Saturday, December 3, 2011

Salon Prize Winners

The Salon Prize (organized by Cleah Bunting) was held at Gallery Raymond on Nov. 18, 2011.  There were 20 finalists that included OKWA Members Sally Chupick, and Su Sheedy, with the $2000 1st Prize awarded to members Zillah Loney, and the $500 2nd Prize to Barb Carr.
Barb Carr

Zillah Loney

Thursday, November 17, 2011

Swamp Ward Window Project by Matt Rogalsky

new exhibition
Flying V Down
a Swamp Ward Window project by Matt Rogalsky
dates: November 10 2011- January 15th, 2012
location: 448 Bagot St., Kingston, Ontario Canada
Flying V Down is a study for a larger work incorporating twenty
or more 'crashed' guitars, and is one of a series of pieces
by the artist that explore the history and culture of the electric
Matt Rogalsky is an artist and musician based in Kingston,
Ontario. He performs and presents his solo electroacoustic
music and installations internationally, and plays electric guitar
with The Gertrudes, Canada's folkestra. Rogalsky teaches in
the School of Music at Queen's University.
The Swamp Ward Window is a venue for contemporary art initiatives in an
unconventional site in Kingston’s north end. It takes advantage of
pedestrian curiosity and the intimacy of a dense urban setting. Proposals
for projects are considered on an ongoing basis. Contact:

Tuesday, November 15, 2011

ART TALKS October 26

ART TALKS started off this season with the topic of SOCIAL COMMENTARY presented thoughtfully by 3 artists: founder, Jocelyn Purdie, currently director of the Union Gallery and initiator of the Swamp Ward Window Gallery; printmaker, Rebecca Cowan; and Lise Melhorn-Boe.

The subject was inspired by Toronto artist, Natalka Husar, who will be OKWA's 2012 juror for the group show held at Kingston Public Library in February with an opening Saturday February 4, 2pm-4pm.  Natalka will also be speaking about her own work at Agnes Etherington at 2pm Sunday February 5.
    These talks were transcribed from presentations on Wednesday, October 26 at the Mansion in Kingston.


Lise talks about her gender-related, older work.  For her "Breasts" book, she cut the cups out of a bra, put it on and had someone cast her breasts in plaster and then she was able to make paper casts from the mold.   The pages fit together and the text was rubber stamped onto the pages.  "Which was kind of tricky because of the forms.  The stories are collected from various women; at that time I was mainly talking to women that I knew about their breasts and how they felt about them. The one I liked the best was a woman who went to a convent boarding school in England and they
had to sleep with their hands crossed over their breasts so that the nuns could see that they weren't masturbating.
She attributes that to the fact that she has small breasts. They never got to grow.
 I did quite a few that were about women's impressions of their bodies.  I got a very high heeled pair of sandals and glued my foot to the sandal and had a friend cast it so that I was able to make shoes with toes and the insoles are the pages. There are eight pages in each shoe and they fit into a box.

"Leaky Stories".  These are sanitary napkins made out of paper.  At first I  used real ones. It's an edition of ten.  So I spent a day printing the whole page one ten times and put it aside and printed the next one.  And then for some reason when I was doing page three, I looked back and realized that they had done what they were
supposed to do and had absorbed all the print.  So I had to manufacture the pads.

I turned my eye to fashion magazines (actually women's magazines in general) because there are so many bizarre images.  This is called "Anything Can Happen: A Love Story".  It's a shuffle book with 26 cards with 52 images on both
sides. You can make up your own story.

 "Suitable for Success"  also uses images from the fashion magazines. The text running across the top of all the pages is from John T. Moyes book, "Dressed For Success", popular in the seventies. There were rules about what women should be wearing in a business situation. The text at the bottom is stories that I collected and mix and matched. The first image is a very sedate dress, almost like a wedding dress, but the woman's stance and gaze is a very come-hither look and it is repeated in all
the images. The last one is a woman in a corset with a machine gun and a pistol.  That one was from a Hustler magazine and it was amazing how much the same they were.

 Then I had a baby. I started looking at kid's stuff.  This was called "There Once Was a Little Girl and Boy."  This consists of life size baby garments made out of
handmade paper with real buttons and real lace. The rubber-stamped text pairs nursery rhymes about girls with those about boys. Similarly, "What are little girls/Boys Made of?" which was off-set litho printed in a large edition also has
similar rhymes.

"Tommy Trot a man of law
Sold his bed and lay upon straw
Sold the straw and slept on grass
To buy his wife a looking glass." is one of these. It's paired with:
"See Saw Marjorie Daw
Sold her bed and lay upon straw
Was not she a dirty slut
To sell her bed and lie in the dirt." 
This rhyme was actually in a Toronto library nursery rhyme book for kids.

