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Interview with Co-Op student Swetha Srikanth

Swetha Srikanth is a grade 11 student at O’Neill C.V. I. and this summer she completes her placement with the RMG. She sat down with the RMG to discuss her experience at the gallery this spring.

The RMG: How did you get involved with volunteering at the RMG?

Swetha: I got involved with the RMG through the co-operative education program, which is an amazing opportunity that I got through school. I was interviewed last year and started my placement this February. I was familiar with the gallery before then, but working here for the past five months has really allowed me to fully appreciate and learn about the many areas of this gallery.

The RMG: Why were you interested in volunteering in an art gallery?

Swetha: I was interested in this placement specifically because it relates to the work that I would love to do in the future. I have always been passionate about visual arts, and am hoping to become an interior designer and manage my own design firm. This environment has allowed me to start to understand how businesses work.

The RMG: What have you been doing during your placement at the gallery?

Swetha: I started working with Norah O’Donnell in February and Carla Sinclair in the past few weeks. I have done so many creative and administrative tasks to help improve the system that is in place for the volunteers, as well as provide services for the public through event preparation and RMG Shop management.

The RMG: What is one thing you want to share about the RMG?

Swetha: The sense of community within the workplace. The employees are extremely welcoming, positive, and show appreciation to the other workers and volunteers. There were many collaborative tasks that I was involved in, which made me feel like a part of the community. They also allowed me to feel comfortable and be seen as a co-worker, rather than a high school student.

The RMG: What is your favourite museum?

Swetha: I’m not sure that I have a favourite place, but one of my favourite memories is when the Specialized Visual Arts Program at O’Neill took a trip to Buffalo, NY and visited the Albright-Knox Art Gallery. It was the first time I was with some of my best friends and had the opportunity to experience incredible artwork and discuss it with them in depth. It was nice to be around likeminded people while visiting a new gallery, and I’m really glad that I have experienced that feeling multiple times since then.

The RMG: What is your first memory of art?

Swetha: My first memory of art is something that I remember creating when I was about four or five years old. I had painted an elephant, and I remember it being framed on the wall for people to see and feeling really proud of what I had done.

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Beat the heat this summer at the RMG!

Beat the heat by hiding away in what Mayor John Henry calls one of his “favourite places in Oshawa”. This summer we have something for everyone from amateur art critics and social butterflies to little artists and music aficionados. If a mayoral stamp of approval isn’t enough, here are eight reasons why you should head into the RMG this summer.

1.     Puppet Act: Manipulating the Voice

Cantastoria, or puppet storytelling, is the theme of the latest exhibit at the RMG curated by Linda Jansma. Puppet Act: Manipulating the Voice features marionettes from the Peterborough Museum & Archives collection whose historic puppets, retired from the Peterborough Puppet Guild, present as disturbing caricatures waiting to come to life once more. The exhibition, set to open up at the gallery until September 1, also includes contemporary work from six artists. These puppeteers convey humanistic motifs of fear, manipulation, irony, humour and the battle between good and evil.

2.     Boxing: The Sweet Science

Entering the ring at the RMG just in time for the Toronto 2015 Pan Am/Parapan Am Games is an exhibit that is sure to be a knockout. Boxing is a metaphor for life, filled with battles lost and won. In Boxing: The Sweet Science, curator Linda Jansma captures this expression through pieces that convey the movement, power and elegancy of the sport. Whether you’ve got a ticket to the match at the GM Centre or not, come in to see this great exhibit. Up at the RMG until September 13, 2015.

3.     RMG Fridays

On the first Friday of the month, the gallery is open 7 – 10 p.m. for RMG Fridays. The gallery buzzes with live musical performances from local and emerging talent, interactive art experiences, open gallery spaces, social mingling and more. This FREE (need not to be convinced further) is suitable for music lovers and art enthusiastic big and small. Every RMG Fridays is a family-friendly event and is a hotspot for youth, families and culture-vultures.

