CCS/WREAF 2014 Artists’ Showcase & Art Auction

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The Wilderness River Expedition Art Fellowship (CCS/WREAF) Program, under the inspired leadership of Rob Mullen, encourages nature artists to live their art on extended, self-supported river expeditions in some of the most rugged and remote regions of the world. The arduous rigors and sublime joys of wilderness canoe travel provide intense experiences that inform the artists, ensuring that the artwork remains grounded in the realities of the natural world.

The resulting artwork, however varied, is connected by a thread of shared adventure and experience. By exhibiting these individual visions together, usually within a natural history context, we work to raise awareness of the areas in which these rivers run. A principal focus of WREAF expeditions has been the North American portion of the Circumpolar Boreal Forest – the largest terrestrial ecosystem on Earth, critical for global climate, fresh water, indigenous cultures, wildlife and birds.

We are delighted to present this showcase for CCS/WREAF artists, featuring 41 original artworks from 9 exceptional artists. In addition to supporting the work of these artists, your purchases will help support CCS/WREAF programming. Thank you for participating!

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Top of the World Exhibit

Featuring works by Ken Leslie and Bianca Perren -with Inuit prints from the collection of the Sullivan Museum at Norwich University

12 July – 01 September 2013
Opening Reception 5-7PM, Friday, 12 July

Chandler Center for the Arts
71 Main Street, Randolph, VT

Vermont artist and Johnson State College Fine Arts Professor Ken Leslie has completed more than a dozen Arctic residencies over the past 15 years, creating paintings and artist’s books about light and time, both of which take on endlessly interesting permutations in the north. Leslie’s paintings and unique book structures were created during residencies in the northern regions of Alaska, Canada’s Baffin Island, Iceland, Svalbard, Scandinavia, and – most recently – Greenland.

Having experienced the Arctic in both summer and winter, Leslie prefers the dark time: “The first thing I noticed, and loved, about the Winter Arctic is the Quiet. Snow muffles what little noise there is . . . the few roads are easy to escape; there are no trees for the wind to rustle, and the millions of summer birds have long since gone – the terns all the way to Antarctica. That Quiet is the perfect sound track for the Dark. When you hear of ‘24 hours of darkness,’ you get the idea of total, pitch black darkness. But the reality is that there are many kinds of darkness. What the Winter Arctic loses in direct sunlight, it gains in twilights – the most amazing range of rich indigos and French ultramarines and cobalts. The intensity of this blue seems greatest when there’s a cloud cover, and what little light there is reverberates back and forth between the sky above and the snow cover below. The filtered light wavelength seems to multiply in saturation, and you feel as if you’re walking through blue, not merely below it or in front of it. You breathe it in, bathe in it – become part of it.”

In speaking of his powerful watercolor “The Last Umiak,” depicting a spiritual journey by umiak, a traditional skin boat used by both Yup’ik and Inuit Eskimos, Leslie reveals, “I dreamed this last journey of that disappearing culture.” Found in coastal communities from Siberia to Greenland, the large, open umiaks were traditionally used to transport groups of people and for crews hunting walrus and whales. In the eastern Arctic, the umiaks were frequently rowed by women to transport children and family possessions and are sometimes referred to as “women’s boats.” Umiaks, still made from Bearded seal (or sometimes walrus) skins but often fitted with an outboard motor, are sill very much in use in Alaska’s northern coastal villages during the spring whaling season when the large boats are launched by whaling crews from the ice edge of the open lead in pursuit of Bowhead whales migrating along the coast.

While many of Leslie’s works are typically flat, he has pioneered working on circular constructions that allow him to paint 360° panoramas that move through space and time. While working on a particularly large drawing, Leslie realized that “if I cut a hole in the center, I could fold the work into what became my ‘doughnut accordion’ structure.” These signature creations are, indeed, doughnut-shaped, narrative paintings, many of which focus on light and the way it changes with and through the Arctic seasons. In addition to paintings, Leslie also creates one-of-akind artist’s books, which address a variety of themes, including “our place in the universe, a layman’s theory of relativity, the battle between nature and technology, and light and dark on or above the Arctic Circle,” explains Leslie.

Ken Leslie is a well-known artist who exhibits and lectures internationally. He has received numerous awards for his work, which is supported by the National Endowment for the Arts, the Vermont Arts Council, and the American-Scandinavian Foundation. Examples of his work may also be viewed at his website.

Also on display will be the charming and evocative watercolors and etchings of CCS associate Bianca Perren, an artist and paleoecologist who has spent the past 15 years working on lakes in the Canadian High Arctic, Greenland and Svalbard investigating the nature of the changing Arctic landscape. Under the microscope and in visual art, Perren’s work focuses on exploring the environmental response to climate change, pollution, and more direct human land use. Her watercolors, often done, en plein air, in the field, often near lake coring locations, Norse sites, or falcon eyries, mark her experience of the landscape more immediately, as snapshots of a day, or a fjord, or as a memory of time on the landscape.

This will be Perren’s second exhibit in Vermont; many of you may remember her previous exhibit at River Arts, Morrisville, VT in February 2013. Perren’s work may also be viewed at her website.

Rounding out this exhibit are Inuit prints, loaned from the Sullivan Museum at Norwich University, which received the collection of prints as a gift from Dr. Robert Christie. These wonderful works were printed in the 1960s and 70s, just as the Inuit printmaking industry was becoming established in the Canadian Arctic, especially in Cape Dorset, which remains a hub for artistic activity. In the treeless Arctic, printing from woodcuts (in which a raised image is carved on a flat piece of wood) was not a practical option for printmakers; early on, the Inuit artists experimented with imported linoleum floor tiles, but they soon found the relatively soft and easily carved local greenstone to be ideally suited for creating “stonecut” prints.

Inuit artists have often used printmaking to illustrate myths and local history as well as to document traditional ways of life within the evolving cultural and social landscapes. The striking images often feature animals, which were regarded as important spiritual beings; within this worldview, local communities were not simply surviving on the wildlife resources within their environment but were living in a highly structured relationship with them.

The Chandler Center for the Arts has additional activities planned to complement the exhibit. A lecture on the topic of Northern cultures by CCS Trustee Kathleen Osgood will be offered (free of charge) at 7PM on Monday, 22 July in the Gallery, and a printmaking workshop (pre-registration and fee required) will be offered by Janet Cathey at 4:30PM on Tuesday, 30 July. For more information, please contact Beck McMeekin (802.728.6464).