 The next piece is called, "Good Girls Don't".  It is a tiny pop-up book. When I first moved to North Bay in 1990, I did a series of quilts and quilt related books that were using quilt patterns.  This is actually a SunBonnet Sue quilt pattern that has the Virgin Mary superimposed on it. The text on the quilt border is Good Girls Don't…all sort
of things.  "Someday" is  Marilyn Zimmerman's story—she was my professor at Wayne State where I did my master's degree. "Sometimes I would be playing with my daughter and she would designate me the prince and herself the princess
and I was to save her.  I would rebel and ask why do you have to be saved ,can't you save me instead? Trying to offset the internalization process of being female, meaning subordinate, weak and needful in a relationship. My strong, bright daughter of infinite potential being reduced to a stereotype at the age of three. This is the biggest personal
nightmare for any feminist professor mother.  I would soon buy her all the feminist versions of fairy tales, the Paper Bag Princess, etc.  but she would have nothing to do with it.  She has observed the world and noticed that boys were in charge. I do what I can but she is strong."

 This next image has very brief text from women who were abused as children in their homes.  The pattern, and the book itself, are called "Little House". This actually started as a quilt and then I later cut it up and made it into the house shape. It is all pink and cute but I was sitting on the train once working on it and someone said "What's that about" and I said "sexual abuse" and that ended the conversation.

  And then I started looking at what happened to the good girls when they grow up. I moved into looking at women's lives.  "Bound by Convention 2" consists of life sized 1/4 inch plywood gingerbread cookie cutouts.  This is the front cover.  All of them have pink rubber gloved hands that are sort of tied together in the back with their apron strings. One text reads, "I began editing myself, asking for approval of behaviour I had never needed approval for, of my habits, my daily life…checking myself.
He didn't ask me to do that. I did it even when I didn't want to. I constructed a wax doll for 18 years of marriage. It is a doll with no feelings. She's simply whatever he wants her to be.  I was really his creation, learning opera and chinese cooking. When he was out, I played Fleetwood Mac and ate ice cream.  When the wax doll became  suffocating, I began doing all sorts of things he didn't approve of, not cooking at all, taking tap dancing, and he felt betrayed. When I realized how many parts of myself had to be locked off to fit inside the doll mould, I panicked.  If I burned through it and become myself I would lose the relationship."

 Here's a story from the "Young Mother" page: "After months of having her sleep sliced and diced, a new mother develops a kind of post-traumatic stress syndrome.  She can never quite relax because the call might come. If she goes to a party the sound of the phone ringing will act on her like one of those choking collars that dog trainers use. Instantly she will know that it is her sitter calling to insist that she stop having fun."

 Using the Little House patterns again, this one is stories of women who were abused by their partner. Although it is made out of paper it is all hand-stitched.

 "A Good Wife Wouldn't" is a tunnel book where you have the pages with holes in them so that you can look through the tunnel. There are accordions that hold the pages together. So the whole thing shrinks up. This has dirty dishes at the front and the light at the end of the tunnel is a dishwasher. "Why doesn't she just buy the god damned machine and have it delivered to the house? " The woman who told me this story is a lawyer, she couldn't understand this stay-at-home mother. But to me, it made sense. I could see it in my mother and unfortunately now I am beginning to see it in me too.

 The next piece is called "Ghost Costumes" . It is a large piece: there are eight replications of garments that my father wore and then eight that my mother wore. They go in 2 semi-circles and hang from the ceiling.  On my father's, they are all his work clothes ; he was an electrician. When I hang them the legs touch the ground so they don't move so much but my mother's are made of sheer fabric and they sway.  They are quite beautiful but very sad. They have text hanging from the crossbar of the hanger down inside the garment so it is a little difficult to read through the layers of the
garment. The text came from her journals. She had left 43 volumes of her journals when she died. They were both dead by this time, hence the "Ghost Costumes". The text reads,  "This is how I felt at 11:30 a.m., May 3, 1983.  I am surrounded by army ants who nibble at my time and disturb the mold of my life. Each night I lie in the dark and plan paintings , write poems and draft stories . In the morning they begin. Their chewing prebosicies take the form of telephone calls,  lost objects, loud voices, disturbing thoughts, incompetencies. I empty the garbage, prepare the noon meal, wash a few clothes, gnash my teeth. The poem is lost, the painting never reaches canvas or paper, the outline vanishes. Only left is a tiny pile of dry thoughts which crumble and blow away. My heart contracts, my muscles tighten, I choke fear." The poignancy of her text talking about things that she wanted to do, paintings that she
wanted to paint or writings that she wanted to do is a really good contrast to the photos of the actual installations of my father's that he accomplished and was very proud of. I was with him on his 77th birthday—he died before he reached his 78th—and he said , "I've accomplished everything that I wanted to do in life." But she didn't get to, like
many women.