July 3, 2015
A Canadian Celebration:
Canada is old. It deserves more than one birthday. At the RMG we’re keeping that maple syrup, apologizing, igloo-dwelling spirit going with indie rockers Canvas and Chris Doucett & The Way Out. Join local artist Monique Ra Brent in Gallery A and chat with Teri Lipman about her collection A Visionary Journey. We’re joined by local arts collective Broken Arts as they gear up for the annual Broken Arts Festival on July 18 in Memorial Park! The PanAm Cruiser will also be stopping by for the evening – learn more about the games!

August 7, 2015 
Summer Sounds
We’re taking a night to celebrate the exhibition that has everyone talking, Puppet Act: Manipulating the Voice. The sounds of Goodnight Sunrise and locals Ivory Park, will occupy the main galleries while Father and son duo Matt and Joe will join us in Gallery A. Join us in learning more about the upcoming Durham Festival.

4.     Gallery A

If you didn’t know already, Gallery A is a professional exhibition and studio space provides accessible opportunities for artist-driven initiates at the RMG.  Each month, the gallery is occupied by a wide range of solo and group projects, curated exhibitions, artist and community collaborations, special events, film screenings, symposiums, and community art projects. And this summer, the talent in Gallery A is shining brighter than the sun!

23 June – 12 July, 2015
Gallery A: Monique Ra Brent: The Painted Soul
Art Lab Studio: Adam White

14 July – 2 August
Motor City Stories
Home to Home

5 – 30 August, 2015
Gallery A: Matthew and Joseph Catalano: Arbor Nimbus

5.     OPG Second Sundays

Every second Sunday of every month, the RMG hosts an afternoon of free family activities. Families of all kinds and sizes are invited to explore exciting exhibitions, art materials and fun hands-on activities together! You will discover things to do throughout the RMG, so you can follow your imagination and experiment with new ideas and projects. Projects suit art lovers of all ages and skill levels. Ideal for children 3 and up, however kids work with their parents & art instructors. Drop-in between 1 and 3 p.m., no registration required!

July 12, 2015
Go Team!

We will be celebrating the 2015 Pan Am Games, RMG style! We will make medals, noise-makers and party decorations to cheer on the athletes.

August 9, 2015
Calling all Artists!
This month we will explore 2D and 3D artworks, from raised salt paintings to mini sculptures, we will create artworks that will surely inspire the artists in all of us!

6.     Talks and Tours
Art education for all ages is both valuable and important here at the gallery. This summer were hosting several talks exploring the messages, themes and meanings within our current exhibitions.

Sunday, June 28, 1 – 3 p.m.
Join us for this lively and entertaining talk with Sean O’Meara – a former amateur boxer, current Oakville city councillor and the sport-organizing chair for boxing at the Toronto 2015 Pan Am/Parapan Am Games! You will also have an opportunity to join Senior Curator Linda Jansma for a guided tour of the special exhibition Boxing: The Sweet Science.

In Gallery A, join artist Monique Ra Brent to learn more about her work and exhibition, The Painted Soul.

Sunday, July 19, 1 – 3 p.m.
Motor City Stories and Home to Home Opening Reception
Join us in Gallery A and celebrate the works and artists features in Motor City Stories and Home to Home.

Sunday, July 19, 1 – 3 p.m.
Spirit of Sport Exhibition Tour
Join Associate Curator Sonya Jones for a tour of Spirit of Sport: Selections from the Thomas Bouckley Collection.

7.     The Permanent Collection

At the RMG, we have an extensive collection of permanent works totalling more than 4,000 works. Often pieces are incorporated into exhibits from our archives. Our current exhibition, Go Figure, was curated by Senior Curator Linda Jansma and explores various aspects of human temperament and how this conception is professed by artists.

