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Art Courses and WorkshopsCertificate of Visual ArtsDiploma of Fine Arts
2008SPRING/SUMMER
Vancouver Island School of Art 2549 Quadra Street, Victoria, BC V8T 4E1 ph [email protected] www.vancouverislandschoolart.com
Art
CONTENTS
PROGRAMS
ART FUNDAMENTALS
DRAWING
PAINTING
SCULPTURE & MIXED MEDIA
PHOTOGRAPHY
PRINTMAKING
ART HISTORY
INDEPENDENT STUDY
CURATORIAL STUDIES
LIFE DRAWING DROP-IN
PRINTMAKING STUDIO
WEEKLONG WORKSHOPS
WEEKEND WORKSHOPS
FACULTY
GUEST INSTRUCTORS
TUITION AND REGISTRATION
REFUND POLICY
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15
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23
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1
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ABOUT THE SCHOOL
The Vancouver Island School of Art offers two comprehensive art study programs: a Certificate of Visual Arts and a Diploma of Fine Arts. Courses or workshops can be taken as part of a program or on an individual basis. These high quality professional art courses are for adults who want to study art on a full-time or part-time basis. The courses are geared to beginners as well as more advanced artists looking to pursue new challenges. Courses offer the student an opportunity to develop skills, enhance their understanding of art and discover what it means to be a practicing artist. All studio courses will explore the technical aspects of materials and execution as well as focus on making art in a contemporary context.
PROGRAMS
CERTIFICATE OF VISUAL ARTS
The Certificate of Visual Arts Program can be completed in one year on a full-time basis, or over four years on a part-time basis. To be in the Certificate Program, a student needs to fill out a Certificate Enrollment Form and register for at least six hours of courses per week.
DIPLOMA OF FINE ARTS
The Diploma of Fine Arts Program can be completed in three years on a full-time basis, or over five years on a part-time basis. Students in the Diploma Program must be registered in a minimum of nine hours of class time per week.
Entry Requirements:
* High School Diploma or equivalent
* $50 application fee
* 10–15 digital photos or slides
* one page essay describing why you want to pursue the diploma program
* transcripts from other institutions (if you are interested in Transfer Credits)
* if English is a second language, proof of English competency (as determined by the Vancouver Island School of Art)
The above material should be submitted prior to August 15 (for September enrollment) . All application material will be reviewed by our Admissions Committee. Students will be notified within one to two weeks of receipt of application as to their acceptance status.
For more information about the programs please refer to the PROGRAMS page of the website.
PROGRAMS ART FUNDAMENTALS1 2
ART FUNDAMENTALS
Understanding Colour I (FNDT 121-SS08)
This course is designed to acquaint visual artists at all levels with an overview of basic colour theory. Students gain a practical working knowledge of colour, applicable to any field of visual art. The aim of this course is to prompt artists to be mindful of the endless complexity and diversity available to them through an awareness of colour. This course presents theory that can be put to immediate use. (Required course for Advanced Painting in third year Diploma Program) Material fee: $10 photocopy fee for the workbook
Tuesdays & Thursdays May 6 – June 12 (6 hours per week) 10:00 am – 1:00 pm Xane St Phillip
Notan: The Dark-Light Principle of Design (FNDT s100-SS08)
Notan is the Japanese word for the interaction between dark and light (positive and negative or object and ground). In composition, Notan recognizes the separate but equally important identity of a shape and its background. A good Notan design is therefore the key to a strong painting – without it, both colour and line fail to reach their full impact. This course provides a complete introduction and overview of the text by Dorr Bothwell and Marlys Mayfield. Notan’s practical applications are presented in six progressive problems that will fascinate artists and designers. Course participants focus on how these powerful design principles exist in painting and learn how Notan can become an integral part of planning and developing a work of art. Material fee: $14 for textbook
Wednesdays May 7 – June 11 6:30 pm – 9:30 pm Xane St Phillip
DRAWING
Drawing: Introduction I (DRWG 101-SS08)
This course provides students with an introduction to the basic materials and techniques of drawing. Emphasis is on basic elements such as line, shape, value, space, proportion, perspective and composition. In addition, students are encouraged to explore a range of materials and to develop personal expression in their drawing. Subject matter includes still life, the figure, landscape, architectural space and student-supplied source material. No experience necessary. (Required course for Diploma Program)
Tuesdays & Thursdays May 6 – June 12 (6 hours per week) 10:00 am – 1:00 pm John Luna
Life Drawing II (DRWG s203-SS08)
This course is a continuation of Life Drawing I and provides a review of the basic techniques and materials in life model drawing as well as a more in-depth exploration of diverse forms of representation and concepts within the subject matter. Students further develop their own style while discovering new ways of rendering the human figure and increasing their knowledge of volume, line and movement. The emphasis is on simplification of form and working with a range of materials as well as exploring contemporary artists that address the human figure in their work. Students develop an understanding of perceptual skills and at the same time investigate a more abstract approach. Previous experience in life drawing is required and Life Drawing I is highly recommended. Model fee: $35
Tuesdays May 6 – June 10 2:00 pm – 5:00 pm Inga Römer
Drawing: Explorations in Ink (DRWG s103-SS08)
This course focuses on using the fluid medium of ink to explore pen and brush drawing as well as more experimental approaches of layered washes, using collage and combining mixed media such as pastel and watercolour paint with the ink drawings. Students work on developing a series as well as an artist’s book.
