meeting point twenty years full circle‘yin’ in the presentation of each viewing point. in...

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M E E T I N G P O I N T T W E N T Y Y E A R S

F U L L C I R C L E

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ISBN 978-0-9681536-1-1

Published by Th e Meeting Point Artists Association

All rights reserved 2008 by Th e Meeting Point Artists Association

Printed in Canada

CATALOGUE COMMITTEE

Isabelle Hunt-Johnson

Helena Hadala

Setsuko Moulton

Chu Honsun

Morley Hollenberg

Winnie Ho

Pat Strakowski

Design by Brent Laycock

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F U L L C I R C L EM E E T I N G P O I N T T W E N T Y Y E A R S

GREETINGS .................................................................4

FOREWORD ...............................................................6

INTRODUCTION ....................................................7

FEATURED ARTISTS

Paresh Athparia ....................................................9

Billie Diane Avery ............................................11

Chu Honsun .......................................................13

Bryony Dunsmore ...........................................15

Jim Etzkorn ...........................................................17

Helena Hadala ..................................................19

Winnie Ho ...........................................................21

Morley Hollenberg ........................................23

Catherine Huang-Tam ...................................25

Isabelle Hunt-Johnson ...................................27

Josett e Khu ..........................................................29

Lap Lam ................................................................31

Amy Loewan ......................................................33

Setsuko Onishi Moulton ..............................35

Connie Ptasinski ................................................37

Pat Strakowski .....................................................39

Simon Y. S. Wong.............................................41

Myken Woods ..................................................43

MPAA MANDATE ................................................45

MPAA MEMBERSHIP ...........................................45

MEMOIR ....................................................................46

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Norman L. Kwong, CM AOELieutenant Governor of Alberta

It is my sincere pleasure to congratulate the Meeting Point Artists Association on its 20th Anniversary Exhibition and to thank everyone involved for their work to share this wonderful collection with their fellow Canadians. Art is important to our communities on a number of levels. It provides a way for people to step back, relax and bring balance to their busy lives. Art also has the power to lift our hearts and minds and to enrich the quality of live we all enjoy as Albertans and Canadians.Perhaps most importantly, art can help us see the world from different perspectives. It provides a window on the unique ideas and view of the diverse cultures that make up our communities and it encourages a greater understanding of the multicultural spirit that has become an essential part of who we are as Canadians. I hope that everyone who sees the exhibit comes away with a stronger appreciation for the strength and beauty of Asian cultures, with a greater understanding of the important role all cultures play in maintaining our collective Canadian identity and with an enhanced awareness of the many talented artists who are proud to call our country home.

Je me réjouis de féliciter l’association pour cette 20ème exposition et de remercier celles et ceux qui s’engagent à partager cette collection exceptionnelle avec leurs concitoyens.L’art a une haute importance pour nos communautés canadiennes. Il offre à tous équilibre et détente. L’art a aussi le pouvoir de nous émouvoir et d’améliorer notre qualité de vie.L’art nous offre surtout la possibilité d’approcher le monde sous différents éclairages. C’est une fenêtre sur la diversité des idées et des cultures de nos communautés qui favorise une meilleure compréhension du multiculturalisme constitutif de l’identité canadienne.J’espère que les visiteurs de cette exposition retiendront la force et la beauté des cultures asiatiques. J’espère aussi qu’ils auront une meilleure compréhension du rôle essentiel que jouent les différentes cultures dans le développement de notre identité canadienne. Enfi n, je ne doute pas qu’ils sauront apprécier le talent de nos artistes canadiens.

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Th e Alliance Française of Calgary is pleased to host the Meeting Point Artists Association’s 20th Anniversary exhibition, Full Circle. Th is Exhibition exemplifi es the aim of our institu-tion to promote intercultural exchanges and dialogue, as we have done in the Calgary Community for over 60 years. Like the Meeting Point Artists Association, the Alliance Française of Calgary values the power of discovery and appreciation of diverse cultures through exchange, whether it is linguistic, cultural or artistic. With this new exhibition, Meeting Point Artist opens the circle and presents us a variety of amazing pieces, showing once more the talent and the creativity of its artists. Let us wish the Meeting Point Artists Association all the best on the occasion of their 20th Anniversary.

L’Alliance française de Calgary est heureuse d’accueillir l’exposition Full Circle et de célé-brer ainsi le vingtième anniversaire de l’association Meeting Point Artists. Cett e association illustre en eff et parfaitement l’objet de chacune des 1075 Alliances françaises à travers le monde : promouvoir le dialogue et la diversité culturelle à travers les échanges, qu’ils soient linguistiques, culturels ou artistiques. Avec cett e nouvelle exposition, Meeting Point Artists ouvre le cercle et nous présente des œuvres d’une grande richesse qui témoignent du talent et de la créativité de ses artistes. Souhaitons un bon anniversaire à Meeting Point Artists !

Th omas Chaurin Director Alliance Française of Calgary

1221-2nd Street SW Calgary, AB T2R 0W5, Canada www.afcalgary.ca [email protected] (403) 245-5662

F O R E W O R D

Meeting Point Artists Association20th Anniversary ExhibitionFULL CIRCLESeptember 18 to October 23, 2008Alliance Française of Calgary2nd Floor, 1221 – 2nd Street SW, Calgary, AB

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I N T R O D U C T I O N

TRADITION AND TRANSFORM ATIONby Nancy Townshend

Beneath the frenetic pace of Calgary – whose major projects reached a record $32.8 billion during this boom from June 2007 to May 2008 – is a dedicated group of artists from around the world who are celebrating twenty years of connecting, exhibiting and making art in Calgary with purpose.

Th e art by artists in this group, Meeting Point Artists Association, share att ributes with art arising from Oriental and Western civilizations that have evolved over centuries from deeply held artistic traditions to freedom of expression and innovation. For instance, artists of the Southern Sung Dynasty in China such as Mu Chi’ (active 1269 AD) achieved quietude and restraint, as earlier abbrevi-ated techniques, the gradual dissolution of pictorial form, Taoism and Zen (Ch’an) Buddhism with their intuitive responses to man and nature merged for the very fi rst time.i In Western Europe during the 1880s, Post – Impressionists reacted to the formlessness of Impressionism and their reliance on external objects as subject matt er in their paintings. Gauguin and Van Gogh, both Synthetists, created more subjective art conveying their ideas and emotions.

Meeting Point Artists of Calgary, however, uniquely embrace EAST/WEST meeting points as profound motivation and sources for creativity in their new art. Call it immediate cultural synapses, A Silk Road: Destination Calgary, and hard fought freedom. Why and how did this happen?

In 1988, the year Calgary hosted the Winter Olympics, Simon (Yat Sing) Wong of Calgary off ered his patrons “Dinner

with the Artist” at his Chinese Express Restaurant the fi rst Monday each month. Th ese artists included Wang Kui from Sichuan, Prof Chen Jinzhang from Guang Dong, China, David (Youn -Dak) Noh from South Korea, Kunio Isa from Japan, Helena Hadala, a Western artist who had recently returned from Japan aft er spending two years studying art there, and others. Hadala gave a Japanese style woodblock demonstration following dinner with her in 1988. A common bond was felt among the artists with EAST/WEST sensitivities. Simon Wong decided to formalize the relationship along with other founding members of the Meeting Point Artists Association, Helena Hadala, Lap Lam,ii Josett e Khu, Lee Byng and Catherine Huang-Tam, Henry Way and Randy Yan. For Wong, besides the offi cial mandate of the Society, one goal of Meeting Point Artists Association was “to create character of humanity.”iii

Th e possibilities for EAST/WEST meeting points seem endless. Knowledge about traditional and new art materials and techniques, ideas and information are shared amongst members on a regular basis. Philosophies developed.