8.     Painters 11

Painters 11 began in the fall of 1953 in Oshawa, launching them as Ontario’s first abstract painting group. The group includes members such as Alexandra Luke, Jock Macdonald and Jack Bush – Luke being the catalyst of the group’s formation. The group held their first exhibit under the name “Painters 11” in February 1954 at Roberts Gallery in Toronto, Ontario. The RMG has had a long-term relationship with Painters 11, which explains why the gallery is the owner of the largest collection of the group’s work.

Our Isobel McLaughlin Gallery occupies works by Painters 11, interchangeable from our extensive collection. Be sure to stop by the gallery to see the iconic abstract works by the Canadian group.

 

To stay in the know about all the great events by signing up for our newsletter here http://www.rmg.on.ca/exhibitions-and-events.php.

 

Vol ‘n’ Tell is an ongoing series of blog posts written by RMG Volunteers. Raechel Bonomo is an art enthusiast and writer from Oshawa, Ont.

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Interview with Summer Gallery Interpreters Austin and Hannah

Austin Henderson is a second-year Fine Art student at Queen’s University and Hannah Kramer is a third-year Fine Art student at Queen’s University. They are both working with the RMG this summer as Gallery Interpreters, supported by the Young Canada Works Program, and sat down to discuss their experiences at the RMG.

The RMG: Why were you interested in working in an art gallery this summer?

Austin: In the spring, I was searching for jobs that matched my interests and field of study. I visited local galleries, handed out my resumes, and hoped for the best. Art galleries have been of great interest to me since I started getting serious about my artistic endeavours. My current dream job would be to work in a gallery as a curator some day, so this is a great opportunity. So far, I’ve learned a lot about how an art gallery works and I know I’m in a comfortable environment with many people who are willing to lend their professional advice towards my future, so I couldn’t be more thankful for that.

Hannah: I worked at the RMG last summer, and I was super excited when I was offered the position again this year. As a university student, I feel very lucky to not only have a full time job, but to have one that combines my favourite things.   Everyday I am immersed in a positive and energetic environment, where I am exposed to a mixture of contemporary and historical art.  Working at an art gallery, especially the RMG is an opportunity I never expected as a student.

The RMG: What will you be doing during your placement at the gallery?

Austin & Hannah: Our responsibilities for the summer are broken down by month for the most part. During June, we plan the summer programming based on loose themes advertised for registration.  As well as designing a schedule, we are responsible for composing a materials list, and training our volunteers.  During June we also assist with any remaining school tour groups, and demo activities as well as prep materials.  July is camp! We teach and run the entire camp for 5 weeks, with the help of our wonderful volunteers.  We really appreciate everything they do for us because we would not be able to manage without them!  The first 4 weeks we have a range of kids aged 5-11, and during the 5th week, we run a toddler and teen camp.   For the two weeks that we are still here in August we clean and organize the studio in preparation for the fall.

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The RMG: What is one thing you want to share about the RMG?

Austin: I’ve taken some studio classes at the RMG in the past, and I knew that it was a gallery that was close-by that housed some really interesting work, but what I didn’t know until starting this job was how big the gallery’s collection is! It houses over 4000 works in its permanent collection alone, and reaches out to local and international artists, and many other galleries’ collections. I think it’s also important for the public to know how much the RMG cares about its community. Numerous programs are run throughout the year that works to enhance the gallery’s relationship with its visitors, and I think that’s crucial in a smaller city like Oshawa.

Hannah: Working at the RMG doesn’t feel like a job to me. It’s very strange but awesome when you love coming to work. Everyone on staff is so interesting, and creates a welcoming and engaging environment. The RMG always has a very positive energy, and I think that is a rare thing.

The RMG: What is your favourite museum?

Austin: It’s really cliché, but March of last year, I had a chance to go to Paris with my high school. It was my first time in the city, and everything about it blew my mind. Needless to say, I’ll definitely be returning. Of course, we paid a visit to The Louvre on our first day, and being an art history fanatic, I freaked out. I think most of my amazement had to do with the building’s opulence, history, stature, and of course the mere fact that it was The Louvre! My whole experience was so overwhelming; despite the fact I was only in there for a couple hours. To me, it felt like a small honour to be able to walk around that incredible gallery with so many celebrated surprises inside.