Wednesdays May 7 – June 11 6:30 pm – 9:30 pm Wendy Welch
DRAWING DRAWING3 4
Drawing: The Imaginary (DRWG s110-SS08)
This studio course focuses on the process of creating images from imagination rather than direct observation. Exploring methods and influences such as improvisation, storytelling, free-association and automatism, students undertake exercises designed to expand notions of subject matter through fantastic narrative and thematic abstraction. Studio classes allow for individual problem solving, and include slide presentations of examples and precedents from both historical and contemporary art. Some drawing experience recommended.
Thursdays May 8 – June 12 6:30 pm – 9:30 pm John Luna
Painting: Gesture and Colour (PNTG s108-SS08)
This new course covers the fundamentals of painting with an emphasis on colour, line and form. Students work from inventive still life constructions, live models, found imagery and photographs. Students develop colour exercises in a sequential manner, starting with black and white and working their way through the complementary colours to a full palette of colour towards the end of the course. This introductory course focuses on multiple quick and direct studies using paint on paper as opposed to making a ‘finished’ painting. Historical and conceptual ideas surrounding painting are discussed and addressed with slide/digital presentations. No experience necessary.
Tuesdays May 6 – June 10 6:30 pm – 9:30 pm Todd Lambeth
Painting: Nature and the Sublime (PNTG s201-SS08)
Although based on landscape and nature, this course examines the more abstract qualities of painting. Students experiment with the application of paint on a surface to create atmosphere, mood and emotion. Natural phenomena and weather are used for their metaphoric capacities. The act of painting becomes a way to connect the artist to the natural surrounding world. Using historical and contemporary examples and approaches, students look towards nature as a point of departure to explore ideas, processes and visual poetry. An understanding about the effectiveness of colour and composition in painting is emphasized. Introduction to Painting I and II as well as Understanding Colour I are prerequisites to this course.
Wednesdays May 7 – June 11 10:00 am – 1:00 pm Xane St Phillip
Painting: Portrait Basics (PNTG s109-SS08)
This course is for students interested in an in-depth exploration of portraiture. Students are introduced to traditional and contemporary portraiture through slides, practice and class discussions. Students learn various techniques for painting portraits including the use of water media, pastel and acrylic to make their own drawings and paintings during the course. Drawing experience is recommended. Model fee: $25
Wednesdays May 7 – June 11 2:00 pm – 5:00 pm Tracey Nelson
PAINTING PAINTING5 6
PAINTING
Process Painting (PNTG s206-SS08)
This course explores the formal limitations and physical possibilities of paint. Students source the roots of abstract painting and encounter a new process method each week (such as scraping, pouring, staining, straight edge, mixed media). Participants are encouraged to develop their own intuitive response to process painting. Exercises are supplemented with independent research that is shared in class.
Tuesdays May 6 – June 10 2:00 pm – 5:00 pm Sara McIntosh-Robichaud
Watercolour II (PNTG s204-SS08)
This course is designed for students who want to pursue their studies in the watercolour media. The emphasis is on developing a personal project using a range of innovative techniques and approaches. Students are encouraged to go beyond realism to explore the fundamentals of composition and expression. Watercolour experience is required.