"The topic is Social Commentary. I never think of my work that way, but maybe it is.

  I am going to show you some prints, a couple of books and some collages.

  The first three are from a suite of prints I did a long time ago.  8 prints called "Terms of Confinement" and they all have to do with family relationships and sibling rivalry. Images Inner Beauty, Mother and Child, Real/Ideal.

  In 1992 I got a scholarship to Open Studio in Toronto that gave me a year of free rent and an exhibition. To do that I had to present a good proposal of what I was going to do.  I had an idea that I was going to do two sets of prints to work together exploring the idea of beauty.  My plan was to do large dry point images of people with scars and then I was going to do small almost abstract images of the scar itself in colour.  This is a large drypoint 24 x 36". I had to find people with scars. Some people I knew and I also contacted a support group of people with facial deformities. 
  The models would come to my house. They would tell me about their scars and surgeries. I would do a bunch of drawings and then go into my studio and make a dry point. I started in September, but by December I hadn't got one image that I was happy with. I realized that though my concept sounded good it just was not right for me.  I couldn't make it work, because I kept making the scarred people too beautiful.   I was getting nervous because I had this exhibition that I was committed to and four months had gone by and there was nothing yet. So one day I was in the studio and I realized that I was the god of my own pictures. I could make the scars as big as I wanted. They could take up the whole picture frame if I wanted. 
  This one model had a neck injury that had several surgeries and the end result was that she couldn't lift her arms above shoulder height and she couldn't lift anything more than 15 lbs. so her life as a sculptor was over and she became a painter. So I tried to show that one door is closed but one door is open in the print.   
  One of the reasons my initial concept wouldn't work for me was that I just couldn't draw these people ugly. That seemed important because I was so moved by their spirits and their spirit of survival. Some of their stories were amazing.
  This is Jane who dances through the world as if there is no pain at all.  And Mildred who conquers her pain and becomes a healer. She has a little needle there to sew other people up. And Allen who knows how to put his pain away. David, who travels the world with his pain attached to him at all times unable to fit through the door to enlightenment. Sarah who lives with the shadow of child sexual abuse. Joe whose pain is all around him and he cannot escape. And Jenny who clings onto her pain/scars as if it were a loved one. 

  I finished this work and hung it in the gallery and stood in the middle of the room and was immediately overwhelmed about how sad it was.  Somehow when I was making them I didn't know they were sad. These were all people who had survived  and came out the other side.  The other reaction I had was that they felt almost like they were ten self portraits. I felt that I had to answer that series with work that looked at pleasure and happiness.

I felt that to really appreciate pleasure and happiness, you had to understand pain, so I decided to etch directly over the previous set of prints. Using those same etching plates I etched a new image directly on top. These are all found images. I used a xerox transfer technique to get the image onto the plate. The second image relates to the story of that person. Then I had the issue of titling these prints.  In prints the title is usually on the bottom, and the previous set I had just named them after the people. That was easy enough but I didn't want to call these, for instance, "David 2".  I struggled with that quite awhile and then I decided I would use newspaper headlines for the titles of this work.  I chose that because the headlines bring us back to the dark side.  This first one is called "Boy Found Unharmed"; "Tragedy Strikes Family on Way to Party".
  One of things that inspired me to do this is that when I was working on this print the story Jeffrey Dahmer, the serial killer, was in the news. There was a big interview in the Globe and Mail with his father who talked about happy memories of fishing trips.

  This fellow was a childhood friend of mine. He was adopted when he was four. When his adopted parents got pregnant, every time he was bad they threatened to send him back to the orphanage which he could remember. When he was fourteen he built a bomb and tried to blow up his mother in the house. He ended up in reform school and jail and I don't know what has happened to him later.  When we were children my mother was the only parent that would allow him in the house. He was the "bad kid".  That's his story.  
  One of the most remarkable experiences I have had with my art is that I had this print at the Toronto Outdoor show and this biker guy was walking by. He walked right by and then he came back.  He said, " I know that guy. I was in prison with that guy."  He saw that from that image. So that was incredibly powerful for me. Especially from a person who doesn't look at art.

  This one is called "Mother of Aid's Patient".  
  People ask me about the titles alot.  I just felt they had to be there.

  I was lucky enough when I finished this second set of prints to have an exhibition with both sets of work hung side by side in their pairings and that was really satisfying. 

