The ROAM exhibition showcases art that documents and is inspired by travel, and the beautiful vistas one encounters as they take a trip around the world.
Each of our artists bring their own distinct view to their work, and we’ve asked each of them a few questions that should highlight how they create their work!
Steph Thompson:
Q: You mentioned that travel is what really sparks your creativity, are there any locations you’ve seen that you felt were particularly inspiring?
Absolutely! I am most inspired when I am awestruck — literally. Wide eyed, jaw-dropping and an emotional welling up in reaction to the beauty of a natural place. The vegas nerve is active! There have been a few places throughout my travels that fill me with this sense of awe — most recently in Chile where I visited Patagonia as well as the Atacama desert. The ice lagoon, Jokulsarlon, in Iceland was majestic, as was flying above the Grand Canyon. As much as I try to capture the beauty of these places through my lens, their sheer size and energy can only be truly witnessed in person.
Q: How do you determine what areas you are going to document? Is that all laid out beforehand, or do you keep it relatively unstructured?
It’s a bit of both. Some of my work is opportunistic — being in the right place at the right time. Other shoots are definitely scoped out ahead of time. I may shoot a bunch of images on my phone and then return when the light is better and with a plan of how I want to capture the subject or area. Some shoots have to be much more deliberate when they require more (and heavier) equipment like my tripod and multiple lenses.
Q: Your work is very calming and meditative, do you feel you need to be in that type of headspace before you start a shoot, or does the beauty of your subjects help you reach that goal?
That’s a great question. It’s more the later. We all know what it can be like when travelling — noisy, hectic, lots of coordinating, people, schedules, etc. But, when I have my equipment with me, I know I’m looking for subjects to shoot. I often will hang back and take my time from others so I can experience the place on my own and see what speaks to me from a subject matter standpoint. That definitely helps focus my headspace to capture the calm amidst the chaos.
Q: Do you find shooting in a non-studio setting to be more stressful due to having so many elements outside of your control, or do you find it liberating?
Liberating! As much as I love shooting people and portrait photography, I see it as an extra layer of pressure because most times there is a client relying on you to ‘get the shot’. Whereas, with nature as my studio, I am the sole conductor among an orchestra of elements — it is up to me to use my lens to create a visual symphony of sorts.
Kaylie Sager:
Q: Much of your work is detailed depictions of foliage. Are these direct recreations or more your interpretation of the beautiful landscapes you come across?
While my paintings are based off of images that I take they are not direct recreations. These are my interpretation of the landscapes that I come across. I use photographs as a starting point and like to put my own artistic spin on the paintings.
Q: What feelings do you hope to convey in your work?
I hope to convey positive emotions including the joy and overall calming effect associated with being on vacation. I aim to create beautiful and serene landscapes that evoke the feeling of being in the tropics.
Q: What is it specifically about tropical landscapes that inspire you?
I am inspired by the organic flowing shapes in the lush foliage and the vibrant colours of the exotic plants and flowers. I love to create images that have a sense of depth to them and use vibrant colours to allow the greenery and flowers to jump out at you.
Q: Do you have a green thumb outside of favoring plants to paint? Are any of your paintings inspired by your own garden?
While I prefer to paint over gardening I do choose to keep an art studio full of different plants. A few of my paintings have been inspired by my own household plants.
Kyle Sorensen:
Q: Could you tell us more about what drew you to your geometric style?
I began painting in this type of geometric style while completing my BFA at York University. It came on rather suddenly, and I think perhaps it was in response to my environment. Being at a university is like living in a city all the time. And, I learned from my time at York that I really can't stand the city; I'm really much more at peace when I'm away from it all. Thinking back, I feel like the hard lines of my artwork and the rigidness of painting with such precision was in reference to the "concrete jungle" that I was spending so much time in. It was mimicking these urban spaces, while at the same time giving me a sense of control over my environment, allowing me to create order where there may not have been.It's been a style that has certainly changed over time. I once chose to concentrate on purely abstract forms, now I much rather the landscape forms that surround me in my new home on Georgian Bay.