Tuesdays May 6 – June 10 6:30 pm – 9:30 pm Tracey Nelson
Painting: Still Life (PNTG s105-SS08)
A lively examination of one of the meeting points between art and life, this course is less a technical manual for traditional painters as it is a thought-provoking overview of the history of the idiom, and a series of exercises designed to stimulate new approaches to the still subject. Students learn how to construct interesting arrangements to explore their subject through experiments with form and representation. The focus is on both traditional and contemporary approaches to the still life genre. Selected topics include theatrical presentation, symbol and metaphor, and the role of objects in communicating the experience of time.
Tuesdays May 6 – June 10 6:30 pm – 9:30 pm John Luna
PAINTING PAINTING7 8
Watercolour on Location (PNTG s107-SS08)
In this intensive course, students go as a group to sketch and paint diverse subjects in various locations around Victoria. The course explores basic techniques of watercolour, including brush usage, drawing with ink and watercolour, colour mixing and collage. Students also learn how other watercolour artists work with similar subject matter. Beginners welcome.
Thursdays May 8 – June 12 2:00 pm – 5:00 pm Tracey Nelson
Painting: Introduction to Gouache (PNTG s103-SS08)
Gouache, an expressive opaque water-based paint medium, was favoured by many artists of the early 20th century, including Raoul Dufy, Henri Matisse, Joan Miro and Paul Klee, who appreciated gouache for its beautifully saturated colours and ease of use. Through a series of imaginative assignments, this informative course reveals the possibilities of this overlooked painting medium and inspires students to experiment and further develop a personal style.
Thursdays May 8 – June 12 6:30 pm – 9:30 pm Jan Gates
Painting: Idea Development (PNTG s205-SS08)
In this studio course, students develop ideas and methods concerning their painting practice while working independently on their own personal subject matter (to be discussed at first class in a dialogue with the instructor). The course focuses on developing an individual style through hands-on support during one-on-one interviews with the instructor. Students are encouraged to develop a constructive critical opinion and to find their own particular voice in a supportive group environment. An important aspect of this course will be group critique and developing an understanding of how to discuss paintings in a contemporary context. For intermediate or advanced level painters only.
Thursdays May 8 – June 12 2:00 pm – 5:00 pm Inga Römer
Painting: Developing a Surface (PNTG s208-SS08)
Students learn a variety of ways and approaches to create interesting surfaces before the painting begins. Students are introduced to a range of methods and techniques to create a rich and interesting prepared surface. They then develop ways to respond to this made surface. Course includes working with collage and a variety of drawing and painting materials.
Wednesdays May 7 – June 11 2:00 pm – 5:00 pm Wendy Welch
Painting: Form and Concept (PNTG s209-SS08)
This course offers an exploration of compositional issues and their solutions, with the focus on looking, qualities of illusion, the physical aspect of paint and the different ways colour can be perceived. The course also addresses different approaches within painting, including the contemporary visual perception of form, colour and space and its roots in traditional art making. This class is partly self-directed and partly guided by the instructor through interviews and group critiques. For intermediate or advanced level painters only.
Wednesdays May 7 – June 11 6:30 pm – 9:30 pm Inga Römer
SCULPTURE & MIXED MEDIA SCULPTURE & MIXED MEDIA9 10
Beyond Painting (MMED s205-SS08)
This course uses the language of painting (line, colour and composition) to inform a variety of sculptural constructions. The point of departure for Beyond Painting is Arte Povera, a 20th century art movement (1950-1963) that brought about a major shift in art making by abandoning conventional painting methods in favour of the exploration of new materials and innovative techniques. Students gain an understanding of how materials can be pushed to express formal concerns as well as political ideas. Each class begins with a brief slide presentation and then hands-on exercises related to the discussed material. Students work with a variety of materials such as foil, fabric and found objects exploring their personal interest of social and/or political issues. This course is suitable for anyone who has an interest in sculpture or who wants to expand their art-making vocabulary to include the three-dimensional. Some art experience is required.
Wednesdays May 7 – June 11 6:30 pm - 9:30 pm Sandra Doore
SCULPTURE & MIXED MEDIA
Sculpture and Pop Culture (SCLP s105-SS08)
This course investigates the influence of popular culture on our everyday lives. Through a combination of lectures and hands-on experimentation with non-traditional materials, students explore sculpture as it relates to popular culture. Students are encouraged to think outside the box while imagining new uses for everyday objects. The course includes lectures, hands-on class work and an introduction to various artists whose work comments on popular culture. No previous sculpture experience necessary.