  In 1995 I had some of my work published in a literary journal and before they went to press the editor called me and asked, "What would you like us to write about these?". Just say that I want to collaborate with a poet.  The magazine came out and a month later a poet , Julie Pollack, got in touch with me

  A story captured our interest about a woman who was sentenced for killing another woman in prison. What made this story even more interesting is that the woman who died had been a heroin addict. She had had several strokes and needed considerable  care in prison. The woman who killed her had been one of the people giving her care. So there was a question of euthanasia.  Julie and I both found this story amazing but we didn't feel that we could deal with it directly.  We had never been to prison and didn't know that experience. So what we decided to do was to create a series of poems and images based on the seven deadly sins and seven cardinal virtues.  We used that story of the 2 women in prison as sort of a background story for us to use as a place to jump off of. 

  IMAGES: "Anger", "Fortitude", "Temperance", "Pride", "Gluttony", "Greed" "Envy", " Lust" "Justice".

   This collaboration with her was very remarkable.  We would get together every 2 or 3 weeks and do a show and tell. We worked on all of the images simultaneously. One of the most interesting things about it was how many images about these topics were common to both of us, the archetypes etc. 
  The finished book is 18 x 24" bound with metal. The poems are silk screened on transparent Japanese paper that is interleaving paper between the images. 7 copies were made in the edition with 2 artist proofs.

  So often you work within your comfort zone, pushing a little bit here and there. I wasn't sure  I could actually get this book bound. It really pushed me to the edge of  my capabilities which was wonderful. When I finished the first proof copy and it opened and laid flat and did everything that it was supposed to do, I just sat in my studio and cried. I just couldn't believe it had come together. 

  I had been wanting to do something about my sisters for quite some time (in my art). I couldn't get it right, and then my older sister turned fifty and had a big party out in Victoria and we all flew out.  She was  a complete bitch to us and we became kitchen slaves at her party. I had a kind of epiphany as I took myself to Starbucks to cool off. We don't get together much as adults. One of the things I realized was that we were still stuck in roles that our parents had given us.  We were still wearing them with each other and probably in other parts of our lives. That inspired another series of dry points: double plate images, there are two plates printed on top of each other. I used photo references and some of them are family pictures that I used. I was playing with the text as texture without any real theme. I thought about these labels that we all have, like the oldest, the flirt, the beauty.  "And Yes, She Really Is Bossy" . I was afraid to show her (my sister) that print for about ten years. This is "The Baby".  By overlapping them and making one more dominant than the other I was also trying to speak to how the way your parents' affection changes. When you are the oldest you have all the affection at the beginning because there was no one else. When you are the baby you take a lot of space too.  "The Flirt" and "The Beauty".

  COLLAGES: current work for the past two years. These are 8 x 10". I have been saving images of working women for a long time. I had been carrying this image of the girl reporter around for about 30 years. I just love the look of her and it was great to finally put her some where.  

JOCELYN PURDIE: The Swamp Ward Gallery on Bagot Street, Kingston

The Swamp Ward Gallery operates out of Jocelyn's front porch and front yard. The public does not come into the porch so the work has to be accessible from the street. There is a broad range of installations that have happened over the years, not just sculptural installations; there have been sound and performance pieces. 

   The first project was 2001. It has been going on for 10 years now. There have been over 20 projects and they usually stay up for 2 to 3 months.  Because this is something that I do on my own time I try to make it logistically possible. It comes out of interest in seeing contemporary art in public spaces.   I work in a gallery setting and as artists we all visit galleries to see art work but the general public doesn't necessarily do that and I think if there is any way to engage people to get them interested and aware of the kinds of things artists are doing outside the norm this is one way of doing it because they are actually encountering it in their day to day lives as they walk through the streets. I am also really interested in work that is temporary.  

   For this particular project which interestingly ties in with Lise and Rebecca's work of domestic and women's space, I wanted people to think about projects that would relate to the site, not necessarily the home but sensitive to the home, the neighbourhood and the community.  Most of the projects have some kind of tie into that."

    One of Jocelyn's own pieces, "Carapace" has a warm glow about it. "I was thinking about carapace which is sort of an armour or shell. Thinking about the home and womb-like soft feeling that emanated and also the shell that hides the reality of what often happens in the home to women. So it had this double edge to it.  There was a house full of guys that lived across the street, not young men, older guys. They sort of fell in love with it and were disappointed when it disappeared. They liked to smoke their cigarettes outside and watch. That was the first piece.

    I have presented the work of local artists as well as artists from out of town. This piece was by Montreal artist, Anne Ramsden.  This is called "Winter Garden".  She had earlier participated in the exhibition Museopathy where contemporary artists put works in museums throughout Kingston.  Anne did one down at Murney tower. Murney Tower was a place for soldiers and their wives to stay. They could live in there. She played with this idea and installed fake flowers on the outside around the tower in the garden area trying to bring out that domestic aspect of this fortification. This is a translation of that onto a domestic space.