For Helena Hadala (MFA, U of C, 2002), “it has been a wonderful experi-ence for me as an artist to be involved with like minded artists who have bridged both cultures, Oriental and Occidental with their philosophical and aesthetic concerns. For me it has been a 'Meeting Point' or confl uence of traditional and contemporary concerns in the art making process. I have tried to assimilate my Eastern European heritage with my love of Oriental philosophy (particularly Zen Buddhism) where the work is a poetic

visual image, a type of inner-scape refl ect-ing rather than describing my perceptual world.”iv

For Simon Wong who was born in Guandong (Canton) China and learned Chinese painting and calligraphy in Hong Kong as a teenager and was ACAD trained, “the West is ‘Yang’ and East in ‘Yin’ in the presentation of each viewing point. In Western art, you will fi nd strong subjects, with lighting and colour, but Eastern art is ‘Yin’ which tends to [give] thoughts in places you don't see. You have to fi nd or meditate about it. Th at is why East and West should meet and balance each other.”v

For Isabelle Hunt – Johnson (MFA, U of A, 1982), her “watercolour works evoke the celebration of the life force, life cycles and excitement of movement and gesture. Layering and Duality reinforces the passage of time and the interaction of the dance. My work celebrates the life energy, the eastern affi nity with nature and the ephemeral quality of the moment.”vi

Lap Lam’s focus is “to express the three pillars of Chinese philosophies of Confucian, Taoism and Buddhism through the modern abstract expressionist format.”vii

Th e possibilities for EAST/WEST meeting points for the Association increased with the infl ux of new mem-bers, from eight in 1988 to over thirty members in 2008. Morley Hollenberg (D. Phil, Pharmacology, Oxford University, 1967) joined and was tutored like Myken Woods, and Josett e Khu by the master Chinese calligrapher Chin Shek Lam (Lin Chien – Shih) and “his brother”viii

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Jack Wise. In 1991 Calgary-born and raised Harry Kiyooka, art professor at U of C, Myken Woods and Kathleen Bentley joined the Meeting Point Artists Association. Setsuko Onishi Moulton was born and raised in Japan and immigrated to Canada in 1983. Paresh Athparia is a self-taught artist from India who arrived in Calgary in 1981 and has exhibited in Calgary, Vancouver, Edmonton, India and Hong Kong. Athparia is also an author and poet. Chu Hon Sun studied Chinese and modern art at the Chinese University of Hong Kong (1971 – 1975) followed by studying sculpture at the Academy of Fine Arts in Carrarra, Italy (1976 – 1980). Hon Sun brought marble from Carrarra to Hong Kong, then to Canada and Calgary. Hon Sun has worked on public sculpture commissions world-wide including the Yat Tung Estate in Hong Kong. Amy Loewan (MFA, U of A, 1995) was born in Hong Kong and joined the Association in 1999. Truly a global migration of individual artists to Calgary!

But what of the power of a group, the Meeting Point Artists Association, deeply committ ed to creating art whose sources of inspiration lie at the conjunctures of oriental and occidental traditional and contemporary artistic practices? In, what is for many, their new city, Calgary? What have been the results of what became an open, cooperative group process over these past twenty years?

Since 1988 the Meeting Point Artists Association have exhibited their art locally and internationally. Following shows at the Chinese Express Restaurant in 1988, the Association exhibited at the Chinese Cultural Centre in 1989, the City of Calgary City Hall in 1991, the Calgary-Hong Kong Visual Arts Exchange organized by Lap Lam and Hon Sun and traveling to the University of Hong Kong Gallery in 1991, Confl uence at the Nova Gallery in the 1990s, East and

West – Across Th e Rockies at the Chinese Cultural Centre Museum in Vancouver in 1997, the Tenth Anniversary Show at the Triangle Gallery in Calgary, the major art exhibition titled Art Bridge which opened in Calgary at the Garrison Gallery in 2002 and with fi nancial assistance from the Canada Council for the Arts traveled to the Hong Kong Central Library and to China, shows at the Myken Woods Gallery in Calgary and now this Twentieth Anniversary Show.

Another fruit of their labour was off er-ing workshops, by a Chinese artist from Beijing and a Japanese artist from Tokyo in Calgary in 1997, for instance. And the interchange continues. Caucasian artist Myken Woods from Calgary gave workshops in Chinese calligraphy to Canadian students of Chinese ancestry at Series in Red Deer, Alberta.

Clearly the Meeting Point Artists Association is fulfi lling its potential signifi cantly near and far.

Th is Twentieth Anniversary Show of the Meeting Point Artists Association dur-ing Art Walk ‘08, the year Beijing hosted the Summer Olympics, resonates with meaningful EAST/WEST art that refl ects both tradition and transformation. To elaborate only about the latt er, in Peace Project (2008) Amy Loewan interweaves in numerous international languages words to achieve peace: forgiveness, compassion, understanding, gentleness, tolerance and respect. An abiding centering circle signifi es the planet Earth perfectly balanced within a Heavenly square format. A related Peace Project was exhibited in Human/Nature, Contemporary Canadian Installation (four artists) at the Doland Modern Art Museum in Shanghai, China and the Hong Kong Visual Arts Centre in Hong Kong in 2004. In Abyss (2007) Helena Hadala produces a subtle work based on

counter shapes of freely drawn yang and yin geometrical shapes superimposed with drawing that together produce heightened quietude. Paresh Athparia creates highly original artworks titled Om, Kundalini and Gaja Mandala in gouache on handmade paper. Pat Strakowski presents an omniscient Moondonna II.

Calgary is a FIRE city (according to Taoist thought). We can think of the Calgary Flames, capitalism, rapid growth and expansion during its boom cycles.

In contrast, therefore, it is encouraging to fi nd a group of artists, the Meeting Point Artists Association, who for twenty years have quietly pursued a quest for Utopia. Th eir EAST/WEST artistic meeting points in their art become places for retreat and enable Calgary to achieve a sense of balance. Th e Meeting Point Artists Association renews Calgary’s long-standing artistic tradition of art for art’s sake and provides Calgary with a transformative purpose to what the world needs now.

Nancy Townshend

July 2008

i Sherman Lee, A History of Far Eastern Art, (New York: Prentice-Hall and Abrams, 1964) 356.

ii Lap Lam has served as president and vice-president of the Meeting Point Artists Association since its founding in 1988.

iii Simon Wong in an email dated July 27, 2008 to Nancy Townshend.

iv Helena Hadala in an email dated July 26, 2008 to Nancy Townshend.

v Simon Wong in an email dated July 27, 2008 to Nancy Townshend.

vi Isabelle Hunt - Johnson in an email dated July 28, 2008 to Nancy Townshend.

vii Lap Lam in and email to Dr. Morley Hollenberg as forwarded to Nancy Townshend, August 14, 2008.

viii Jack Wise aff ectionately referred to Chin Shek Lam as “his brother” in a note to Nancy Townshend in 1981.

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PARESHATHPARIA

Paresh Athparia was born in the ancient Vedic-Tantric pilgrimage mountain of Kamakhya in Assam, India, where he lived till the age of 25 when he emigrated to the USA with a government scholarship in 1977. Aft er moving to Canada in 1980 and working as a geologist in the oil business for three years, he freed himself from the net and turned back to his childhood passion for art and wholistic philosophy, in the belief of the Buddhist tenet that says, “work consciously chosen then carried out with awareness and care can lead to enlightenment.”

Other dimensions of his creative expression include writing, designing buildings for family, friends, and charities. Paresh’s recent mission with the help of family and friends is in hu-manitarian work in Assam with his keen interest in blind children and alternative healing.

Th is resonates in his poem:

I wish to paint a dreamOf the darkness of the womb of the universe,All void, all blackTo contemplate my space within!

Consciousness seeksRainbow on the mountain peaksPraying that blind see the dance of the butt erfl y,Deaf hear the music so high,Dumb sing the hymn that heaven cannot deny!

Lame soul - seek on, walk onTo the edge of the horizon,Enjoy the glory of the sunset,Realize the eternal space,Where it never sets nor colours fade!

Paresh Athparia

Kundalini, gouache on handmade paper, 62 x 55 cm

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PARESH ATHPARIA

EDUCATION

1973 M.Sc. Gauhati University, Assam, India ♦1979 M.S. Indiana University, Bloomington, ♦USADiploma in piano tuning and repair, ♦Sacramento, CaliforniaMainly self-taught Artist ♦1979 Private lessons with Dr. Martha Carter ♦of Indiana University Fine Arts Dept.1980 Summer course in oil painting at ♦Ontario College of Art with Mario Polidori1992 Sculpture course with Katie Ohe at ♦Alberta College of Art

SELECTED SOLO EXHIBITIONS

Vancouver Science Centre, Calgary Science ♦CentreCalgary Jewish Centre ♦Gulf Canada Gallery, Calgary ♦Virginia Christopher Galleries, Calgary ♦University of Calgary ♦Bhaskar Gallery, India ♦

SELECTED GROUP EXHIBITIONS

Winter Olympics 88, Calgary ♦Triangle Gallery, Calgary ♦Seoul Gallery, Calgary ♦Myken Woods Fine Arts, Calgary ♦Gallery 124, Edmonton ♦Chinese Cultural Centre, Vancouver ♦Fung Ping Shan Museum, Hong Kong ♦

PUBLICATIONS

“Tantra a Poetic Pilgrimage,” ♦ “Reminiscence of Travel Memories” (in ♦Assamese) about travel experiences of 16 countries with his family.

COLLECTIONS

Alberta Foundation for the Arts ♦Private Collection: India, Israel, S.E.Asia, USA, ♦Canada

Om, gouache on handmade paper, 28 x 21 cm

CONTACT

1744 - 50 Ave SWCalgary, AB T2T [email protected]

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BILLIE DIANE AVERY

I use diff erent media in my artwork and each dictates how the image is created.

WATER COLOUR – the free fl owing fl uidity of water color painting and the spon-taneous accidents which can happen are an exciting part of the process for me. It is in direct contrast to the mixed media drawing and printmaking process which requires more precision and control.

