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