In this installation, ‘FOR’, by Craig Leonard, the artist created a facsimile of a real estate sign exploring the idea of language and symbols.  People actually did stop to see if the house was for sale but I don't think the artist got any actual calls however. 

This one is done by two young artists who had just graduated from Queen's University. Julie Fiala and York Lethbridge created this piece, "Salvation", referencing the home and the idea of, "Is the home a place of refuge or violence?” This lit up at night.

    "Turbulent” is another piece I did with Jan Allen. This was a combination of installation and sound.  Behind a sheers curtain that was backlit, the sound of breaking dishes was projected from speakers onto the street, while a fan inside created constant movement of the curtain.
    Another piece we did together was "Continuous Colour" made from lipstick applied to the inside of the window.  

    Toronto artist Sarindar Dhaliwal did a piece, ‘Call the Wind Virago’, an archive of hurricanes.  For the piece she made 72 sets of multi-coloured curtains of Indian cotton, which were installed on each windowpane of the porch. In the opening between each curtain are a woman's name and a date that references the name of the hurricane and the year it occurred. 
This is a performance piece by Jan Allen called "Neighbourhood Watch" so it is playing on the idea of the neighbourhood watch. She constructed a platform that sat in the porch.  There was a day where there was a gathering of people where they could come and participate in the piece, sitting in the porch and be the neighbourhood watch. 

    This piece is by Thunder Bay artist Ann Clarke. She was the director of Modern Fuel for a short time. In 2006 she did this piece called "Random Courses" based on the old stone walls that were called random courses. With this in mind she used household product packaging, consumer products and constructed a wall from them.  

    "Blue Red Blue" is a poem, almost like a nursery rhyme. Artist Ted Rettig states, "The text is like a nursery rhyme that has a bit of an edge. It has a degree of innocence and playfulness but also contains an undercurrent of pain. The pronouns he/she is interchangeable. Two can mean an affirmation of the relationship of a couple or it can refer to a third person. " It was lit up at night.

    This was an installation from artist Mark Prier from Newfoundland whose work was about citizenship and borders. He set up a fake consulate to talk to people and issue passports.  He also set up a temporary consulate in Confederation Basin.

   In this installation, ‘Intruder’, artist Kathleen Sellars draws on a friend’s illness to create this tumour-like object, which would inflate and deflate over the course of the day.  
‘Passing’, is one of my pieces, which was inspired by a trip to Venice to a small cemetery island. The island was incredible; it was a sea of artificial flowers and cypress trees.  The piece consists of a blanket of white flowers that flowed out from the windows onto the lawn. 

    Dave Gordon did an installation titled “Inside’ of text on banners outside the porch based on his time spent teaching art in the prisons in Kingston For example one of the banners read, "Inmate seen participating in sexual activity during social. Visitor was seen with her hand inside his pants." It was interesting in peoples' responses.  

    The most recent piece ‘Settle’ was done by a graduate of Queen's Fine Arts Program as well.  This is an installation of chicken wire figures poised for running or settling. 

    How do people apply? I am in the process of developing a website but if people want to put in a proposal they can do so through  HYPERLINK ""

Tuesday, November 8, 2011

Michele LaRose at the Wellington Street Art Gallery, Toronto

Artist in attendance Thursday, November 17, 7-9pm

Members display at the Window Art Gallery

Shagrug Collective
an exhibition of artwork produced at the studio with the yellow shag rug 
The Window Art Gallery 
at the
The Kingston School of Art
647a Princess Street, Kingston, Ontario
Please join us for the opening on 
Sunday November 20th 3:00pm until 5:00pm
The exhibition will run from November 16th until January 2nd
 Open hours are Wednesday until Sunday 12:00pm - 4:00pm
and Thursday 1:00pm - 9:00pm
works by Deborah Brown, Margaret Hughes, Erika Olsen 
 Evelyn Rapin, Rose Stewart, Sharon Thompson,
Ron Wilkinson & Josephine Wren

Thursday, October 27, 2011

Marney McDiarmid and Maggie Hogan in Ottawa

Maggie Hogan and Marney McDiarmid exhibit at the Wallspace Gallery in Ottawa until November 13th, featuring ceramic/wire sculptures and some photographs by Jeffrey Barbeau.

Lise Melhorn-Boe at the Artel

Friday, October 7, 2011



Studio B
Holiday Card Workshop

Ideal for both budding and more experienced artists this one day workshop will teach you a new skill, and send you home with 10 hand-printed cards. Award-winning printmaker, Rebecca Cowan will begin by taking you through the process of creating a drypoint* plate. Then you will learn how to print it on an etching press. At the end of the day, you will have produced a limited edition of hand-printed cards to send to your favourite people.
Two dates to choose from
Saturday November 12 or Saturday, November 19, 2011**
10 am to 4 pm
The workshop fee of $75.00 includes all supplies
 To Register
Call Rebecca at 613-548-4873 or email
Studio B
59 Herchmer Cres (back entrance)
Kingston, Ontario

Directions: From Sir John A. Macdonald, turn onto Norman Rogers Dr., then right onto Byron Cres., and left onto Herchmer Cres.

