What are these works? First and foremost, they are “scapes.” Not only landscapes, but also configurations of Johanne Hémond’s interior world. To enter into her paintings is to explore a realm inspired by equal parts emotional resonance and site-specific geographies and geometries.
Nearly the entirety of two walls of Hémond’s most recent exhibit at the Community Arts Council of Greater Victoria (CACGV) gallery are consecrated to scenes inspired the natural world. The third wall extends beyond the physical to an environment inhabited uniquely by mood. In total, a remarkable 27 paintings are displayed.
Hémond’s paintings are a logical extension of her earlier photographic work. Just around the corner from the gallery space featuring her paintings, one wall of a long corridor with a ramp descending to tennis and squash courts is adorned with highly fluid and dynamic photographs of tennis, squash and badminton players from various tournaments at the Cedar Hill Recreation Centre. Continue reading ‘Paintings by Johanne Hemond @ CACGV Gallery, Feb. 19-28’
The opening pages of Gary Panter’s Satiroplastic (Drawn & Quarterly, 2005) include sketches made while Panter was in Oaxaca, Mexico. In the introduction to the book Panter explains how the sketches are not chronologically ordered. Each time he did a drawing, he opened the book up haphazardly to a page and began drawing; further evidence of Panter’s random-abstract brilliance.
The sketches in Satiroplastic are in many ways more accessible than Panter’s most popularized classic comics, Jimbo in Purgatory and Jimbo’s Inferno. In fact, his loose line and highly impressionistic responses to his surroundings are an inspiration—they “give permission” to stop worrying and just draw. Compared with other cartoonist-artists who have published work from their sketchbooks (in no particular order, Adrian Tomine, Peter Kuper, Seth, R. Crumb, Chris Ware, Hernandez Brothers), Panter’s sketches are on the whole far less refined—in the best sense of the expression. But then, Panter is…different. And the raw reflections of Panter’s inner world are a welcome change from the more stiff and fastidious approaches of other artists. Continue reading ‘Getting Sketchy with Gary Panter’