Hannah: My favourite museum is the MoMA. I’ve been twice, once when I was ten, and the second time last fall with my school.  It’s really incredible seeing all the work that you learn about in art history – seeing the real thing is such a different experience than looking at a picture on a slide.  Monet’s Water Lilies were unexpectedly my favourite.

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The RMG: What is your first memory of art?

Austin: My first memory of art comes from my love for Disney movies and The Wizard of Oz. When I was little, I would always be drawing my favourite Disney characters and the entire Oz cast (on my Magna Doodle and on paper). Admittedly enough, I still draw them today! Those movies provided me with an outlet to a colourful imagination, where I believe my love for art came from.

Hannah: My first memory of art isn’t a specific place or time. I just remember my granddad used to take me to different art events and galleries throughout Toronto.  I have a faint memory of one specifically, I don’t remember where or what it was for, I just remember not wanting to leave.  In my memory we stayed there creating art all day.

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Donna Raetsen Kempcrop

Donna Raetsen-Kemp appointed the new CEO of The Robert McLaughlin Gallery

Following an extensive search, the Board of Trustees of The Robert McLaughlin Gallery (RMG) is pleased to announce Donna Raetsen-Kemp will be the new Chief Executive Officer (CEO). The search was conducted by the Board of the RMG, with assistance from Peter Spratt, Vice President of Collins Barrow.

“Over the past five years, the RMG has made great progress in sharing and engaging with our communities in the continuing exploration of modern and contemporary art,” said Dr. Christine Castle on behalf of the RMG Board. “As The RMG enters the next phase of its development, we are delighted to welcome Donna Raetsen-Kemp as CEO. We are confident Donna¹s cultural vision and leadership will guide the Gallery in new and exciting directions by inspiring our enormously creative staff and volunteers.”

Raetsen-Kemp was selected from a diverse and high profile pool of individuals who had a strong knowledge of Canadian art, demonstrated cultural leadership, as well as an ability to engage and connect with their communities.  Additionally, candidates were considered on the basis of their ability to secure funding and connect with businesses, the Board and other stakeholders.

Previously, Raetsen-Kemp was the CEO of the Station Gallery, Whitby (2005-present) where her cultural vision saw overall attendance increase, six fold to 40,000 annual visitors, as well as the development of a robust education program offering 400 classes annually. Her implementation of fund development strategies saw revenue increase, while maintaining the delicate balance of artistic integrity and business stability. Additionally, Raetsen-Kemp is well connected within the cultural sector and involved with the International Council of Museums, the Canadian Association of Museum Officers and Directors, the Canadian Museums Association and the Ontario Association of Art Galleries.

“I enthusiastically welcome Donna as our new leader. I know her to be talented and thoughtful and I am confident in her abilities and excited for the future of the RMG,” said Olinda Casimiro, Interim CEO and Director of Finance of the RMG.

“The RMG is not only one of the leading public art galleries in Ontario, it’s a cultural hub and people place. That’s compelling to me.” said Donna Raetsen-Kemp, “I’m truly honoured to follow in the footsteps of progressive RMG leaders.  The visionary Board and brilliance of the RMG team have set the stage beautifully for this next phase of transformation.”

Raetsen-Kemp’s people-first leadership philosophy will engage the community and mobilize the staff of the RMG to further expand and develop bold programming that continues to tell the story of modern and contemporary Canadian art.

Raetsen-Kemp will begin at the RMG on 17 August 2015.

 

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RMG Fridays July: Canadian Celebration

Keep the Canadian spirit going on Friday July 3rd, from 7-10pm, with indie rockers Canvas and Chris Doucett & The Way Out. Join local artist Monique Ra Brent in Gallery A and chat with Teri Lipman about her collection in A Visionary Journey.

Learn more about the Broken Arts Festival on July 18 in Memorial Park!