Workshops are for adults

* Drypoint is a traditional printmaking method that was used by artists like Rembrandt and Whistler.
**If you have a group of four or more, another date can be arranged.

Tuesday, September 27, 2011


SALLY MILNE will be running a Watercolour Workshop called
"Paintings of Glass" on the weekend of October 22nd and 23rd.
In this 2-day workshop we will explore techniques which will help participants conquer the notion that “glass is the hardest thing to paint in watercolour!” Sally will talk about her approach to this fascinating subject, do demonstrations focusing on achieving clean, transparent colour using both hard edges and soft fluid shapes. Topics for discussion will include setting up a palette, planning compositions using glass objects and creating both representational and abstract paintings. Students will be encouraged to work on some small technique paintings as well as a larger piece which communicates the transparent, reflective, fluid and solid aspects of glass. Some experience with watercolours will be helpful for this workshop.

Location: Kingston School of Art, corner of Princess and Victoria Streets
Date: Saturday, October 22nd and Sunday, October 23rd 2011
Time: 10am - 3:30pm (bring a lunch)
Fee: $135.

Materials list available on registration or, materials available at an additional cost of $25.

To register, please send a cheque to:
Sally Milne
49 Edgehill Street
Kingston, Ontario
K7L 2T7

Class registration will be kept to a maximum of 10 students to allow for individual instruction.
For more information email Sally at or phone 613-544-3906. 

Rebecca Cowan Fall Studio Sale

Fall Studio Sale
Making space for new creations
Etchings, drypoints, monoprints, & collographs
$50.00 - $200.00

Saturday & Sunday     October 1 & 2, 2011
11 am – 6 pm

59 Herchmer Cres. (rear entrance),

Directions: From Sir John A. Macdonald, turn onto Norman Rogers Dr., then right onto Byron Cres., and left onto Herchmer Cres.

Friday, September 2, 2011

Kingston School of Art Classes

LISE MELHORN-BOE is teaching at the Kingston School of Art this fall:

Pop-up Books in the Classroom with Lise Melhorn-Boe Oct. 29: 9:30-4:30
Making pop-ups books with students integrates writing, drawing design and 3-D art! Books can also be linked to many other areas of the curriculum. (Not a teacher, but you'd like to learn about pop-ups? Please feel free to sign up anyway.)

Flag Book Fun with Lise Melhorn-Boe  Nov. 19: 9:30-4:30
A flag book has small pages flying off an accordion spine. It's a great way to turn small two-dimensional works on paper into a three-dimensional extravaganza! If you have prints, photos, drawings, collages or other works on paper that you don't mind cutting up and  playing with, come out for a day of fun.

register at the Kingston School of Art

Thursday, July 28, 2011

In Praise of Older Women (Artists)

Interesting article at the Financial Times

Saturday, July 23, 2011

"Spirit of the Land" Exhibit at the Marianne van Silfhout Gallery

Mieke van Geest, OKWA member, is participating in  "Spirit of the Land " exhibit in Brockville.
Canadian artist Emily Carr wrote, " if spirit does not breathe through it is lifeless, dead, and voiceless the spirit must be felt so intensely that it has the power to call others in passing."
With this quote in mind, jurors for this year's fourth Annual Juried show chose the works of 42 artists who best represented this theme. The exhibition will be on view at the Marianne van Silfhout Gallery on the Brockville campus of St. Lawrence College from July 28 until September 8, 2011. 
Visitors will experience the presence of the life and energy of our land through the varied interpretations of each artist. From paintings in oil, acrylic and watercolour to photography, sculpture, mixed media, serigraph prints and jewelry. All these works are of exceptional quality using both traditional materials and forms to contemporary approaches of material use. Occasionally some of the artworks involve abstract imagery. Each of these pieces carries with them their own uniqueness and originality which is part of the true creative spirit.

Gallery Hours: 
Tuesday to Friday 10 am to 8 pm 
Monday and Saturday 10 am to 4 pm

About the Art Gallery 
The Marianne van Silfhout Gallery is a state-of-the-art community art gallery located at the front atrium of the Brockville campus of St. Lawrence College and is a focus for the visual arts for Brockville and the larger Eastern Ontario area. Creation of the gallery was made possible by the generous bequest from the Estate of Marianne van Silfhout, a graduate of the Fine Art program at St. Lawrence College, and other contributors to the St. Lawrence Foundation. 