Q: Are there any specific challenges that come from reducing complex three dimensional landscapes into two dimensional geometric abstractions?
Absolutely - there is always an internal dilemma of how far I should reduce an image without losing its initial charm. I always strive to reference the essence of a place, rather than to recreate what already exists. And, so my process of reducing the image is never a quick one, however, it's one of the most enjoyable parts of the process for me. I love the simplification process. A sort of push and pull.
Q: You mentioned that your process begins with taking a photo of the subject, then reducing the image into geometric shapes and colours. Is that initial photo planned out in depth, or is it more about capturing the moment and feeling?
The majority of the time I'll begin each painting with a photograph. I then work to reduce this image into geometric shapes and planes. Focusing on depicting a certain element of the photo that first enticed me. Other times, the concept image could be purely fabricated. A collection of images stirring in my head from different seasons, or locations. Either way, the process of planning out each painting is rather time consuming and planned out in depth. This ensures that my brain is happy with the final image and palette before any paint has even hit the canvas.
Q: How do you balance reducing elements of the work to simplified shapes, without eliminating the power or spirit of the moment you’re trying to capture?
This is a question I often ask myself. How abstract can something be without losing the initial power of the image? I find I don't really have a solid answer. There is typically just something that clicks when I'm sketching when I know the image is ready to be painted. Perhaps it's the palette, or the forms, or a combination of how both of them compliment each other. I just typically trust the process and have fun painting!
Jeff Mann:
Q: In your artist’s statement you mention using photography to approach everyday surroundings with a fresh perspective and to see the familiar in a new light. Would you care to elaborate on this process for those wishing to do the same?
Photography, for me, is used to rediscover the beauty in everyday surroundings. This involves mindfulness, perspective shifts, and creative techniques. My recommendation would be to begin by slowing down, observing details, and altering your viewpoint. Experiment with lighting, whether natural or artificial, to transform the familiar. Zoom in on unnoticed details and explore various composition techniques. Try different lenses and filters for unique perspectives and effects. When it comes to editing, I love using Lightroom and Photoshop to bring the initial vision to life. Ultimately, photography is a narrative, so remember to focus on the storytelling within ordinary scenes, conveying emotions and actions that are unfolding. Be open to unexpected moments and practice regularly to refine your creative eye. Embracing this process helps you see the extraordinary within the ordinary and fosters a deeper appreciation of the world around you.
Q: Does your imaginative take on photography ever bleed into your work as a creative director (or vice versa)? Do these two aspects of your life have a symbiotic relationship or do they often clash?
Yes! And no! It's a nuanced situation. My background is in Art Direction, which inherently sharpens my eye for composition. However, the reality of life as a Creative Director is often less wild and spontaneous than one might imagine. In my professional role, I operate within the confines set by brands and clients, which are essential for advertising agencies to produce commercial work.
While I can't deny that my job is creative, it's a different kind of creativity. It's refined and professional, with defined parameters and limited opportunities for unbridled artistic expression. Photography, on the other hand, provides me with a unique outlet for pure creative freedom. It allows me to create for the sake of creation, to make art that resonates with my personal vision, free from the constraints of client requests, input, or revisions. It's a space where I can connect with my inner artist and explore my creative instincts on my terms.
Q: You often utilize a bird’s eye view angle. What unique challenges are brought on by using this perspective in your photography?
The emergence of commercial drones has undeniably revolutionized the field of photography, fundamentally altering how photographers perceive and present the world. Personally, I've enthusiastically embraced aerial photography, both in my local surroundings and during my travels, as it offers fresh perspectives on familiar landscapes. However, it comes with its set of challenges.
Beyond the initial technical learning curve and mastering the intricacies of factors like wind, successful aerial photography demands extensive pre-flight planning and visualization. This preparation is paramount even before you take off. With the constraints of limited battery life and, at times, the necessity for discreet operation, having a clear vision of what you intend to capture from the skies is crucial.
This shift in my approach has compelled me to adopt a more proactive creative process, emphasizing pre-visualization and meticulous planning. It's become imperative to ensure that I can capture the desired shot within the constraints of time and resources. Aerial photography, in this sense, has not only expanded my photographic repertoire but has also elevated the importance of careful planning and foresight in achieving the perfect shot from above.