CHINESE PAINTING – Similar to watercolor - Th e use of brush, ink and paper is so immediate, fl uid and spontaneous and the planning of the image has to take place in the mind with clarity before starting the painting. I get excited to see how the brush will interpret my stroke, the amount of ink, water and type of brush all infl uence the image. Also the absorbency of the rice papers gives the ink and paint an intensity and richness.

I especially love the simplicity involved in the process in watercolor and Chinese painting. Th e whole meditative state and requirement for focus and precise move-ment of the brush on the paper appeals to me. I relate Chinese painting to drawing with a brush more than painting. I do like

to enrich the simple Chinese ink paintings by adding another element or layer with colour or collage.

PRINTMAKING - A major focus in my art has always been the process of making it. I have spent many years printmaking using intaglio, linocut, and woodblock techniques. I enjoy whole process involved in making the plate, choosing the paper and the actual labour involved in printmaking. Th e image has to be clear for this medium as well to produce the plate.

MIXED MEDIA DRAWING – I love to use diff erent combinations of media in a drawing using pencil, colored pencil, oil sticks and other along with water color and collage producing an image with layers.

In my images the process, as much as the im-age, is the important part. I love experimenting with a technique, medium, or a fundamental element of ART to produce the vision.

IT IS ALL ABOUT CREATING!!

Crowsnest, watercolour, 23 x 31 cm

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BILLIE DIANE AVERY

BIRTH PLACE

Montreal, Quebec ♦

RESIDENCE

Calgary, Alberta ♦

EDUCATION RECORD

1982-1986 Bachelor of Fine Arts, ♦University of Calgary, Calgary

EXHIBITIONS:

Group Exhibitions with Alberta Society ♦of ArtistsGroup Exhibitions with Meeting Point ♦Artists Association 2004-2008 Art Poetica – travelling exhibition 2006 ♦

ASA juried exhibition, Reflection – 2004 ♦ASA juried exhibition. Inspired by Landscape ♦- 2003MPAA Art Bridge, 2003, Garrison Woods ♦Gallery, Calgary ASA Annual Art Walk, 2002, Calgary, ♦ASA Art Show 2002, High River, AB ♦International Organ Festival Art Show, ♦Calgary 1994Artists and Artisans, 1992, Hackensack, N. J. ♦USA Calgary Jewish Academy Annual Art ♦Exhibition, 1990ASA Edmonton Art Gallery, Group Show, ♦1990ASA Alberta Artists and Artisans, 1988, ♦Canmore

CORPORATE COLLECTIONS

Dr. D. Patt Corporation, Calgary ♦Howard Mackie, Calgary ♦Amoco Canada, Calgary ♦Pan Canadian, Calgary ♦ALCAN, Montreal ♦Royal Bank of Canada, Montreal ♦Dr. E. Willis Corporation, Long Island, NY ♦

MEMBERSHIPS

Alberta Society of Artists ♦Meeting Point Artists Association ♦

Sisters, watercolour, 23 x 31 cmCONTACT403-255-0117 [email protected]

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CHUHONSUN

Ring House Study No. 1, ceramic sculpture, 11 x 31 (diameter)

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CHU HONSUN

EDUCATION & ACADEMIC WORK

1971-75 Fine Arts Dept, Chinese ♦University Hong Kong1976-80 Academy of Fine Arts of ♦Carrara, Italy1982-91 Part-time lecturer of Fine Arts ♦Dept, Chinese University Hong Kong


1979 First International Symposium of ♦Outdoor Sculpture, Carrara, Italy1980 The International Sculpture ♦Biennial Exhibition, Arese, Italy 1982 Hong Kong Contemporary ♦Sculpture Exhibition, Arts Centre, HK1988 Exhibition of Hong Kong Modern ♦Art, Beijing1995 "Origins and Transitions", Calgary, ♦Canada 1996 Sited Sculpture Exhibition, New ♦Mexico,USA2004 "Migrations in the Third ♦Dimension: Cultural Foundation of Tinos, Greece 2008 “Seven Sculptors from Canada” ♦Liu Haisu Arts Museum , Shanghai, China

SELECTED SOLO AND JOINT EXHIBI-TIONS

1981 Solo exhibition, Hong Kong Arts ♦Centre1983 Solo exhibition, Museu Luis de ♦Canoes, Macau2001 "Beneath the Surface" joint ♦sculpture exhibition, Triangle Art Gallery, Calgary2003 "Ten" sculptors joint exhibition, Art ♦is vital Gallery, Calgary

AWARDS

1979 First International Symposium of ♦Outdoor Sculpture," The Collection Award"1981 Contemporary Hong Kong Art ♦Biennial, "Urban Council Award of Sculpture"1987 Contemporary Hong Kong Art ♦Biennial, "Urban Council Award of Sculpture"1990 Hong Kong Artists Guild, "Sculptor ♦of the Year 1990" Award

COLLECTIONS

Hong Kong Museum of Art ♦Banca Risparmio, Carrara, Jtaly ♦University of City Polytechnic, Hong Kong ♦Civic Collection, City of Calgary, Alberta ♦Alberta Foundation of Arts ♦

COMMISSIONS AND SCULPTURES ON PUBLIC SITES

Swallows , Chater Garden, Hong Kong 1982 ♦Floating, International Airport, Hong Kong ♦1984Mankind, Exchange Square, Hong Kong ♦1988Untitled, Hong Kong Cultural Centre 1989 ♦Gate, Hong Kong Museum of Art 1989- ♦1991Searching For Gold Mountain, Sien Lok Park, ♦Calgary 1997-1999Centennial Monument of Polish Settlement ♦in Alberta, Polish Hall, Edmonton 1998-2000Theatre is Life, Kwai Tsing Theatre, Hong ♦Kong 1999~001Rich Harvest, Yat Tung Estate, Tung Chung, ♦Hong Kong 2001

Vertical House Study No. 1,Ceramic Sculpture,31 (h) x 16 x 10 cm

[email protected]

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BRYONYDUNSMORE

When I was a student at art school years ago, instead of steadily painting, I would fi nd myself drawn to cutt ing out litt le pieces of fabric and sewing them together. Later I wove tapestries, then returned again to painting. Since moving from Calgary to Nanaimo, I fi nd that I have circled round once more and am again cutt ing up fabrics, and sewing them together. To me, it is very much like painting, but just a diff erent medium, especially now that I am also dyeing many of the fabrics that I use in my work.

Describing a Circle, fi bre, mainly hand dyed fabrics, quilted, 80 x 79 cm

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BRYONY DUNSMORE

EDUCATION

Alberta College of Art, Calgary ♦L’Ecole des Beaux Arts, Montreal Quebec; ♦Diploma in Fine Art

SELECTED EXHIBITIONS GROUP

Meeting Point Artists Association (MPAA), ♦annual exhibitions 1992—2008MPAA/Hong Kong Visual Arts Society ♦International Exchange, Hong Kong, 1994Opening Exhibition for Chalmers Building, ♦Ontario Crafts Council, Toronto, Ontario, 1989”Centre Pieces”, Thames Art Gallery, Chatham ♦Ontario, 1988”Image 84”, Art Gallery of Hamilton, Hamilton ♦Ontario, 1984”Southwest 41”, Ontario Crafts Council, Art ♦Gallery of Windsor, Windsor Ontario, 1981

AWARDS

Best of Show Award, Ontario Crafts Council, ♦for “Pigeons” tapestry, 1985Eaton Yale Award of Merit, Ontario Crafts ♦Council, for “Winter Apples” tapestry, 1989Special Invitation (extended to only three ♦artists from each region of Ontario) to have work shown at opening for Chalmers Building, Ontario Crafts Council, 1989

COLLECTIONS

Carswell Legal Publications, Calgary ♦Esso Resources Canada Limited, Calgary ♦Progas Limited, Calgary ♦Public School Board, Aylmer Ontario ♦University Hospital, London Ontario ♦

[email protected]

Uncertain Glory, fi bre, mainly hand dyed fabrics, quilted, 84 x 76 cm

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JIM ETZKORN

Solitude, stoneware, 21 x 21 cm

I make work that is meant to celebrate and embellish the ritual of daily life. My creativ-ity is the fusion of underlying childhood infl uences, an ongoing preoccupation with process and the articulation of intellectual and spiritual ideas.

My creativity is expressed within the tradition of making functional pott ery. Th e latitude of this tradition allows me to explore artistic, intellectual and spiritual concerns. Two distinct infl uences from my childhood have shaped my psyche: the weekly practice of a ritual catholic upbringing and a childhood spent in the forest experiencing the overwhelming awe of nature. Direct examples of these impressions are objects made from seeing the ceremonial vessel used in the mass and a preoccupation with patt ern and form derived from my natural experi-ence. Concepts are also initiated through experimenting with materials, techniques and diff erent fi ring procedures. Seeing the minimal stylized shapes of Brancusi was formative as well.