Friday, July 8, 2011

Michele LaRose at the Mill Street Gallery/Cafe

Michèle LaRose is a painter from Kingston who navigates the world of colour with gay abandon. Her lively pieces seek to add visual music to life and provide springboards to flights of imagination. Come and enjoy a cappuccino, look at original art, and dine on local, organic produce in the historic, scenic village-on-a-lake of Sydenham, just a 1/2 hour drive north of Kingston. Cafe/gallery is open for lunches Tuesday through Saturday from 11:30 to 2:30 and for dinner on Saturdays 5:30 to 9pm. (Reservations: (613) 376-1533.) Michèle’s exhibition is up from June 29 to August 27, 2011.  
4400 Mill Street, Sydenham, Ontario 
For more info about the artist see

Monday, June 13, 2011

Margaret Lock at Agnes Etherington

Artists on Art
Saturday 18 June, 2 pm

Kingston artist Margaret Lock gives a talk in the exhibition Kingston in Relief: The Woodcuts of Gwyneth Travers. As a printmaker she provides intriguing insights into Travers’ technique and how she captured well-known local buildings and sites.

Margaret Lock studied fine art at McMaster University and Goldsmiths College, University of London. She has lived in Kingston since 1987 where she works as an artist and letterpress printer. The Art Centre presented an exhibition of her woodcuts in 2002.

We present this talk as part of our celebration of Kingston’s annual Doors Open. The Art Centre will be open from 10 am to 5 pm, and admission is free. Throughout the day, docents will be in the galleries to discuss all the exhibitions.

Agnes Etherington Art Centre | Queen's University | Kingston ON | K7L 3N6
t 613.533.2190 | fax 613.533.6765 |

Tuesday, May 24, 2011

AGM 2010

OKWA’s Annual General Meeting, May 15, 2011
Board Members- Mary Peppard President & Treasurer, June Anderson Vice- President, Barb Carr & Martine Bresson Past Co-Presidents, Lee-Ann Taras Secretary, Alana Kapell, Jane Derby
OKWA Members- Zillah Loney, Mieke Van Geest, Sue Lyon, Mary O’Brien, Margaret Lock, Diane Black, Pauline Conley
New Members:
June gave an update. There have been 7 new members to OKWA since the autumn of 2010. New members are Diane Black, Pauline Conley, Margaret Lock, Caroline Marshall, Lise Melhorn-Boe, Mary O’Brien and Teri Wing.
OKWA’s website has all the updated information for the submission process. Slides are no longer accepted, submissions are on cd & viewed by board members before a board meeting when the jurying of submissions takes place.
OKWA Scholarship:
All members present voted unanimously to award the $500 scholarship again this year. The award goes to a promising art student of either gender in The Creative Arts Focus Program run by Karen Peperkorn at QECVI. Karen selects a few students’ portfolios to be juried by the board of OKWA. A cheque is presented to the recipient in August to assist with their future art studies. June will contact Karen to begin the process.
Election of OKWA Board for 2011-2012:
3 long–serving board members have retired from OKWA’s executive: Hanna Back, Barb Carr and Lee-Ann Taras. 
The following board members remain: Mary Peppard as both President & Treasurer, June Anderson as Vice-President, Alana Kapell as Blog/Newsletter Editor, Martine Bresson and Jane Derby. Past executive member, Zillah Loney returns to the board after a short absence. OKWA welcomes new board members Mieke Van Geest and Diane Black.

Thank you Barb Carr, Lee-Ann Taras and Hanna Back for your years of generous contribution to the life of OKWA.

(photos contributed by Martine Bresson)

President AND Treasurer, Mary Peppard zipped through the AGM in probably OKWA's fastest meeting in history, to accommodate members' desires to attend Su Sheedy's opening reception!

The MANSION provided great munchies and comfort.

Sunday, May 15, 2011

2012 Mill Street Gallery Submissions for OKWA members


The Mill Street Gallery/Cafe
4400 Mill Street/PO Box 70/Sydenham, On K0H2T0/613 376 1533

CALL FOR SUBMISSIONS for 2012   deadline June 01
Because OKWA has now partnered with the Mill Street Gallery and members have already gone through a jurying process, submissions will be very simple.

1. Send an email with your month/s preference. (see below)
2. You can apply for a solo, duo or group show of YOUR MAKING.
3.  Read gallery requirements  and if in agreement, email your choices of first and second time slots to by June 01/2011.


I1.  A nominal fee of $10 in cash is requested for gallery maintenance.

2.  Artist is responsible for SET UP and TAKE DOWN at specified dates.  This means supplying your own equipment to hang and REPAIRING the walls at take down (removing nails, filling holes and painting). Gallery supplies paint and polyfilla only. Artist brings own hanging equipment, patch up paintbrush and polyfilla applier.

