North America, This was a time when
artists, architects and designers collaborated
in support of modernist goals and ideals.

‘As this century draws to a close, we have
seen the dismemberment of Mother Earth; 2
‘multitude of atrocities have been branded
Into our psyches. Recuring are the night-
‘mates of Generation Xers, whose imagina
tions encompass a corresponding plethora of
subject matter not often suitable for the
‘weak of heart.

Contrast this with the work of Gordon
‘smith, a gentleman's gentleman, and an
‘antst who has defined a place for himself on
‘the Canadian and international scene.

Smiths works are not just pretty pictures
‘or expensive walpaper forthe blue rinse st.
Orare they?

Regionally the influence of Emily Carr and
her contemporaries on the landscape genre
is unmistakable. But there isa point at which
‘the inner spirit which drove Carr to capture
‘the forbidden wilderness becomes litte more
than a trite myth. That moment is at hand.

‘We have less preerved wilderness, and
mote people wanting to discover its mys
tique; access to the wild is largely denied. 00
we want a piece of that experience pre
Served on our walls a5 some sort of after
thought?

Lawrence Paul Yuxwelupten tackles land
Claim lsues we are afraid to engage with
His works are large, flagrant in both scale
‘and hue, placing the onus on the viewer to
Interpret the layers of meaning, They're in
‘our face. They make us squirm,

‘So what we are going to do about them?

‘Many people choose to do nothing

In his recent small exhibition entitled
Ponds atthe Equinox Gallery, Smith explored
the eylical nature of water and its phases,

inthis review, | wil focus on a few works

within the show, one being a work titled
‘Winnipeg ‘34, which has some personal sig-
nificance for me. From a distance Smith cap-
tures the frozen silness of life in transition,
hibernating yet not without a piquant
sadness, Spring on the Prairies can be as
elusive and long awaited asthe flush of
flowers after a desert rainstorm. March isthe
time when the sunlight is concentrated
{enough to thin the protective epidermis,
alluding to hope, patience and faith in
ature. Close up quips, darts, drips, strokes
‘both smooth and easy, combine with blotch-
te and more dips fora layered, yet cohesive
composition

Pond is easy to like. The subject matter is
the most recognizable among the works in
the show. The colours are bright and
dynamic, and there isa sense of gaety in the
‘overall tone ofthe work. A carefree sense of
‘elight i captured in the play of light and
‘shadow. A popular work, i sold early.

The paintings done in the 1870's at Long
Beach capture the essence of the West Coast.
Similar to the horizontaity ofthe canal
fields and the Big Sky of the Prairies, a
feeling of solemnity and connection to some
‘thing greater than the self embodied in
these works. The somberness of hue and the
technical skill with which these works have
been executed enhance the haunting quality
of the subject matter. Discipline and dedica-
tion tothe study of ight as well asthe
refinement of craft separate the committed
from the les committed arts.

“Having your work framed and hanging
{nan art gallery, with all its technical bel
liance reflecting the most current cause, and
‘marketing Your product is not enough. Be a
fisk taker” Throughout the course of Smith's
Career, he has been experimenting. Yet, itis
the last decade which Smith fels has been
his most rewarding. His War, Winter and
Ponds series illustrate a shift in tempo.
Intensity and perseverance are heightened in
a crecendo of composing

‘Appreciating the influences of such inter:
‘ational artists as Anselm Kiefer and his,
‘rity syle of portraying Earth lends cre
‘dence to an arts such as Smith, who al:
‘ances both old avant garde practices and
‘contemporary exploration.

Kiefer series March Sand portrays the
landscape of a postindustrial age. tis gooey
and coarse. Tar, sand, straw, and hai provide
' tangible context for self and Environment.
‘Within the primordial ritual of painting is

(WW) Practice

Review of Gordon Smith

On This Side Of The Edge

uncovered a reverence for Earth. Revealed is
‘2 Mother exhausted, depleted; that which
‘She has borne has neatly Killed her.

The parallel between Smith and Kiefer is
an experimentation with the rituals of paint
ing and the use of large brushes, tar and
Kerosene, Strokes do not merely play nthe
surface; they inform the viewer, witha defn
ing physicality

‘AXtila Richard Lukacs, one ofthe New
Romantics and a 1980's graduate of the
Emily Car institut, is considered by Smith to
bbe one ofthe best painters in Canada.
Cutting edge subject matter, canvasses of
‘grandiove ale, overt use of symbolism and
Fighly accomplished brush work define this
young master. Some ofthe details are incred-
ble, like “miniatures in pink”.

Smith graduated from Emily Car four
decades before Lukacs, and has fond memo-
ties of his instructors and peers. His instructor
fand mentor, Lavren Harris, was a ey infli-
fence on the fledgling artist

{Art education improves the quality of life.
‘An open door policy for enrollment in the
high calibre courses at Emily Car Institute is
key. Smith and his contemporaries had gen-
‘erous access toa high quality art curriculum.
But itis not only these noteworthy prac
toners who merit mention tis those who
feel that artis essential to ther everyday
lives

‘Smith commended Emily Car Institute for
its advocacy in providing an education to 8
‘wide demographic of student artists.

‘Considering that artists take on the task
Of being the conscience of society, Smith

by Karen Myski

‘eadily admits that he s not trying to pound
hhome a message. Yet he paints with an
‘obvious fervour. The energy which Smith has
‘been bringing to his canvasses in recent years
snot a continuation ofthe vigour he
brought to his work 35 years ago when he
Was ust Becoming established

This becomes apparent when we compare
\White Painting #2 (1960) with Winnipeg
*34 (1996). Both are abstract works, but the.
former i lat, framed and finite, while the
latter is fesh and frenzied. In White
Painting #2 painstaking effort defines the
planes, volumes and subject matter. The com
Position isa meagre appetizer, a primer
before the entrée ~a morsel here and a
nibble there.

Winnipeg “34 on the other hand, i ike
bouillabaise: even better the following day.
IRs composition i rich and melded, the brush
strokes almost soupy in their flavour. A
epth engages and satisfies.

‘But this metaphor does not address
Smiths choice of colour blacks, browns,
greys and whites with hints of red and blue
and green, plated together.

'Nor does it explain his need to apologize
for his earlier works, and the repudiation
and catharsis he obtained by burning 3
rhumber of his canvasses produced before
1970.

'AS Gordon Smith faces his own mortality
he is free to paint ashe pleases, perhaps
‘making up for lost time. Those young artists,
hhe says, "put me on edge”.

‘And he's fighting to stay on this side of
the edge. ®

inning 24 (198)

Teaching visual culture
And making B.C. Beautifuller

Ron Burnett

Emily Carr Institute
of Art and Design

‘Admissions
Endow
Gallery

oA Magazine

(604) 844-3850
ents

84473862