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JIM ETZKORN

EDUCATION

Alberta College of Art and ♦Design 1978Residencies at the Banff Center ♦and the Archie Bray Center in Helena, Montana


2008 Solstice, Circle Craft ♦Gallery, Vancouver, B. C. 2005 Sojourn of Fire, Alberta ♦Craft Council, Edmonton, AB2001 Reorient, Croft Gallery, Calgary AB ♦


2006 Small Teapot Show, Mission Viejo, CA, ♦U.S.A. 2005 Guilford Craft Show, Guilford Conn., ♦U.S.A. 2004 From Hand to Lip, Canadian Clay and ♦Glass Museum, Burlington, ON2004 Gems from the Fire, Iowa Hall Gallery, ♦Rapid City Iowa, U.S.A.2000 Millennium 2000, Shaw Festival, ♦Niagara on the Lake, ON

AWARDS

2003 Alberta Foundation for the Arts , ♦Project Grant1999 Amethyst Award, Best Craftsman in ♦Alberta1996 Juror's Award, Alberta Potters ♦Association1992 Merit Award, International Invitational ♦Show, Taipei Taiwan

COLLECTIONS

Alberta Foundation for the Arts ♦Encana Collection ♦Esso Canada Collection ♦Archie Bray Foundation Collection ♦I.W.C.A.T. Collection - Tokonami Japan ♦National Palace Museum Collection, Taipei ♦Taiwan

CONTACTfl [email protected]

Storm Cloud, stoneware, 36 cm diameter

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A walk through the forest, gazing at an autumnal leaf or tuning into the sounds and smells around me, fi lls me with the sublime. Painting is a form of meditation that holds this same sense of awareness and allows me to transcend my subjective self. In this state of mindfulness, I explore the transitions between the material and mystical worlds and try to evoke a poetic visual image, a type of inner-scape refl ecting rather than describing my perceptual world.

HELENA HADALA

Abyss, 2008, water-based oil on canvas, 115 x 87 cm

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HELENA HADALA

EDUCATION

2002 University of Calgary, MFA ♦(Art), Drawing 1980-81 International Hanga ♦Academy, Miasa, Japan


2007 Point no Point, Cooler Gallery, ♦White River, Vermont, USA. 2005 Namaste Series, Recent Paintings, ♦Mezzanine Gallery, U of C, Calgary, AB. 2004 Around the Bend, New Works, Gallery ♦San Chun, Calgary, AB,


2008/2007 Images and Reflections, Artists’ ♦Circle of Calgary exhibition: State Gallery of Contemporary Art in Sopot and venues in Poznan, Kalisz, Zamosc, and Krakow, Poland, and Gallery “G”, Olomouc, and “Kruh”, Ostrova, Czech Republic.2007 Helena Hadala, Pag ♦ é and Fraser Hughes. Curated by Eric Cameron. Triangle Gallery of Visual Arts, Calgary, AB

SELECTED AWARDS

2008 Canada Council Travel Grant ♦2004 Atlin Art Center, Artist-in-Residence, ♦Atlin, B.C.2001 Alberta Heritage Scholarship Fund ♦2001 Alberta Foundation for the Arts, ♦Graduate Scholarship, University of Calgary1999 Partial Fellowship/ Residency, Vermont ♦Studio Center, Johnson, VT, USA1997 Alberta Foundation for the Arts, ♦Project Cost Grant

SELECTED COLLECTIONS

Alberta Art Foundation, Edmonton, AB ♦ Art Bank, Canada Council, Ottawa, ON ♦Calgary Health Region ♦City of Calgary, Civic Collection ♦Esso Resources ♦Husky Oil Company ♦Nickle Arts Museum, University of Calgary, ♦Glenbow Museum, Calgary, AB ♦Priairie Art Gallery, Grande Prairie, AB ♦Suncor Inc., Calgary, AB ♦Telesat Canada Ltd., Ottawa, ON ♦

[email protected] Point of Departure #1, 2008, water-based oils on frosted mylar, 46 x 51 cm

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WINNIEHO

My recent paintings have the explicit intention of bringing together two traditionally separate realms: east and west, and art and science.

It is through these paintings where Eastern style meets Western, this synthesis of Oriental/Occidental Art where art meets science. It is pertinent to realize this is not a contrast of the two separate entities, but a comparison; a relation. Art is a product of the human mind and only the mind.

All religion, art; the aesthetic and spiritual, are all the result of human ingenuity, yet its presence and appreciation can only be realized by our analytical nature and quest for understanding. It is a balance: a yin and yang. One cannot exist without the other, and it is through my art that these two worlds are united. It is crucial for the harmonic cohabi-tance for all mankind.

”My Odyssey” - Th rough this series of art pieces, I am able to identify the journey of my life.

Th is series of paintings represents stages in my quest. It starts from the union of two gametes and the development of a new individual. Th ere are numerous prenatal and postnatal programmed developments, which proceed to maturation and then inevitably, one encounters the plateau. My art is a visual demonstration of my internal and external destined path. Th is passage I consider a sort of pilgrimage - and the glory of my pilgrimage will forever be enlightened and cherished. Life is a voyage and when the end comes, I would have completed my journey.

My Odyssey, montage of digital paintings and mixed media, 50 x 125 cm

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WINNIE HO

EDUCATION

University of Lethbridge, Alberta, ♦B.Sc. minor FA.


AFA Traveling Exhibition “Home Show” - Art ♦Gallery of Alberta, AB 2008 to 2010Interprovincial Traveling Exhibition “Small is ♦All” - Leighton Art Centre, Calgary, AB 2008 International Figurative Exhibition - Leighton ♦Art Centre, Calgary, AB 2008 Keystone Gallery, Art Central, Calgary, AB ♦2008 Lougheed Centre, Calgary, AB 2007 ♦Rigoletto’s Café Gallery, Fresh Faces, ♦Edmonton, AB 2007 Image 54 Gallery: Alberta Cities: The Urban ♦Landscape Exhibition, Calgary, AB 2006ASA's State of the Art, Diversity 100, VAAA ♦Gallery, Edmonton, AB 2005ASA's 75th Anniversary Traveling Exhibition: ♦Memory and Identity, Alberta 2005 Art Bridge, Hong Kong Central Library, ♦Exhibition Gallery, Hong Kong

SELECTED AWARDS:

Honorable Mention, International Figurative ♦Competition, Leighton Art Centre, Calgary, AB 2008Winner of photo competition, Hotchkiss ♦Brain Institute year calendar, University of Calgary, AB 2008Winner of Inflammation Research Network ♦Logo competition, University of Calgary. AB 2007Juror’s Award from Alberta Society of Artists, ♦Leighton Art Centre, Calgary 2004 Award of Merit from Color from the Lights, ♦Calgary 2003 Travel grant from Department of Foreign ♦Affairs and International Trade - Art Bridge International Travelling Tour, Hong Kong, China. 2002

COLLECTIONS:

Merck Frosst Canada Pharmaceutical, ♦Kirkland, Quebec CanadaUniversity of Calgary, Canada ♦Foothills Hospital, Calgary, Canada ♦King's College, London, United Kingdom ♦Canadian Consulate in Hong Kong, China ♦Royal Hong Kong Jockey Club, Hong Kong, ♦ChinaUniversity of Alberta, Edmonton, Canada ♦

PUBLICATIONS:

Inter-provincial Traveling Exhibition “Small is ♦All” - Leighton Art Centre, Calgary, AB 2008Cover Art for the GIRG/IRG Symposium, ♦Kananaskis, Canada 2005 Cover Art for Alberta Society of Artists ♦"Reflections." at the Leighton Art Centre, Calgary 2004Cover Art for Enteric Nervous System ♦Conference, Canada 2003"Art Bridge" International Traveling ♦Exhibition. Canada 2002

Tabula Rasa, montage of digital painting and mixed media, 70 x 100 [email protected]/~how

23

MORLEYHOLLENBERG

Born in Winnipeg, Canada in 1942, I was educated in the Arts, Sciences and Medicine at the University of Manitoba, Oxford University and the Johns Hopkins University School of Medicine. In 1985, with the guidance of Master Chin Shek Lam and input from his close friend and artist, Jack Wise, I began creating free–form calligraphy, which for me represents an ideal medium for the visual expression of Nature’s secrets. Th e movement and composition found in traditional Asian calligraphic characters form the foundation of the brushwork that I do. Th e brush strokes record visually, the dance created by muscle, sinews and bone, becoming a kind of ‘hologram’ containing both the shape and spirit of the images that capture my imagination. Th ese images come from the natural environment that surrounds us and from the microscopic world that is the substrate of my scientifi c work. I fi nd the vision of Nature expressed by my brushwork to refl ect and complement my scientifi c understanding of the world. For many years, my understanding of Asian cal-ligraphy has benefi ted from my colleagues who belong to the Meeting Point Artists Association of Calgary.

