“Art is how we decorate space. Music is how we decorate time.”
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 Withdrawn images complimented by an intense palette, placing focus on a resolve for inner equality from an invisible backdrop.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.
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.
Born in Vancouver, British Columbia, Janie Lockwood has always been interested in Art; starting with batiks, moving into watercolour, oils and finally acrylics. Though largely self-taught she has taken over 30 workshops in the USA and Canada by some of the greatest instructors; “Learning from the best instructors available” was a piece of advice Janie has taken to heart. Breaking from traditional techniques, Janie’s experimentation with different materials led to the beautifully deep abstract landscapes that both draw you in with a sense of place and serenity.
Travel is an important part of Janie’s life; drawing her inspiration, in part, from places she has visited. South East Asia, Cambodia, Thailand, Vietnam and Bali are all recent areas of interest. In Janie’s words “My focus has been to emphasize the beauty of nature by simplifying and abstracting my subject. My goal is to have the piece enjoyed from a distance but entice one closer for an intimate look at the surface. I texture the substrate before painting and apply detailed patterns at the end to increase the participation of the viewer. In doing this I hope to create a feeling of mystery and drawing a deeper involvement with my work.”
Janie is a member of the Society of Canadian Artists (SCA); a national, non-profit artists’ organization dedicated to expanding the visibility and stature of the visual arts.
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.
Photography is typically a passion that not only helps me slow down the pace of life, but also allows me to explore a little deeper, not only into the scenery, but a part of myself that is often conveyed into the images I capture.
The work I have selected were largely taken at a point during covid where the loss of work, difficulty finding more work and the general lockdown of life, prompted the need to get out into outdoor isolation, in an attempt to regain motivation, and the peace of mind that some semblance of normalcy can bring.
Through the ghost towns and backroads, there seemed to be a focus of my emotion on the views I was drawn to, that seemed analogous to the circumstance that much of the world was realizing. Searching through the decay of stagnant “lockdown” for the light outside, the love outside, some kind of life other than the life we had come to live during Covid. This work represents that subconscious emotion, that seemed to prevail; a rage against the dying of the light as Dylan Thomas so eloquently put it.
The journey is the destination.
For this series to date, I have chosen several of my photographs from these locations:
Brazeau Collieries coal mine in Nordegg, Alberta, which ceased production in 1955.
Greenhill Mine in Blairmore, Alberta, which closed down in 1957.
The Lower Bankhead Mine operations remains near Banff, Alberta, which ended in 1922.
The story of Brazeau Collieries has interested me, in particular, and I have visited and photographed there many times. Founded by Martin Nordegg, the mine operated between 1911 and 1955. At its peak the mine was known for its innovation in mining operations and was one of the largest producers of coal briquettes in Canada. The town itself was an interesting and progressive model of community planning and development, a home to work seekers (many of them immigrants) that was in many ways ahead of its time in social terms.
I endeavour to show people the world the way they’ve never seen it before by using different perspectives and media. Most of my work is rooted in the abstract but with real connect to the world we live in. I divide my work into series based around a common concept, idea or theme which can cross from one media to another.
It was the summer of 2018, my dad turned 89 and my jeep was packed for a trip that took both of us on a 9000 km adventure to the Arctic Ocean. With three weeks of time we headed north into the Yukon following our family history that stretched back to the 1940’s. From there we made our way further north to Arctic Ocean and Tuktoyaktuk. Reaching our destination meant this was my first time reaching arctic waters and after decades since his last foray in Tuk I was able to bring my dad back to the arctic.
Tuktoyaktuk is a small welcoming hamlet of Inuvialuit peoples, nestled along the shores of the Arctic Ocean. Bright colored homes are tucked amongst the low rolling hills, where the treeline has faded away and the tundra and brackish waters extend out beyond the horizons of this land. My first experience in the arctic was overwhelming with the sheer size of the land and how small one feels in such places. When travelling to these destinations one never knows what the weather will bring. Fast moving skies and troubled waters are calmed to create a sense of peace and simplicity within this Canadian landscape. Keeping a fixed wide view I wanted to give a sense of openness where the vast horizon is juxtaposed
with the simple beauty of this region and our interaction within it.
In March of 2020 I returned to my hometown of Lethbridge Alberta.
Originally my plan was only to spend a week to settle my Mom on her return from wintering in Yuma. It was the beginning of the COVID pandemic. That week became a year. My Mom’s health declined, and she passed away in April of 2021.
During that emotionally powerful period, I took time to revisit places from my childhood and photograph them. It provided an opportunity to reconnect with the past, but also give me a brief respite from the present.
Homecoming is a selection of images from that time. The act of making these images reinforced the importance of home, family, and history. It was both a creative process and, perhaps more importantly, a therapeutic one.
This body of work is dedicated to my Mother, Doreen Lillian Taylor: 1930-2022
“Photography as a Recollective Device”
I photograph as a therapeutic necessity. Growing up in rural norther Ontario, nature was right outside my door so I naturally gravitated to landscape photography. My early work explored dark forest landscapes shooting Kodachrome 25 which was a notoriously slow ISO film. My handheld images were often blurry so I started working with a tripod fairly early on. This served a couple of purposes. Most importantly, my images were no longer blurry but the secondary benefit was that I could really study my images in the viewfinder and I wound up spending more time “in the moment” engaged with my compositions. This process was reinforced when I started shooting large format (4x5 and 8x10) film in the early 1980’s and even though I now have adopted a digital workflow, I still prefer to use a tripod and the slow methodology that is associated with this style of shooting.
In determining the content for this show, I have decided to revisit my 4x5 film negative library which contains images dating back to the early and mid 1980’s. The images on display are important to me in that they focus on a time when I was finding my photographic vision. When working with the individual images I have chosen for this show, I am transported back to the moment the images were captured and I can recall the experience with intimate detail. I can remember clearly the temperature, sounds and smells and the remarkable moment of experiencing the landscape through my lens(s). And this is what I love most about photography; is its service to recollection. When you experience a moment worthy of notice, it sticks with you in mind but over time the memory can begin to fade as it is clouded by more current memories. Photography brings back memories with complete intimacy and detail.
I have been shooting with enthusiasm since purchasing my first camera in the early 1970’s and have integrated photography into my lifestyle over the past 50 years. Although the technical aspects of the craft have changed dramatically in recent years, the process has not and this is something I am grateful for. When out shooting my process is the same as it was in the early 1970’s and I feel fortunate to be on this path of perpetual gratification..