Q: Your work uses a lot of natural colour, is this what inspires you to capture a specific landscape?
Certainly, here's a more detailed and clearer version:
I must confess that I am deeply immersed in the principles of colour psychology in my professional life, and this orientation significantly informs my personal artistic approach. As a result, I find myself naturally gravitating towards the deliberate selection of colour palettes, intricate colour systems, and the strategic utilization of negative spaces.
My fascination with colour psychology allows me to seek out the perfect equilibrium within my work, often focusing on specific natural colour combinations that adhere to principles like triadic, analogous, split-complementary, or even isolated colour schemes. I firmly believe that this deliberate attention to colour harmony elevates the quality of my images. When colours are thoughtfully chosen and strategically integrated, they harmoniously interact to enhance the overall composition, creating a more compelling and visually pleasing result.
Janet Cozens:
Q: In your artist’s statement, you mentioned that you took nearly two decades off from creating art. Do you feel that this time away has given you a new perspective, as someone who consumed art and didn’t create it for so long?
Art, a dynamic and ever-evolving realm, offers a remarkable quality: it never ceases to transform, even during extended breaks. Whether my hiatus lasts for two decades or a mere two days, there's an undeniable sense of experiencing the world with newfound clarity and fresh perspective.
Q: Your work focuses on not just beautiful landscapes, but also the hidden effects that people have on the landscapes. What encouraged you to document this, and has your perspective on how humans interact with their environment changed at all since you started?
My lifelong fascination with the environment has recently evolved into a profound concern for the far-reaching impacts of climate change. Despite having left the north for over four decades, I find myself returning frequently, bearing witness to the stark transformations wrought by climate shifts and the cascading consequences they unleash. The challenge, I discovered, lay in conveying this transformation without overtly stating it. My passion for vibrant color became the key to this puzzle, guiding me to employ unconventional hues in my landscape works as a nuanced symbol of human influence, even in these seemingly untouched realms. This subtle use of unnatural colors serves as a visual thread connecting the environmental changes I've observed with the broader discourse on our planet's evolving climate, blending my artistic expression with the undeniable presence of humanity in even the most pristine areas.
Q: You mentioned having multiple inspirations to your work. Did you come across all these inspirations before you returned to art, or did your style grow and develop over time as you discovered these new styles/artists?
During my formative years, various artists left a lasting imprint on my creative journey. The Group of Seven, renowned for their depictions of the region, and the active First Nation artists who inhabited the area played pivotal roles in shaping my artistic perspective. However, my artistic horizons expanded exponentially after I relocated to Toronto. Regular visits to the AGO (Art Gallery of Ontario) enriched my appreciation for diverse artistic styles and movements, allowing me to draw inspiration from a broader spectrum of art. Furthermore, my formal studies at the Ontario College of Art (OCA) provided me with a structured foundation, enabling me to explore my creative potential with newfound depth and purpose. These collective influences have converged to form the mosaic of my artistic identity, a reflection of my evolving journey through the ever-inspiring world of art.
Q: You grew up in Northern Ontario. Many of your landscapes appear to match the location of your upbringing. Do you see your resurgence into the world of art as an ode to your childhood?
As a child, I confess I often overlooked the enchantment of my immediate surroundings. However, as I traverse the path toward becoming a full-time artist and embrace a more secluded way of life, I've come to view my paintings as a poignant return to the embrace of Northern Ontario. They symbolize my yearning for a simpler, more nature-centric existence—one that rekindles my deep connection with the serene beauty of the region and renews my appreciation for the uncomplicated joys of life.
Joanne Duklas:
Q: What role does texture play in your work, and what do you hope to convey by having a rougher texture in your landscapes?
Texture is a significant and growing part of my art practice. I’m fascinated by how the different mediums can be pushed to create a layered piece that in turn gives more depth to the final outcome. I’m equally obsessed with pushing paint into wood canvases and seeing how the paint absorbs in, showcasing the grain of the wood. My hope is to convey a feeling of entering into a kind of peaceful space that helps people feel the same calm i experience from the entire process of painting.