Th e Inner Circle, Chinese ink on paper, 56 x 76 cm

24

MORLEY HOLLENBERG

EDUCATION

B. Sc. (Honours Chemistry) University of ♦Manitoba, Winnipeg Canada, 1963M.Sc. (Chemistry) University of Manitoba, ♦Winnipeg Canada, 1964D. Phil. (Pharmacology) Oxford University, ♦Oxford England, 1967M.D. Johns Hopkins University School of ♦Medicine, Baltimore USA, 1972Medical Internship, Johns Hopkins Hospital, ♦Baltimore USA, 1973Calligraphic brushwork tutorials, Chin Shek ♦Lam & Jack Wise, 1984

SELECTED EXHIBITIONS SOLO

‘Moving Brush’, Gulf Gallery, Calgary Canada, ♦1990‘Visions in Retrospect’, Edmonton Public ♦Library, 2002‘A Brush With Time: The Fourth Dimension’, ♦Collage Gallery, Calgary Canada, 2006‘Seeing The Word’, Collage Gallery, Calgary ♦Canada, 2007

SELECTED EXHIBITIONS GROUP

‘Four Brushes, West Meets East’, with George ♦Koller, Chin Shek Lam and Myken Woods,Muttart Art Gallery and Provincial Traveling ♦Show, Calgary Canada, 1986Annual Exhibitions of the Meeting Point ♦Artists Association of Calgary, Calgary Chinese Cultural Centre and Various Calgary Galleries, Calgary Canada, Annually, 1987-present.

‘Alberta Vision’, 60th Anniversary Exhibition, ♦Alberta Society of Artists, Canadian Embassy, Tokyo Japan, 1991 ‘When The Brush Begins’, with George ♦Koller, John McDowell and Myken Woods, Myxmedia Gallery, Calgary Canada, 1992‘Five Corners’, Seoul Gallery, Calgary Canada, ♦1996‘Symbols In Civilization’, 65th Anniversary ♦Exhibition, Alberta Society of Artists, traveling show at six Alberta galleries, 1996-1997‘Passion’, with Terry Gregoraschuk, Timothy ♦W. Hoey, Doug Palmer, Stan Phelps, Ross Snashall, Garrison Gallery, Calgary, Canada, 2003‘Art Bridge’, Meeting Point Artists Traveling ♦Exhibition, Canadian Department of Foreign Affairs Hong Kong, China and The Garrison Gallery Calgary, Canada, 2002-2003

Desert Song, Chinese ink on paper, 56 x 76 cm

CONTACT2004 Urbana Road NW Calgary AB Canada T2N [email protected]/irn/hollenberg.htm

25

CATHERINE HUANG-TAM

Th e world's environment is deteriorating rapidly, and the political situation in the world is becoming more and more chaotic. Yet, both construction and destruction, and ruin and decay lead to rebuilding and rebirth. Th ere is loneliness and starvation but also compassion and humanity.

As an artist, my work refl ects the impact of the world upon me. I seek to convey my various feelings in a simple and symbolic way. With the use of subtle colours and tonal gradations, which are an extension of the approach taken in Chinese ink painting, I strive to manipulate the Western concept of space and perspec-tive to create work that is enigmatic and contradictory.

#002-2008, mixed media on plywood, 61 x 61 cm

26

CATHERINE HUANG-TAM

EDUCATION

BFA degree Major in oil ♦painting, National Taiwan Normal University, Taipei, Taiwan. 1978Special student in printmaking, ♦University of Alberta, Edmonton Alberta 1978-1980MFA program in printmaking, ♦University of Calgary, Calgary, Alberta 1980-1981Printmaking independent study, ACAD ♦Calgary, Alberta 1997-1998

SELECTED EXHIBITIONS SOLO

Contemporary Chinese Water Color ♦Painting", Citadel Theater, Edmonton 1979Chinese Painting of Catherine Huang", ♦Edmonton Library, Edmonton 1979Art Experience", Devonian Gardens, Calgary ♦1994East Meets West", Chinese Cultural Centre, ♦Calgary 1996

GROUP EXHIBITIONS

Meeting Point Artist Association 5th Annual ♦Show, Nova Corporation, Calgary 1992Calgary Chinese Community Centennial Year ♦Celebrations, City Hall, Calgary 1994Meeting Point Artists Association/Hong Kong ♦Visual Art Society, International Exchange; Fung Ping Shan Museum, Hong Kong 1994Meeting Point Artists Association 19th ♦Annual Showm, Keystone Gallery, Calgary 2008

AWARDS

Third Prize Chinese calligraphy, National ♦Taiwan Normal University 1975Award for seal carving design, National ♦Taiwan Normal University 1976

#003-2008

mixed media on plywood

61 x 61 cm

[email protected]

27

ISABELLE HUNT-JOHNSON

Isabelle Hunt–Johnson was born in Sydney, Australia and immigrated to Canada. She graduated with a BFA from the University of Calgary and an MFA from the University of Alberta. Isabelle works primarily in watercolour and mixed media. She currently teaches watercolour at Alberta College of Art and Design Extension, U of Calgary Continuing Education and Series at Red Deer College. Her work has been exhibited and is in collec-tions across Canada, United States, Europe, Australia, China and Japan.

My “Asanas” Series is mixed media and real gold leaf on handmade paper or canvas and exists in jewel like miniature scale and large scroll format.

Spirituality, mysticism and the energy of the life force are preoccupations in my work. Th ese concerns are explored in the depiction of nature or the fi gure. Spirituality exists in my mixed media work in the form of its association with text and language. Th e word Asanas comes from the Sanskrit word for body positions. Th e human form is the inspiration, becoming a series of gestural fi gures that move between calligraphy and my own writing. Th ey record the ephemeral energy emitt ed from the fi gure and they become text or an elemental language.

My watercolour works evoke the celebration of the life force, life cycles and excitement of movement and gesture. Layering and duality reinforce the passage of time and the interac-tion of the dance. My work celebrates the life energy, the Eastern affi nity with nature and the ephemeral quality of the moment.

Poem of Wisdom

gold leaf on handmade paper

137 x 54 cm

(detail - right)

28

ISABELLE HUNT-JOHNSON

EDUCATION

1982 MFA, University of Alberta, Edmonton ♦1979 BFA, University of Calgary, Calgary ♦

JURIED GROUP AND SOLOEXHIBITIONS

2008 International Figurative Exhibition, ♦Leighton Centre, Calgary2007 Stepping Out, ASA Exhibition, Epcore ♦Centre, Calgary 2006 Taking Liberties, Group Exhibition, ♦Harcourt House, Edmonton, Alberta.Lines of Communication, travelling Exhibition, ♦The Prairie Art Gallery, Alberta2005 Finalist Kingston Art Prize in ♦Contemporary Canadian Portraiture,Ontario2004 Reflections. Jurors Award ASA ♦Exhibition, Leighton Centre. AB 2002 Art Bridge; traveling show, Hong Kong ♦Exhibition Gallery, Hong Kong2000 Bridging a New Century, Red Deer & ♦District Museum, AB. 1997 East & West, Triangle Gallery Calgary ♦ East and West: Across the Rockies Chinese ♦Cultural Museum Vancouver 1996 Hong Kong Arts Joint Exhibition, Fung ♦Pingshan Museum, Hong Kong 1992 Golden Asanas, solo exhibition, Gulf ♦Canada Gallery, Calgary AB Asanas, solo exhibition, Works, Edmonton ♦ Fusion International Documenta ‘92, Shizuku ♦Perfectural Museum of Art, Japan1991 Alberta Vision, inaugural exhibition, ♦Canadian Embassy, Tokyo JapanQuestions of Value, Petro-Canada Gallery ♦1990 The Human Condition, traveling ♦exhibition, Prairie Gallery, Grande Prairie, AB1989 Contemporary Watercolour, ♦(invitational), Triangle Gallery, Calgary, AB Square Deal Squared, New Gallery, Calgary ♦1986 Joy, Light & Vanilla, Solo exhibition, ♦Muttart Art Gallery, Calgary, AB1988 International Triennial of Realist Art, ♦Sofia, Bulgaria Solo Exhibition, Gulf Canada Gallery, Calgary ♦1982 Isabelle Hunt-Johnson, MFA Solo ♦Exhibition, Ring House Gallery, Edmonton

AWARDS

Alberta Project Grant ♦Alberta Travel Grants ♦University of Alberta Research Grant ♦University of Alberta Teaching Grant ♦Banff School of Fine Arts Scholarship ♦

COLLECTIONS

Alberta Art Foundation ♦Red Deer School Board ♦

Energy, Mines and Resources, Canada ♦Esso Resources, Canada ♦Cold Lake Hospital Collection, Cold Lake, ♦AlbertaUniversity of Alberta, Edmonton, Alberta ♦University of Armidale, New South Wales, ♦AustraliaGold Coast City Council, Gold Coast, ♦Queensland, AustraliaRed Deer & District Allied Arts Council ♦I. S.I., Nagoya, Japan ♦

Dance Odalisque, watercolour & mixed media, 76 x 56 cm

CONTACTwww.isabellehuntjohnson.com

29

JOSETTE KHU

My purpose is to express the moods and nuances of nature and bring life to paper: simply, directly and freely. Since I am bicultural, my paintings show the infl uences of both East and West.