For more information:
A Visionary Journey – http://www.rmg.on.ca/lipman-visionary-journey.php
Canvas – https://www.facebook.com/canvastunes
Chris Doucett & The Way Out – https://www.facebook.com/ChristopherDoucett
Monique Ra Brent – http://www.rmg.on.ca/gallery-a-on-view.php
Broken Arts Festival – https://www.facebook.com/brokenartsca

On the first Friday of the month, join the RMG in celebrating local talent. The gallery buzzes with live musical performances, interactive art experiences, open gallery spaces, social mingling and more. Suitable for music lovers, youth, families, date nights, and culture-vultures.

Free to attend | 7-10pm | Cash Bar | All ages welcome.

Follow the twitter feed at #RMGFridays!

The RMG is grateful to the Ontario Trillium Foundation for their support of this programming.

Conversations #1 & 2, Ramune Luminaire & Judith A. Mason, mixed media on paper

Conversation Pieces by Ramune Luminaire and Judith Mason

Since 2011 Ramune Luminaire and Judith A. Mason have been working on a series of collaborative drawings that explore experiences of relationship through mark-making.  Through a series of non-verbal exchanges, each artist takes their turn adding to what is on the paper. In time a composite image emerges; a visual dialogue of call and response.  The work organically grows into an art object, a visual text, saturated with traces of exchange, intuition, growth, development, collapse and re-development.

Extensions of this project have included staging the Conversation Pieces Café at Artspace in Peterborough, where artists were invited to work on several large collaborative pieces.  Luminaire & Mason see this as a potential model for building healthier personal and community relationships, a model requiring interdependence, not self-sufficiency.  Luminaire & Mason also facilitated workshops at RMG Culture Days in 2013 and 2014, inviting members of the pubic to converse on paper, co-creating mini-artworks in silence.

During the month of May Luminaire & Mason were the artists in residence in the RMG’s Art Lab. Their proposal was to create artwork in conversation with pieces from the gallery’s permanent collection. They selected works from the Go Figure exhibition. Below are extracts from the journal of their process.

Image above: Conversations #1 & 2, Ramune Luminaire & Judith A. Mason, mixed media on paper

Ramune: how do I have a conversation with an existing, completed, piece of work? By Morrisseau, an artist I love and admire?

Sacred Journey, Norval Morrisseau, 1977

Sacred Journey, Norval Morrisseau, 1977

 

Take my paper up to the gallery – blissfully silent, I am alone. Sit in front of the picture and meditate for 10 minutes, then open my eyes and just look at it for 10 minutes, breathing it in. My hand starts drawing a vessel, then I put in a shape familiar to me, the way I draw spirits in my journal. Two more figures and I realize I have drawn my mother, who died on Good Friday. The others in the boat are her (now dead) father and grandfather. I am drawing her journey into the afterlife. The bird is her totem animal, the snake a thing she feared. Decide to use Morrisseau’s colours and technique of framing each segment of the image in black paint. Makes me cry.

Nika’s Journey, Ramune Luminaire, 2105

Nika’s Journey, Ramune Luminaire, 2105

 

Judith:  Where to start?  Start with what is familiar.  Follow my hands, intuitions, thoughts – suspend judgement – no beginning, no end….. 

A. Y. Jackson, Indian Home (1927)

A. Y. Jackson, Indian Home (1927)

 

I once copied a drawing of  A.Y. Jackson’s – a pencil sketch of dog team.  What I remember about my drawing was my father’s excitement about how well I had copied it.  My father, a good place to start.  I chose Jackson’s Indian Home, (1927) as my first conversation. I use three sheets of paper – a triptych.  I begin by drawing a house, my Cape Breton summer home, not unlike the house in Jackson’s painting.  I remember the gentle rolling hills, the sea, the wind, Island storms – Island weather.   I draw the pond just below the house, the fire pit, the sound of the nearby poplars, the apple tree, the sharp needled hawthorn that supported my clothes line, the large maple trimmed to allow for the hydro line.  I draw from memory across three sheets of paper, bits and pieces, scattered here and there, without applying the proper rules of perspective.  My memory is scattered, it flints about, hardy landing before jumping to the next. 

