By Alexander, David; Wylie, Liz; Alexander, David
It may be effortless to contemplate panorama portray as cliche, an paintings shape whose time has handed. David Alexander's bright, large-scale works convey the sweetness and danger that stay undiminished in work of the ordinary surroundings and breathe new existence into the panorama culture. collecting jointly six essays on Alexander, this e-book presents perception into Alexander's notion, artistic force, and the original engagement with nature that has led him to find and paint distant locales throughout Canada and as distant as Greenland, Iceland, New Mexico, and Argentina. Award-winning author Sharon Butala contributes a longer meditation on her first come across with the artist and his paintings. An interview with Robert Enright finds Alexander's engagement with culture, and texts via the past due Gilbert Bouchard, Ihor Holubizky, Aethalsteinn Ingolfsson, and Liz Wylie, current numerous insights into knowing and appreciating his artwork. an in depth chronology of Alexander's profession is integrated. Reproductions of his significant works look all through and the essays are illustrated with initial work and dealing sketches, conveying perception into his artistic strategy. A beneficial discovery for these attracted to nature and its inventive renderings, Alexander's artwork is set conveying an immersion within the panorama. This publication permits an identical presence inside of his lushly painted landscapes, offering an intimate knowing of his artwork
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Extra resources for David Alexander : the shape of place
5 in. I had been keen to meet him, although apprehensive, thinking nervously about the romantic notion of the male painter: morose, boorish, unkempt, monosyllabic, and, when it comes to domestic life, cagily, ruthlessly, uncommitted. But when David dropped in at my place and we spent an afternoon talking, he turned out to be none of the above, to such a degree that I had to laugh at my ideas, nourished as they were by a handful of famous examples: by Hollywood movies and the occasional novel. Intensely interested in the world, he seems not to sit so much as to perch, muscles tight, ready to move on should he spot something he needs to see.
These are works that depict nothing but the reflective surfaces of bodies of water, the same view you get staring over the side of a canoe. Alexander has explored this in the past in his forestscape paintings. He is an avowed and accomplished outdoorsman and canoeist and paints from a deep, lived experience of the woods. Talking with Alexander one quickly realizes the tension he feels as a person who both loves and lives the reality of the forest and lake. He chose to distance himself from a realistic approach to the subject, preferring one that is ripe for his own mining.
There was, in itself, nothing unusual about it. But as the two men walked and looked, they saw colour which began to intensify, to deepen, even as it changed location and shape, to move and flow and grow richer as they watched the water intently. “Look, look,” David kept saying to Nowlin, who ran back and forth, excitedly snapping photos. David mimed his excitement as he tried to help me understand what had happened to him, and I began to grasp the nature of the experience, to feel his excitement and awe at what he had been fortunate enough to see – or more accurately, what he had experienced.