Th e Rockies I, Watercolour, 15 x 27 cm

30

JOSETTE KHU

EDUCATION

St. Louis University. St. Louis Missouri, U.S.A. ♦B.Sc.Rhode Island School of Dsign, Providence, ♦Rhode Island, U.S.A. studied illustrationAlso studies under Ade de Bethune ♦

SOLO EXHIBITIONS

Virginia Christopher Galleries, Calgary 1990 ♦Whyte Museum of the Canadian Rockies, ♦Banff, Alberta. 1987

GROUP EXHIBITIONS

"Spaces and Places", Alberta Art Foundation ♦travelling show, Canada. U.S. H. K. Chine, Japan 1986 "The Cult of the Mountain in B.C. Painting." ♦Simon Fraser Art Gallery, Vancouver B.C. 1989 "Grand Canadian Rockies." Centennial ♦Gallery, Calgary, 1992 Meeting Point Artists Association/Hong Kong ♦Visual Arts Society International Exchange: Fung Ping Sha Museum, Hong Kong 1994

AWARDS

Purchase Award, Alberta Art Foundation ♦Grand Prize, competition for 1991 calendar ♦Calgary Real Estate Board Sunshine Village Purchase Award ♦

COLLECTIONS

Alberta Art Foundation ♦Cold Lake Hospital, Cold Lake, Alberta ♦Cook, Duke and Cox ♦Rocky View Hospital, Calgary ♦Sunshine Village, Banff, Alberta ♦Whyte Museum of the Canadian Rockies, ♦Banff

Th e Rockies II, watercolour, 18.5 x 27 cm

CONTACT8 Varslea Place NWCalgary, AB T3A 0C9403-288-7192

31

LAPLAM

Stand Firm in the Sea of Ink #1, acrylic on canvas, 61 x 51 cm

Ever since Dadaism, modern western art seems to be in the grip of negative spiritual-ity. Works by Bacon, Pollock, Warhol and Freud etc. all embraced this phenomenon.

I fi nd the Chinese old thoughts of Confucian, Taoism and Buddhism all have enduring values, and for the last thirty years I have been trying to express these ancient ideas through the format of modern abstract expressionism.

My recent att empt of "Stand fi rm in the sea of ink, shine steady in the darkness....” is based on a poem writt en by Shih Toa about four hundred years ago, heralding the Confucian ideal of the incor-ruptible spirit of a true gentleman in no matt er what the adverse conditions.

32

LAP LAM

EDUCATION

Ling Hai Art School, Hong Kong; 1968-1970 ♦Alberta College of Art, Alberta; 1970-1974 ♦


Asia Centre, New York, U.S.A., 1988 ♦Kirk Agar Gallery, Calgary, 1990 ♦Centennial Gallery, Calgary, 1992 ♦Bowman Arts Centre, Lethbridge, 2001 ♦Axis Contemporary Art, Calgary, 2006 ♦


Lu Si Hou group show, Hong Kong, 1970 ♦Canada Craft Council tour show, Canada, ♦1978Meeting Point Artists Association annual ♦Shows, 1988-2007Alberta Society of Artists annual shows, ♦1990-2001Alberta Society of Artists, Japan show, 1991 ♦Art-Bridge Hong Kong Show, 2002 ♦Small Is All, Alberta Society of Artists touring ♦show, 2008

AWARDS

Distinguished Instructor Award, Mount Royal ♦College, Calgary, 1994

COLLECTIONS

New York Asia Centre, New York, U.S.A. ♦Chinese Cultural Centre, Calgary ♦Shun Po International Corp. Hong Kong ♦Alberta Foundation for the Arts 1997 ♦

Stand Firm in the Sea of Ink #2, acrylic on canvas, 61 x 51 cm

CONTACTwww.artofl aplam.com

33

AMY LOEWAN

Amy Loewan is of Chinese origin born in Hong Kong. She has a Master of Fine Arts degree in Painting from the University of Alberta in Canada and a Bachelor of Science degree in Occupational Th erapy from the University of Illinois in Chicago. Amy currently teaches painting and drawing at the University of Alberta, Faculty of Extension.

She has received numerous grants and awards from Th e Edmonton Arts Council, Th e Alberta Foundation for the Arts, Th e Canada Council for the Arts, and the Department of Foreign Aff airs, among others. She was the recipient of the 1998 Canadian Artists and Producers Professional Relations Tribunal Award for Excellence in the Arts. In 2004, she was hon-ored with a Salute to Excellence Award from the City of Edmonton

Amy has exhibited in major cities in Canada as well as New York, Melbourne, Shanghai and Hong Kong. Since the 90’s, she has been engaged in a number of community projects which address environmental and social concerns. Th e Rainforest Project (1990), Project Kindness (1997), Earnestly and Truly a Community Project (1998) and was art consul-tant to Edmonton Culture of Peace Art Project: Pillars of Peace (2001). Her current large rice paper weaving installation Peace Project, aiming to promote peace and understand-ing, has traveled extensively in Canada and was exhibited 2004 in Th e Shanghai Doland Modern Art Museum and Th e Hong Kong Visual Arts Centre.

Color Me Beautiful , watercolour on paper , 15 x 15 cm

34

EDUCATION

1995 Master of Fine Arts, University of ♦Alberta, Edmonton

SELECTED SOLO EXHIBITIONS2008 Peace Projects, Moose Jaw ♦Museum & Art Gallery, Moose Jaw, Saskatchewan

2006 Autumn Gold….revisited, Multi- ♦cultural Centre Public Art Gallery, Stony Plain, Alberta

2005 Mask, The Works Art & Design ♦Festival, Edmonton

2003 A Peace Project, Art Gallery of ♦South Okanagan, Penticton, B.C

2002 A Peace Project, The Prairie Art ♦Gallery, Grande Prairie, Alberta

2001 A Peace Project, Art Gallery of ♦Southwestern Manitoba, Brandon, Manitoba

2001 A Peace Project, Medicine Hat ♦Museum and Art Gallery, Alberta

2001 A Peace Project, Harcourt House ♦Art Centre, Edmonton


2006 Human/Nature, The Triangle Gallery ♦of Visual Arts, Calgary2005 Human/Nature, Kenderdine Art ♦Gallery, Saskatoon

2004 Human/Nature, Hong Kong Visual Arts ♦Centre, Hong Kong and Doland Modern Art Museum, Shanghai, China1999 Expressing Your Faith Through Art, ♦Tyndale College & Seminary, Toronto1998 Chinese Folk Arts Exhibition, Queen’s ♦Council for the Arts, New York City, USA1997 The 7th AAAC Annual: Stream ♦Segment, The Reintegration of Tradition in Contemporary ArtAsian American Arts Centre, New York City, ♦USA

AWARDS (Selected)

2008 Canada Council for the Arts, Alberta ♦Creative Development Initiative 2004 Salute to Excellence, Performance ♦Award, City of Edmonton

1999 First Prize Winner of Tyndale College ♦& Seminary National Art Competition Expressing Your Faith Through Art, Toronto1998 Recipient of the Canadian Artists ♦and Producers Professional Relations Tribunal Award for Excellence in the Arts Commemorating the 50th Anniversary of the Universal Declaration of Human Rights, Ottawa

COLLECTIONS

Public and private collections including the ♦Alberta Foundation for the Arts, Notre Dame University, U.S.A. and Singapore Ministry of Arts, Singapore.

AMY LOEWAN

Peace Project 2008, Rice paper, ink and charcoal, 36 x 36 cm. [email protected]

35

My work comes from both practical elements and subconscious thoughts and feelings I have in every day life. I am interested in indiscern-ible emotions and ambiguous feelings. Th e ambiguity equates to middle value colors and spacious relationship in the painting. Th e act of painting invites me to the world of mysteri-ous and unknown moment: the joy of fi nding who I am: and fi nding occasional chances of surprises. Th at’s what I like about art.