Wednesdays May 7 – June 11 10:00 am – 1:00 pm Robyn Foster
Sculpture and Drawing (SCLP s106-SS08)
In this introductory course, students explore the process of combining drawing with sculpture. Students make inventive sculpture from unusual materials and then create drawings from constructed forms. Sculptures are used as source material for drawing. This course includes lectures, an extensive introduction to drawing techniques, and an interesting look into contemporary sculpture. No previous sculpture or drawing experience is necessary.
Wednesdays May 7 – June 11 2:00 pm – 5:00 pm Robyn Foster
PHOTOGRAPHY PHOTOGRAPHY11 12
Photograph as Source (PHOT s201-SS08)
This multi-discipline studio course focuses on the fundamental applications of photography within drawing, painting, printmaking and sculptural practices. Since its inception, photography has been an important tool in art exploration and production; the photograph is continually used as a source/resource for artists working in all disciplines. Students are introduced to basic camera skills and photographic methods, which are then utilized and explored through directed studio assignments. A historical perspective of how photography has been used in other mediums such as drawing, painting, collage, printmaking and sculpture is presented through slides and readings.
Tuesdays May 6 – June 10 6:30 pm – 9:30 pm d bradley muir
PHOTOGRAPHY (PHOT)
Photography Basics (PHOT s103-SS08)
Students are introduced to the basic technical applications of traditional creative black and white film photography through exposure, processing and printing. This course utilizes technical exercises, lectures, and demonstrations with the intention that students finish this six-week course with the fundamentals of how to create basic black and white photographs through shooting images, processing film, and making a print in the darkroom. Students are required to have a functional 35mm SLR Camera. Material Fee: $40 to cover cost of photo chemicals
Tuesdays May 6 – June 10 2:00 pm – 5:00 pm d bradley muir
PRINT MAKING ART HISTORY INDEPENDENT STUDY13 14
PRINTMAKING
Printmaking: Intaglio Monoprint Basics (PRNT s105-SS08)
In this course students are introduced to the intaglio monoprint using dry-point engraving. While embracing traditional European printing techniques, the focus of the instruction is on more innovative mixed-media applications of the process. Participants become familiar with all aspects of producing the print, from paper preparation to curating and cleaning finished work. Through understanding of materials and practical experience in the print studio, students are given the opportunity to gain skills and form a solid foundation in this discipline that will enable them to work independently in VISA’s professionally equipped print studio. Material fee: $40 for printmaking supplies
Thursdays May 8 – June 12 2:00 pm – 5:00 pm Susy Raxlen
Printmaking: Silk Screen (PRNT s200-SS08)
This course introduces the fundamentals of silkscreen printing. It provides a thorough grounding in the basic technical process of screen printing including: stretching a screen, creating hand drawn and photo emulsion stencils, printing in multiple colours and alternative printing techniques. Slide presentations and lectures provide examples of the aesthetic and conceptual characteristics of silkscreen. This course is suitable for all levels of artistic experience. Material fee: $50 covers everything except paper
Thursdays May 8 – June 12 6:30 pm – 9:30 pm Megan Dickie
ART HISTORY
The Contemporary Painter (AHIS s105-SS08)
This exciting and engaging survey follows trends and developments in international painting from the 1990’s to the present, drawing parallels through art history in an attempt to relate contemporary art with precedents and influences from past traditions. Students look at developments in painting but also at larger trends in the contemporary art world, with an emphasis on the relationship between ideas, processes and materials used. Classes are in slide-lecture format, with time given over to lively discussion, and everyone is encouraged to share their opinions and questions about our subject. No text is necessary, but a list of readings is provided for students interested in learning more.
Fridays May 9 – June 13 10:00 am – 1:00 pm John Luna
INDEPENDENT STUDY
Independent Study
This course gives students an opportunity to work on a project under the supervision of a faculty member. Students submit an application that contains a proposal outlining what they intend to work on in their independent study. At the end of the project, students present their work to their advisor and one other faculty member for a final critique. Independent Study can be taken up to a maximum of four times (Independent Study I, II, III, IV). Days/times are scheduled on a per person basis. The student and advisor set up a mutually convenient time and meet on a bi-weekly basis on a specified day and time for the duration of the semester. Independent Studies students meet for one hour every two weeks and receive 36 credit hours upon completion. Available only to students in the Diploma Program.