Judith A. Mason, Response to A. Y. Jackson, pastel on paper 2015

Judith A. Mason, Response to A. Y. Jackson, pastel on paper 2015

I go back to Jackson.  I scan, then, study, his landscape.  I look at the colorful and shapely vegetation, the crudely painted pine trees, the clouds, the wind, the buildings, and finally the three figures standing outside their home. 

I mix up the order of my triptych.  Then, on top of my chalk pastel landscape I paint out areas in black, break the scape, make abstract what began as representation, create dead areas, deep space.

I look again at Jackson’s painting.  What is interesting here?  Can I honestly say, not “the Canadian landscape”?  That strange preoccupation has ever interested me. I am much more interested in the inner world – a place of relationships – the world of feelings, emotions, sensations, connection.  My eyes settle on the small figures caught in the all-encompassing landscape – is this a mother with her two children?

My eye is drawn to these three figures.  I draw them on two sheets of my disordered triptych, on the surface of my blacked out and coloured pastel abstract – immediately the abstracted landscape becomes a home and a family.  But who’s that lurking in the bushes, in the vegetation out front?  On the third sheet of paper I draw a window blind.

I begin a sketch of a section of the painting, getting to know all its relationships every curve, shape, form, mass.  My eyes fluctuate back and forth between the positive and negative.  I need to know both spaces in order to get this drawing right.  I need the dark and the light.

Judith Mason, Response to A.Y. Jackson2015, pastel and acrylic on paper

Judith Mason, Response to A.Y. Jackson2015, pastel and acrylic on paper

Ramune: I decide to work with Suzy Lake’s photographic piece because I really don’t like it, it makes me angry.

Impositions Maquette, Suzy Lake, 1978

Impositions Maquette, Suzy Lake, 1978

These photos are too calm, not enough struggle, she’s not really trying to get free. Even the graphite bindings Lake’s drawn on the prints look weak. You want to feel bound? I’ll show you how that looks. I make a gel medium transfer of one of Lake’s figures onto my page and scribble it solid. Her images are extended upward, mine becomes a column. A structure that’s preventing the women bound to it from moving forward. Nice girl trying to free herself. Even angrier, I keep working and my image becomes a frenzy of energy. If I draw myself free, can I extend the gesture to Lake?

Ramune Luminaire, Response to Suzy Lake, mixed media on paper, 2015

Ramune Luminaire, Response to Suzy Lake, mixed media on paper, 2015

Judith: I have been looking at both the Georgia O’Keefe photograph and the large blue painting of the young woman on the staircase.

Ramune: I find this portrait compelling.

Kevin Wolff, Shoes, 1995, acrylic on canvas

Kevin Wolff, Shoes, 1995, acrylic on canvas

It’s a portrait of an activist for people with disabilities. He’s wearing a built-up shoe. I just bought a pair of sandals to wear to a wedding with platforms that are almost identical, but I wear mine in an effort to look more beautiful. They are my first response to Wolff’s image – to draw my own leg in the wedding platform. I won’t work from a photo as I think it deadens the image. Why didn’t this artist just exhibit the photo? I’m never sure about the point of photo realism. One leg drawn, who else am I? A lot more than the woman in the debilitating girlie shoe… I find the boots I bought when I first went to art school. I wore them with a mini skirt because I thought that would make me look like a real artist. Then they became my sculpture studio boots. Now they’re my motor bike boots. The leg wearing them looks entirely different – more masculine. When I look at Wolff’s laces I realize he’s photographed his subject’s feet upside down. Why? Now I have to work from a photo, not the real thing. Feels so different, but I love who I am when I see the finished image. Wonder if Wolff’s portrait made his subject love himself more.