SETSUKO ONISHI MOULTON

In the Dream, mixed media, 71 x 61 cm

36

SETSUKO ONISHI MOULTON

EDUCATION

Alberta College of Art and Design – ♦Diploma in Printmaking course 1989 Calgary, Alberta, CanadaKobe Kaisei Women’s College – B.A. ♦in French Literature 1973 Kobe, JapanUniversity of California, Los Angeles ♦– art courses Los Angeles, Calif. U.S.A.Gemological Institute of America - jewelry ♦design, Santa Monica, CaUniverisite de Nice - Nice, France ♦


The Alliance Francaise of Calgary, Calgary ♦Alberta, Canada 2006Wallace Galleries Ltd. Calgary Alberta, ♦Canada 1998Wallace Galleries Ltd. Calgary Alberta, ♦Canada 1996


Campbell River and District Public Art ♦Gallery Campbell River, British Columbia, Canada. 2003Muttart Public Art Gallery, Calgary Alberta, ♦Canada. 1997Traveling show by Muttart Public Art Gallery ♦from 1997 to 2000 across Alberta

Kanagawa Prefecture Museum, Yokohama ♦city, Japan. 1996University Museum and Art Gallery, Hong ♦Kong. 1995 University of Alberta, Edmonton, Alberta, ♦Canada. 1991Tama Art University, Tokyo, Japan. 1990 ♦

AWARDS

2003 Alberta Foundation for the Arts, Visual ♦Arts Project GrantFor Contemporary Western Canadian ♦Printmakers at Campbell River and District public Art Gallery, Campbell River, British Columbia, Canada1989 Alberta College of Art and Design ♦Traveling Grant

COLLECTIONS

ConocoPhillips Canada Calgary, Alberta, ♦CanadaBurlington Resources Canada Ltd. Calgary, ♦Alberta, CanadaGulf Canada Resources Ltd. Calgary, ♦Alberta, CanadaPanCanadian Petroleum Ltd. Calgary, ♦Alberta, CanadaAGT – Edmonton, Edmonton, Alberta, ♦CanadaCanadian Cedar Log Ltd. Calgary, Alberta, ♦CanadaWorks found in several private collections ♦

Some Day, mixed media, 71 x 104 cm

CONTACT121 Hawkdale Bay NWCalgary, AB T3G [email protected]

37

CONNIEPTASINSKI

Promised Form #1, raku porcelain, 14 x 16 x 12 cm

Th e work I have presented in the “Full Circle” exhibition is the exploration of the idea of infi nity. Th e pod form represents promise of the future. Th e fl ower-like form represents the fulfi llment of the pod form and so repeats the endless circle of growth.

38

CONNIE PTASINSKI

EDUCATION

1967 BA Fine arts , U of Saskatchewan. ♦1970 B. Ed Art major, U of Saskatchewan ♦1976 M. Ed Art major. U of Calgary ♦1983 Sabbatical Ceramics, Alberta College ♦of Art and Design


1988 Artisan Gallery, Calgary AB. ♦


2008 Cone Box Show, Alberta Potters ♦Association, Medicine Hat2008 Renewal, Meeting Point Artists ♦Association (MPAA) Keystone Gallery, Calgary 2006 Synergy, MPAA Carbon Media ♦Gallery, Calgary2005 Scroll Show, MPAA Myken Wood ♦Gallery, Calgary2004 Clay Creates Culture, Edmonton ♦2004 Sweet Sixteen, MPAA, Gallery San ♦Chun, Calgary2004 Tea & Roses, Leighton Art Centre, AB ♦2002 Art Bridge Canada Hong Kong ♦Exhibition: Hong Kong1997-08 Home studio show. ♦1996 Clay as Canvas Collaboration, Canada ♦Olympic Park1995 Global Focus: Women in Art & ♦Culture, Beijing, China1991 Cups Muttart, 20 Anniversary Juried ♦Show, Calgary1985 "Format" - Galerie d'expressions ♦ceramiques: Montreal, P.Q.1976 National Ceramics Exhibition, ♦Glenbow Museum, Calgary

AWARDS

2004 Alberta Potters Award “Clay Creates ♦Culture”, Edmonton ABAlberta Potters Award “ The Cup Show”, ♦Lethbridge AB

Promised Form #2, purple lustre porcelain, 13 x 17 x 10 cm

[email protected]

39

PATSTRAKOWSKI

Life is full of distractions that interfere with one’s creativity. Sometimes you have to leave your studio and the unfi nished artworks for a while.

Fortunately you do return to familiar surround-ings with new insights. Each one comes from a diff erent experience and adds to what you already know. Th is makes your artwork richer. Sharing this knowledge with kindred souls and participating in the celebrations adds to the meaning of your life.

Double Vision, paper mache mask, 18 cm diameter

40

PAT STRAKOWSKI

Moondonna II, paper mache sculpture, 40 cm tall

EDUCATION

Graduated from the Alberta College of Art ♦and Design 1979


2000, “Silent Stories and Personal Visions” ♦Alberta Craft Council Discovery Gallery, Edmonton AB1994, “Revival”, Muttart Gallery, Calgary, AB ♦


“Three Muses” ongoing travelling exhibition ♦since 2004

AWARDS

1991, The Canadian Council Explorations ♦Program1986 Alberta Culture Travel Grant ♦

COLLECTIONS

Alberta Art Foundation ♦Calgary Allied Arts Foundation ♦2008, University of Calgary Special ♦Collection2008 University of Alberta Bruce Peel ♦Special Collection

[email protected]

41

SIMON Y. S.WONG

Simon was born in 1946 in Guandong (Canton) China. He studied Chinese Painting in Hong Kong with renowned Masters, Professor Chao Shao-An, Mr Lui Shou-Kwan, Mr Chow Yet-Fund, and studied Chinese Calligraphy with Mr Au Kin-Kung. He has also studied at the Alberta College of Art in Calgary, Alberta. He is currently an instruc-tor of “Chinese Ink Painting” in Continuing Education at the University of Calgary.

Me (self portrait)

Ink, gouache on rice paper

138 x 69 cm

2008

42

SIMON Y. S. WONG

EDUCATION

1968 -1972: Alberta College of Art, Calgary, ♦Alberta, Canada


2004: CCM Centre, Burnaby, BC ♦2003: Museum of Calgary Chinese Cultural ♦Centre, Calgary, Alberta1997: Multicultural Heritage Centre, Stony ♦Plain, Alberta.


2008-09: Juried Exhibit- “Small is All” ASA, ♦An Interprovincial Traveling Exhibition, Alberta 2007-08: Juried Exhibit- “Images and ♦Reflections” Calgary Contemporary Arts Society, Olomouc, Czech Republic and Ostrova, Sopot, Poznan, Kalisz, Zamosc, and Krakow Poland, Europe2005: Invited Exhibition- “The Third China ♦(Tianjin) Calligraphy Art Festival” Tianjin, China2002: Juried Exhibit- “Art Bridge” Meeting ♦Point Artists Association, Canada and Hong Kong Art Exhibition, Hong Kong Central Library, Hong Kong1986: Juried Exhibit-"International Modern ♦Artist" (I.M.A), Tokyo, Japan

AWARDS

1992: Received "Maple Leaf Award" from ♦the International Oriental Arts Competition held in Toronto, Canada.1986: Received Bronze medal award from ♦China National Calligraphy competition. 1985: Art work was accepted by the ♦"International Exhibition of Work on Paper 1986, Brazil" and was collected by the Brazil ♦Museum of International Contemporary Art. (Brazil)1965: Received award in the Hong Kong ♦Youth Chinese Calligraphy and Painting Competition. (Hong Kong)

COLLECTIONS

Hon. Stephen Harper, Prime Minister of Canada; Th e Rosza Centre, University of Calgary; Alberta Foundation for the Arts; Dr. Henry Fok (Hong Kong); Brazil Museum of International Contemporary Art (Brazil); and others.

Slow, Slow, Song: Poem by Li Quingzto, Song Dynasty, ink, gouache on rice paper

138 x 69 cm

CONTACTwww.simonysart.ca

43

MYKEN WOODS

My art journey began in 1978 when I fi rst met Master Chin Shek Lam in the Granary café in Edmonton, where George Koller and Terry Morrison were giving a small concert. Chin Shek was doing Bachis (Chinese astrology) for many artists and musicians at the time. He did my Bachi and suggested that I study art… and so I did, I sat in on some Art History classes at the U of Alberta. Th en in 1983 I moved to Calgary to continue my journey with the Art of the Oriental Brush. I had my fi rst solo exhibition in 1985 at the Virginia Christopher gallery. Chin Shek advised me to do a degree in fi ne art. He said that “there are no short cuts in art”. I graduated in 1992 from the U of Calgary fi ne arts program.

Chin Shek had passed away in the summer of 1990, the same year Bill McKenna and I got engaged . I did some teaching at Mount Royal College, Red Deer College and Metchosin. I began to collaborate with other artists, we performed in the USA and Canada, Boston Chicago, Napa Valley California. I traveled to China with my long time art partner Liu Landing. We collaborated on an exhibition we called “ Clear Confusion” for the Works in Edmonton at the Fringe gallery; this is when

I began to collage the delicate cigarett e papers into my work . One of our pieces included a work we did together in China aft er visiting Ching Qing Mountain in Cheng Du , Sichuan province; one of the oldest Taoist mountains in China. Liu Landing and I have been collaborating on pieces since 1991. Our focus has always been cultural exchange with no hidden agenda and only the purest of intentions. Another piece we did together entitled “ Th e Great grand daughters of Wang Chi Tzu”, which was somewhat tongue in cheek, was shown at an exhibition in Montreal, that ironically was exclusively for Chinese

artists. My Caucasian brush stokes managed to sneak in. We plan to continue to build cultural bridges through our collaborations and with our own individual work.

My work is an expressive calligraphic brush technique deeply rooted in Chinese Calligraphy. When I am working and playing my brush, I am able to enter into a diff erent way of being that is both very personal and yet universal at the same time. Brush, Ink and surface perform together connecting the life force in me with the Tao.