Advisor: Wendy Welch
Independent Study I (INDS 201-SS08)
Independent Study II (INDS 202-SS08)
Independent Study III (INDS 301-SS08)
Independent Study IV (INDS 302-SS08)
CURATORIAL STUDIES LIFE DRAWING DROP-IN PRINTMAKING STUDIO15 16
LIFE DRAWING DROP-IN
These sessions offer students and others in the community an opportunity to drop-in and draw from the model. There is a studio coordinator at hand for each of these sessions.
Wednesdays May 7 – June 11 2:00 pm – 5:00 pm Kathleen Lane
Drop in rates: VISA students $10 or 5/$35, non-students $12 or 5/$45. To qualify for the VISA student rate, students must be registered in a course at time of purchase.
Please note that Life Drawing Drop-in is no longer available as an ‘Open Studio’ option.
PRINTMAKING STUDIO
Students registered in printmaking courses can book the printmaking studio where a technician is available to provide hands-on support. The studio includes use of the press and related equipment as well as having a technician present. Cost for studio is $35/hour (to include cost of supplies and technician’s time). Available by appointment; please contact office for more information.
CURATORIAL STUDIES
Curatorial Work/Study (CURA 301/302-WI08)
Students in this course learn the basics of running a non-profit art gallery. There are two separate positions that students can apply for in this course. Students do one position per term. This course can be taken up to four times.
Administrator (CURA 301-SS08)
Involves record-keeping, promotion, making signs and labels, artists’ contracts and other administrative tasks.
Preparator (CURA 302-SS08)
Involves upkeep of the gallery space, assisting in the install and de-install of exhibitions.
Students in both positions meet with facilitators on a bi-weekly basis to discuss various issues around curating, both as they relate specifically to the Slide Room Gallery, as well as to the role of the curator in the world at large. There is no fee for this course as it is a work/study offering. This course is open to Diploma Program students only and it is required that students complete an application form prior to enrollment.
Facilitators: John Luna/Wendy Welch
Exhibition Coordinator (CURA w200-SS08)
This is a pilot project where students can work in a team of two to organize and install off-site exhibitions in various community and private offices. Students are responsible for choosing the work from VISA students and installing the work at the venue site. Work is exhibited for a period of two months. Exhibition coordinators are also responsible for the take-down, returning art work and completing necessary paperwork. Participating students will receive 12 hourly credits (equivalent of a weekend workshop) for each exhibition they coordinate. A limited number of placements are available. For more information, please contact the office.
Facilitator: Wendy Welch
WEEKLONG WORKSHOPS WEEKLONG WORKSHOPS17 18
Sculpture: Modeling, Mold Making & Casting (SCLP w201-SS08)
This workshop provides students with the technical resources to explore a variety of methods including molding and casting ready-made objects as well as forms modeled out of clay. A number of mold making techniques are taught, including multiple piece molds and flexible molds. Students use a variety of casting materials including wax, plaster, concrete and rubber. Lectures and slide presentations provide an overview of both traditional and contemporary art which utilize the mold making and casting technique. This course is suitable for all levels of artistic experience. Material fee: $70 covers the cost of casting & mold-making materials
June 16 – 20 10:00 am – 5:00 pm Megan Dickie
Printmaking for Painters (PRNT w204-SS08)
From the expressionist woodcut to contemporary process painting, printmaking’s power to extend, divine, repeat and disclose images has proven irresistible to artists as varied as Edgar Degas, Paul Gauguin, Harold Town and Pat Steir. This new workshop focuses on the experimental print as a means of extending or expanding the process of painting. Students use existing paintings and related source material as the point of departure for exercises in accessible print formats such as linocut and monoprint, emphasizing the use of printmaking in the search for new visual effects and the development of compositional formats through repetition and alteration. Studio time will be supplemented by technical demonstrations and slide lectures. Material fee: $40 for printmaking supplies
June 23 – 27 10:00 am – 5:00 pm John Luna
Textile Collage I (MMED w211-SS08)
A unique and energetic workshop where layered techniques are used to create contemporary textile works on Japanese silk. Focusing on depth and colour the students explore screen printing, Roketsuzome (traditional Japanese wax resist), drawing, strip piecing and embroidery. Hand application of dyes to achieve depth and dimension is highlighted. Implementing a new technique daily, students, collage and layer naturally with the progression of time. By week’s end, students have a fascinating surface to be used as an artwork in itself, or integrated into another media such as painting or sculpture. Material fee: $40
June 30 – July 4 10:00 am – 5:00 pm Shannon Wardroper
WEEKLONG WORKSHOPS
JUNE
Drawing: Large Format (DRWG w220-SS08)
This workshop focuses on drawing as a primary means of expression, as an equivalent rather than a supplement to painting, sculpture or installation. Students explore contemporary approaches to line and mark by creating compelling narrative continuity, demarcating an extended sense of architectural space, and representing series work through tableau; all through the use of large format composition. Some drawing experience recommended.
