Carbon Point Gallery specializes in showcasing artists, new and established, from around the world. The gallery exists largely online, with hosted exhibitions throughout the year.
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We are showcasing the following artists.
Roan has been influenced by artists who are driven by moments in his life and he is able to articulate the concepts visually, in line and colour. The series he has assembled for “UNSEEN” employs indirect self-portraits and characters that investigate the need for purpose and intent. Withdrawn images complimented by an intense palette, placing focus on a resolve for inner equality from an invisible backdrop. In tune with semiotic abbreviations, his message sends the viewer resolution of unnoticed personalities and places them center stage among us.
Cecile’s impressionistic style combines this fractal patterning with the refraction of light, creating colour and movement. Her abstract rendering of this natural process she calls ‘refractionism’; it challenges and stimulates the viewer’s appreciation for nature’s rhythm. The abstracted impressionism presents nature’s colours in foliage, landscapes, water and sky. Some realism finds its way out of the abstract creating a true-life image. My display at “Carbon Point” will provide the viewers an inquisitive wonderment of nature’s patterning and, I hope, a connection with my unique style.
Carmen’s work features bold colours from the natural palette of western Canada. She works this palette into playful blocks, bold brushstrokes, and big skies, that presents a lighthearted interpretation of the awe-inspiring grandeur of the Rockies and the open prairies. Carmen’s work gives a sense of the static and timeless permanence of the mountain landscapes with the motion of the constantly changing skies that provide the dramatic backdrop that is Western Canada.
Hannah has been drawn to working with stone which contains a strength and beauty of line unmatched in wood or clay. Allowing nature some control, the colours present in the stone are absolutely gorgeous, creating a very unique finish on the work. Hannah enjoys the process of carving, delightfully exposing the work with hammer and chisel, watching the chunks, talcum dust and bits collect around her; ricocheting off the studio walls. Hannah’s work is a process, which is destructive and creative at the same time, during which, hearkens her back to a prehistoric time, the organic, fossilized themes showing in her work.
“Horses From My Dreams”
Patricia has been working in two main threads the last few years where horses are the constant but she likes to change up her techniques and takes varied approaches to her subject. Patricia has studied the anatomy of the horse and how they move for a very long time and sometimes feels like she knows them better than her own body.
The “ white on whites” series is a recent technique that shows off her knowledge of the equine form. They allow texture to be the focus and are similar to the cameos of a time gone by. These are Patricia’s dream-like cameos; frescos from Patricia’s love of horses. The technique she uses is immediate; there is no room for hesitancy and there are no rough sketches before applying the form.
In Patricia’s other works, colour runs free in her mind allowing her imagination to take over and creating these wonderful and “mirage like” representations. This series of paintings shows the dream like visions from the long legs that merge into the ground, to leaping and “flying horses”, exposing the spirit of these animals, allowing the viewer to appreciate what Patricia sees.
In her series Industrial Flora, Mary’s new work fuses organic impressions onto an industrial platform, creating a unity of two opposing concepts into one cohesive piece. Working with a more contemporary tone, Mary explores the content and depth of color, emphasizing the importance of layering and exposing what lies beneath finished surfaces.
In the desert, your entire value system changes, where gold and silver lose value and shade and water are priceless. Richard Collens is drawn to isolated environments, not only to experience these changes in values, but to try and come to terms with the dichotomy of his dismay with the refuse we leave behind in an attempt to settle, or the refuse left behind by progress, and the nostalgic beauty and inherent value in the shade, water and shelter this refuse provides in an otherwise hostile climate.