Dragon Play, fi xed ink & collaged cigarett e papers, 61 x 61 cm

44

MYKEN WOODS

EDUCATION

University of Calgary BFA - 1992 ♦Alberta College of Art and Design 1989 ♦Studied Art, Taoist Philosophy and ♦Calligraphy with Master Chin Shek Lam (Lin Chien Shih)1979 to 1988University of Alberta 1975 -1977 ♦Northern Alberta Institute of Technology, ♦(Cabinetmaking)1976-1977

SELECTED EXHIBITIONS

2005 Brush on Paper, Rasmussen art gallery, ♦Angwin , California2003 Clear Confusion, Fringe Gallery, ♦Edmonton, AB1999 Friends and Mentors , Muttart Public ♦Art Gallery, (now the Art Gallery of Calgary) Calgary, AB1999 Red Deer College Instructors ♦Exhibition, Red Deer, AB1998 Across the Rockies (MPAA show) ♦Chinese Cultural Centre, Vancouver, B.C. 1997 Stories in Line, Note and Brush, ♦Andrews University, Chan, Shun Hall Atrium, Berrian Springs, Michigan, USA 1996 Stories of Brush and Line (exhibition & ♦Performance), Atlantic Union College, South Lancaster MA, USA, Stride’s Rootin’Tootin Roundup! the Stride Gallery, Calgary, AB1995 Myken Woods ,Triangle Gallery Art ♦Rental Calgary, AB, Focus In (MPAA show), Chinese Cultural Centre,Calgary, AB1994 Matters of Belief (an exhibition & ♦performance) Fringe gallery, Edmonton, AB1994 Canada - Hong Kong Exchange ♦Exhibition, University of Hong Kong Gallery, Hong Kong, China Confluence , (exchange show) Nova Gallery, Calgary, AB1993 Brushes on Fire (an exhibition & ♦performance) The Works, Edmonton,AB, Dreaming Dances, Fringe Gallery, Edmonton, AB, Red Deer College Instructors Exhibition, Red Deer, AB1992 When the Brush Begins (Exhibition & ♦performance), Myxdmedia Gallery, Calgary AB

1991 Olga Havel Foundation, Prague, ♦Czechoslovakia1990 Brush Dance, Virginia Christopher, ♦Galleries, Calgary, AB, Fifth Annual International Exhibition of Miniature Art, group show, Del Bello Gallery, Toronto, Ont.1988 Olympic Arts Festival Group Show, ♦Virginia Christopher Galleries, Calgary, AB, Brush Works in Flight, Vik Gallery, Edmonton, AB, Dragon Babies , Fringe Gallery, Edmonton, AB, Four Brushes East Meets West, Muttart Public Art Gallery, Calgary, AB, Two Brushes ,The Works, Citadel Gallery, Edmonton, AB, Third Annual International Exhibition of Miniature Art, group show, Del Bello gallery, Toronto, Ont. Myken Woods, Cafe Des Arts 80 Spadina, Toronto, Ont1987 A Brush with the Sky, Virginia ♦Christopher Galleries, Calgary, AB1986 Some Use Brushes Some Don’t, group ♦show, Muttart Public Art, Gallery, Calgary, AB1985 By the Stroke of a Brush, Virginia ♦Christopher Galleries, Calgary, AB1984 Brush Balancing :Free Form Calligraphy, ♦Virginia Christopher Galleries

AWARDS & PUBLICATIONS

The Alciun Citation for Excellence, Vehicule ♦Press “ Kinetic Mustache” 1990Sight Lines, a quarterly publication of the ♦Mutttart Public Art Gallery, Fall1999Sight Lines, a quarterly publication of the ♦Muttart Public Art Gallery, Spring 1997ABC Canada. Lindley McDougall, Ed.Arbour ♦Studio Press,1996Actualities/Expositions, When Roland Met ♦Lan Ding, Michael Molter, 1992Spectrum: The Journal of the Association of ♦Adventist Forums,October,1992Spectrum: The Journal of the Association of ♦Adventist Forums, August,1992Dandelion, Article The Bridge of Ink, John ♦Stocking, Spring -Summer, 1991SansCrit II, Winter.1990 ♦Calligraphy Without Words ,Prof. J. R. ♦Stocking, Spring - Winter 1987

B17-83, Chinese ink on paper, 51 x 67 cm

[email protected]

45

Th e Meeting Point Artists Association was formed as a society under Th e Societies Act, R.S.A. 1980, with the following objectives/mandate:

To provide a meeting place for the consideration and ♦discussion of questions affecting the visual art interests of the community.

To enable individuals from different cultures to ♦exchange and share philosophical ideologies in regard to the creative process pertaining to the visual arts.

To synthesize oriental and occidental ideas and ♦techniques transcending traditional cultural parameters.

To encourage and promote the understanding ♦and exchange of visual art forms, disciplines and development thereof between Chinese/Canadian art communities and generally to enhance the opportunities for the viewing, appreciation, understanding and enjoyment of this synthesis of Oriental/Occidental Art.

To provide a meeting place for consideration and ♦discussion effecting the study and appreciation of visual art and other similar interests in the community at large.

To procure the delivery of public lectures and ♦workshops pertaining to the visual arts for the community at large.

Currently, the membership comprises over 25 artists of Asian and Western background, most of whom live and work in Calgary.

T H E M E E T I N G P O I N T A R T I S T S A S S O C I A T I O N

MEMBERS 2008Paresh AthpariaBillie Diane AveryKathleen BentleyChu Honsun*Bryony DunsmoreJim EtzkornHelena Hadala Winnie HoMorley D. HollenbergMee Yun Huh Catherine Huang-TamIsabelle Hunt-JohnsonJosett e KhuHarry Kiyooka*Oliver KrolLap LamByng Lee* (1903-1994) Roger LeeAmy LoewanLi Hua ZhongNg Po-Wan* (1904 - 2001)Setsuko Moulton Connie PtasinskiNoboru Sawai*John Stocking*Pat StrakowskiHoward Hoa TrinhSimon (Yat Sing) WongMyken WoodsRandy Yan

*Honorary Members

MANDATE

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F U L L C I R C L E : A F o u n d i n g M e m b e r ’ s M e m o i r

In 1983 when I returned to my home-town of Calgary aft er a two and a half year sojourn in Japan, I found myself experiencing culture shock. I missed the food, culture and most of all the artistic aesthetic that was so pervasive in the Orient. So by serendipity, I was pleased to meet artist Simon Wong, who had emigrated from China via Hong Kong to sett le in Calgary with his family. Simon, a fi ne painter trained by master calligraphers in Hong Kong at-tended the Alberta College of Art and Design. A creative cook, Simon opened a restaurant ‘Th e China Express’ where he not only catered to hungry patrons seeking a delicious Chinese meal, but also provided an opportunity for many artists’ (even Norval Morriseau did a drawing demonstration at the restaurant) to exhibit their work at his establishment.

At the China Express the idea was hatched to create an association of artists who are interested in both Eastern and Western art and share a philosophical premise, which

encompassed a poetic approach to making imagery and a reverence (but not an att achment) to tradition and materials. Th e creative process is not about creating a picture or image of something, but is in itself a refi ned form of meditation. Th e works refl ect invisible terrain permitt ing contemplation to become visible and take on tangible form.

Lap Lam, Simon Wong and myself put a mandate in writing. Th e Meeting Point Artist Association (MPAA) with initially ten members launched the fi rst annual exhibition in 1988 at the China Express (see photo). I look back at the formative years in amazement and now in hindsight value the bond that has held this group together for so long. Th e collective energy required to launch an international show is daunting to say the least especially for members who also have alternate careers. Th e group has maintained a very active exhibition record locally and internationally including 20 consecutive annual exhibitions.

Th e philosophical basis for the group, the expression of the spirit of form rather than

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form itself, has held fast to this day, but the MPAA has surpassed the initial linear East West paradigm and come full circle over the past twenty years. Not only has each artist continued to develop his or her individualistic artistic practice but through the strength of the collective, the MPAA has shift ed to a more lateral and complex position. Th e expanding membership has allowed for more of a multi-cultural perspective including new and innovative approaches to new media and a multi disciplinary approach to the creative process.

I would like to express my gratitude and salute fellow members of Meeting Point Artist Association and organizations (such as the Alberta Foundation for the Arts and others) that have given so much support over the years as we join in the celebration of this twenty-year combined eff ort. On behalf of MPAA, a special

First annual MPAA exhibition at the “China Express”, 1988. Left to right: (front row) Howard Hoa Trinh, Cathy Huang-Tam, Josett e Khu, Randy Yan, Henry Way, Teresa Chow; (back row) Simon Wong, Lap Lam, Helena Hadala and Lee Byng

thanks to Th omas Chaurin and staff at the Alliance Française for their support host-ing this exhibition, to Brent Laycock for doing such a wonderful job designing the catalogue and Nancy Townsend for her insightf ul essay about the MPAA entitled Tradition and Transformation.

Helena Hadala

Founding member, Meeting Point Artist Association, August 31, 2008

meeting point twenty years full circle‘yin’ in the presentation of each viewing point. in...

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