3. Artist(s) are responsible to ensure they have full copyright on all materials presented in the gallery. Only ORIGINAL work is to be exhibited.

4. All sales go to the artist.  The artist is solely responsible for negotiating sales.  

5.  The artist is responsible for their own advertising.  The gallery prints one poster at the beginning of the exhibition season advertising all the shows. The gallery will email a list of recommended sites to e advertise to the artist.

6. You cannot expect drop-in traffic to this Sydenham Gallery.  Your best use of this space is to advertise an OPENING RECEPTION in which you can actively sell your work if that is your focus.     There is a cash bar.  Pat Dawson will help you with an appetizer menu; this is not obligatory.

7.  All art must be ORIGINAL WORKS and mounted (ie. no paperworks glued or taped to the walls).

8.  Opening receptions are set at the first Sunday of each month. Artists pay Pat Dawson/ cafe owner for the refreshments. Opening receptions are optional.

9. The gallery key can be picked up from Alana Kapell /Michele LaRose for installation and take down.

10. The gallery is only open to the public when there is staff working in the building (in February and March this is generally only Saturday evening dinners).  As soon as the weather warms up in April hours open up to 11 to 3pm Tuesday to Saturday and Saturday dinners.  The gallery is locked otherwise. There is a security system, however INSURANCE is the responsibility of the artist.

View this space as just that, a SPACE provided for your use.  There are no other services. You are basically renting a space for a $10 donation.  You do ALL the work.

If you agree to all the above conditions, please consider submitting to exhibit.

1. 2 month display, February and March.  Gallery open only Saturday evenings and special events.
2.  April and May, two month slot open lunches and Saturday evenings and special events.
3. June, one month heavier cottager traffic.
4. July, one month heavier cottager traffic. RESERVED
5. August, one month heavier cottage traffic. RESERVED
6. September and October, two months with lunches and Saturday dinner  RESERVED
7. November and December, limited lunches, Saturday dinners.

State your preference for 2 time slots (in case there is duplication in application dates) and also state any period you CANNOT exhibit (ie. if out of the country etc.)

Sunday, May 8, 2011


The birth of The Salon Prize came from Cleah Bunting’s overwhelming desire to help out other artists in their own working lives. The prize was originally done in association with The Kingston School of Art–however due to the demands of the growing contest–the competition out grew the school.

Judges this year include OKWA member J.T. Winik, as well as Bonnie Brooks and David Perkins.

OKWA members, Barb Carr and Zilla Loney, have been past finalists.

First place: $2,000, 2nd place receives $500, 3rd place $150

This competition is open to Canadian, US and international submissions.  All applicants must be 18 or older.  The works must be done in the previous 10 years.
Works of any genre and/or medium (abstract, realism...oils, watercolours etc.)
16 people will be chosen and exhibited from November 09 to 30 2012.

Submission deadline is September 10, 2011.  Submission forms on website

Zillah Loney

Barb Carr

Friday, May 6, 2011

WORKSHOP Introduction to Typesetting and Letterpress Printing

Introduction to Typesetting
and Letterpress Printing Workshop
2-3 July, 2011

taught by Margaret Lock, at 231 Johnson Street, Kingston

Participants will learn basic typographic design 
concepts, and how to set lead type by hand and 
print on a Vandercook proof press. The workshop 
will cover setting type, letter-spacing capitals, 
imposition, proofing, registration, and printing 
on handmade paper. As an exercise, participants 
will design and print a broadside up to 10 x 14 
inches in size. The text should be a poem of up 
to 20 lines, or a piece of prose of fewer than 
160 words. Notes and all materials are provided. 
Space is limited to three students, so pre-registration is necessary.
The workshop hours are 9:30am-5:30pm.
The cost for each participant is $185.
(A non-refundable deposit of $50 is payable when participants register.)

If you have a favourite poem or piece of prose 
that you want to print, and if you are intrigued 
by letterpress printing, you should enjoy this workshop.
Please contact Margaret Lock at 613 544-3505;
or 231 Johnson St., Kingston, ON K7L 1Y2

Margaret Lock holds an Honours Degree from 
McMaster University, Hamilton, and a Diploma of 
Visual Communication from Goldsmiths’ College, 
University of London. She is a private press 
printer and printmaker. An exhibition of her 
woodcuts was held at the Agnes Etherington Art 
Centre in 2002. Work produced by Locks’ Press can 
be viewed on the following web sites:
• Library and Archives Canada, Canadian Private Presses
• McMaster University Library, Perspectives in Canadian Publishing
An article on the press was published in The 
Private Library, 5th series, 10.1 (Spring, 2007) pages 2-26.