August 29 to September 23, 1990
Sherry Mitchell attended Malaspina College in Nanaimo and the University of Victoria, both in the Fine Arts Faculty. She lived in Williams Lake for some years, but has since moved to Victoria.
She has been painting actively for over 15 years and during that time has developed her careful photo-realistic style. Her primary subject matter is the plants and flowers native to British Columbia. She is well known for her watercolour botanical studies. She considers her work to be not merely a record, but a celebration of the abundance of colour and form in our native flora.
Mitchell is an active member of the Federation of Canadian Artists, the Craft Association of BC, the Canadian Wildflower Society, and the Canadian Nature Federation.
Since 1984, Mitchell’s work has been exhibited in numerous solo and group exhibitions across the country, and has been selected regularly for Images and Objects in the BC Festival of the Arts.
Trevor Jones was born in Colchester, England and attended the Colchester School of Art. He received his BA in Fine Art/Printmaking at the Sheffield College of Art and Design and studied Art Education at the University of London. From 1971 to 1980, he taught Advanced Level Art Studies at Faringdon School in Oxfordshire.
Jones’ summers were spent in New York where he worked as a technical assistant to various artists, most notably David Milne. He also travelled extensively in Canada, Norway, and Switzerland. He finally decided to emigrate and settled with his family just east of McBride.
Jones came to his super-realist style from post-painterly abstraction. He had been working for many years with abstractions derived from the landscape, but it was work that appealed to only a select group of artists and critics. He wanted to speak directly to as many people as possible so his work became more and more figurative and accessible to those who previously had regarded his work as a mystery. The work still retains a strong abstract undertone, however, and so is accessible to people on several levels of interpretation.
The canvases are a conscious attempt to come to grips with the scale of the landscape. The imagery is simple, even stark, but Jones hopes that he interprets the landscape, “with some affection.” The work also shows the influence of his early training as a photographer – random cropping, exaggerated perspective, distortion, and heightened colour contrasts.
Jones expresses tremendous concern for the environment of the Central Interior. He is interested in capturing the grandeur of the environment as well as specific aspects of that environment – the effects of logging, the loggers themselves, the pleasures of solitude, and his awe in the presence of natural wonders.
“Living in isolated communities is never easy, but with the recession and consequent tendency toward the depopulation of remote areas, those who remain seem to be more and more involved in questioning why they remain and evolve statements of justification. Maybe my work is such a statement.”
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