Q: You have experience in many different artistic mediums. How do you determine what medium will best convey a specific landscape or subject?
For me it’s kind of an intuitive process. I start to think about a particular view, mentally explore it’s edges, and then get enthused about an approach and canvas substrate. I then start working through a mental unwinding through my hands and paint. Sometimes I want to do something lighter which watercolour just handles so beautifully. Other times, I just need to do something heavier. I don’t worry about being a purist. Been there, done that, and now I kind of take pleasure in not being defined by rules. Plus, the practical realities of all the travel I do requires that I use different mediums such as ink and charcoal. These are much easier to carry on a plane as I often sketch while flying around, including in airports. And sometimes I’m struck by the precise beauty of a view, animal, bird or person and want to pair it with a similarly precise medium like pen and ink.
Q: Do you begin each piece with the finished image already in mind, or is your process more exploratory, focusing on seeing where the art takes you?
Sometimes yes I do have an idea, other times I just start working the paint. The cool think about art is you can layer and create something and then take it in an entirely different direction with no judgement. That creative freedom suits me perfectly.
Q: How do you balance the influences of your imagination and reality in your work? Can it be hard to take on the spontaneity of inspiration?
It’s not hard for me to be spontaneous. Sometimes it is essential for me to design very precise, realistic work. Other times, I’m seeking beauty in the imprecision so focus more on texture and shapes so that your eye does the blending when you step back from the piece. The harder challenge for me is to do one thing over, and over, and over again. There’s limited joy in repetition so I give myself and others the gift of more bespoke approaches. For example, it is amazing working directly with people to align pieces directly to their personalities, decorating style and tastes. It keeps the creative juices flowing and pushes me in ways I would have never imagined.
Saeeda Malick:
Q: Your work architectural based photography has the consistent theme of a hazy glow, despite the difference in composition. How did the journey of developing your signature style unfold?
I’m still discovering my signature style.
For some time now, I’ve been drawn to photography series’ that focus on a single theme or subject. And about a year ago, I decided to incorporate this into my work. This was how the photographs in this current exhibit came together - my desire was to explore and present what I felt was compelling about Singapore’s architecture.
The hazy, glowy treatment was intentionally chosen for this series to communicate to some degree the tropical weather in Singapore, and also how surreal it felt to look at some of these remarkable buildings for the first time.
I expect to try out different themes, subjects and editing techniques with future series’ and perhaps I'll land on a signature style somewhere along the way.
Q: Your work focuses on foliage heavy architecture. Can you explain why the balance between the natural and manmade dominates your work?
I’ve thought about this a lot and I think you’ve hit the nail on the head here - it is all about balance. For these images, it felt natural to lean into this architectural style. However, after this series I’ve photographed architectural and natural landscapes alone, and have been left feeling like something is missing (maybe I’ve just been working on this series for too long lol?). There’s something I find satisfying about a scene where the manmade and natural work off each other - you notice the benefits of one element more in the other’s presence, one flows while the other is still, one in constant growth and the other immutable.
Q: Your photography takes viewers around the world in a single exhibit. What has been your favourite place to shoot? How do you decide where to go next?
Its difficult to narrow down to a favourite place because each location and environment offers unique beauty. If I had to choose, I would say Turkey. A couple of years ago, I spent close to three weeks flying and driving across Turkish cities and towns. The range of landscapes and experiences has been unmatched to date. Driving gave me the freedom to stop anytime a scene caught my eye, whether to photograph or simply to enjoy the moment.
My travel bucket list is lengthy and always growing! Right now, I’m choosing to be guided by my feelings and intuition. The use of colour is something I’m curious about and I would love to do a series exploring this further. So maybe Samarkand, Uzbekistan for its architecture, or floral landscapes like the Hitachi Seaside Park and Furano in Japan or Castelluccio Di Norcia in Italy.
Q: What draws you to capture a specific landscape?
The way it makes me feel and particular aspects of the landscape/scene I find special and would like to share with people
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