Ramune Luminaire’s feet, pastel on paper, 2015

Ramune Luminaire’s feet, pastel on paper, 2015

 

Judith: I find myself working with these two images simultaneously.

Shaun Downey (2013)   

Shaun Downey (2013) Large blue painting of a young girl descending the staircase at the Drake Hotel in Toronto.

Photograph of Georgia O’Keefe in her studio

Photograph of Georgia O’Keefe in her studio

I paint two paintings on the 3 ft X 3 ft canvases I brought into the studio.  Each of my paintings relate to one of these artworks.  A gift has been bestowed.  I step out of the way.

One painting is a modernist abstraction that I might call ‘a copy’ though it’s not a copy in the sense that I copied it. It’s a modernist looking painting.  And it is now that I realize there is an uncanny relationship between photography (the O’Keefe photograph) and modernist painting (the one I am painting).  It is a relationship between the flatness of the photographic image and the flatness of modernist abstraction painting.  I wonder if twentieth century modernist abstraction is the bastard child of design and photography?

I look at Georgia sitting in that seemly dark room accompanied by two large organic objects.  I want a make her and these two objects out of clay?  I begin to sculpt them.  There are obstacles.  I am looking at a two-dimensional photograph and sculpting a three-dimensional object.  There are missing bits of information; the object I am forming is not fully formed.  I remember Rodin’s Gates of Hell, I think about reliefs – as objects in the midst of transformation.  As Hannah Arendt suggests, as objects manifesting.

I look again at the photograph and decide to fold black paper back and forth like a fan. This gesture leads me to the image of an old fashioned camera – of her husband’s camera?  I decide to make an old-fashioned camera out of board, paper and masking tape.  I want to place the three sculptural forms inside the camera.  I want to place her inside the camera.   My whole life feels as if I am living inside a camera.  As a woman I live a life under constant scrutiny.  Even if no one is still watching, I am watching myself.

Make ten large old-fashioned cameras.   Set up the space inside each camera as an interior room in a house.  In each room place a woman with objects from her life. 

We are all living inside a camera.  Surveillance and Servitude.  A future exhibition.

Keep moving…..

The girl stands on the landing in the stairway casting a shadow on the wall.  I only notice the shadow after days of looking at the painting.  She looks like a cut out, a paper doll, a childhood activity I loved as a young girl.  On holidays, buying a book of paper dolls.  The delight of following the bold black lines with my scissors, first the dolls, then the clothes, each outfit complete with folding tabs. 

I go up to the exhibition and look at the painting again.  I am interested in the shadow.  I begin to paint the young woman with her shadow on my abstract ground.  Then a third figure appears, this one unclothed, raw and vulnerable. Then, I think about painting her out of her dress, leaving her dress suspended in air, having her standing naked beside it.  

The conversations stop, the residency is over.

Judith Mason, Three Dancers, acrylic 

Judith Mason, Three Dancers, acrylic

Judith Mason, Abstract O’Keefe, acrylic

Judith Mason, Abstract O’Keefe, acrylic

 

For more information:

www.ramuneluminaire.com

judithamason@gmail.com

 

 

 

 

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Father’s Day Gift Guide

Father, dad, daddy-o. Whatever you call your old man, we know he is more special to you than words could ever express. For whatever type of dad he is, this Father’s Day we have that one-of-a-kind present at the RMG giftshop. Trust us, he doesn’t need another screwdriver set.

The Class Act

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Handmade cufflings – $40

The Brew Mister

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Bottle opener – $10

The Fisherman

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Hip flask – $36

Mister Mo’

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Shaving kit – $20

Funny Man

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Card – $5 or $6 each

Mr. Clean

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Beer soap – $6 each

Image at top: Handmade soap in various dude-friendly scents including black pepper, tobacco, happy camper, etc. $6 each.

Images and words by Raechel Bonomo

Vol ‘n’ Tell is an ongoing series of blog posts written by RMG Volunteers. Raechel Bonomo is an art enthusiast and writer from Oshawa, Ont.