June 16 – 20 10:00 am – 5:00 pm John Luna
Painting Space Intensive (PNTG w203-SS08)
What are the essential elements needed to successfully construct the illusion of space within the confines of the picture plane? For centuries and especially at present with so many options available, the fundamental question of space has been at the heart of painting. This workshop gives an inside view into some traditional methods but the focus is primarily on contemporary artists, examining their concept of spatial illusion and the necessary elements they use to create it. The instructor presents work from the major European contemporary artists with an analysis of how they deal with questions of space in their work. The workshop includes various hands-on exercises and group discussion/critiques of work. Painting experience is required.
June 16 – 20 10:00 am – 5:00 pm Inga Römer
WEEKLONG WORKSHOPS WEEKLONG WORKSHOPS19 20
Papier Mâché Workshop (SCLP w112-SS08)
Papier Maché is an extremely versatile and inexpensive material and technique. In this workshop, students learn the basic techniques of creating an armature, building up layers and surface treatment. This workshop is a great introduction to working with three-dimensional forms. Material fee: $30
July 14 – 18 10:00 am – 5:00 pm Tracey Nelson
Watercolour Painting (PNTG w134-SS08)
Have you always had the desire to paint with watercolours but did not know where to start? This intensive workshop is an ideal introduction to the medium because the focus is on basic materials, techniques and approaches. Exercises are designed to give a beginner a solid grounding in the medium. Subject matter includes still life objects, the model, the landscape as well as photographs and the imagination.
July 21 – 25 10:00 am – 5:00 pm Alesha Davies-Fowlie
Monoprinting and Collage (PRNT w205-SS08)
This workshop focuses on a variety of monoprinting techniques that include the use of collage in a variety of forms. Students are encouraged to push the limits of their imagination by using a range of drawing and painting materials combined with a variety of found and exotic collage papers. Material fee: $50 for printmaking supplies and collage paper
July 21 – 25 10:00 am – 5:00 pm Wendy Welch
Painting: Series Development Workshop (PNTG w208-SS08)
In this workshop students develop a series based on the theme of ‘Harvesting the Neighbourhood’. Students need to shoot a roll of 12 shots (minimum) of what they call their ‘neighbourhood’ and then bring these prints to the first class. Students are also asked to bring an example of a drawing or painting (finished or unfinished) that is representative of their personal style, to the first class. From the neighbourhood shoot, a theme for a triptych emerges. The instructor conducts one-on-one dialogues with each student to facilitate the production of a personal and individual body of work.
July 28 – August 1 10:00 am – 5:00 pm Wendy Welch
JULY
Figure Painting (PNTG w234-SS08)
This weeklong workshop focuses on a range of approaches to painting the figure. Students learn to paint the figure instead of drawing the figure with paint. In addition there is an overview of historical and contemporary figurative painting to encourage students to find their own expression of the figure. Students learn to combine skill and content to create expressive paintings.
July 7 – 11 10:00 am – 5:00 pm Sara McIntosh-Robichaud
Painting: Abstract Composition (PNTG w229-SS08)
This intensive workshop combines hands-on studio practice with lectures on approaches to abstraction as seen in the work of painters such as Pablo Picasso, Piet Mondrian, Richard Diebenkorn and Agnes Martin. Studio exercises focus on elements of technique and material issues, as well as inspiration and source material. Examples of exercises include analytic and synthetic approaches to subject matter, flat space in composition, and texture & materiality as colour. Oil and acrylic painters welcome.
July 7 – 11 10:00 am – 5:00 pm John Luna
Painting: Large Scale Abstraction (PNTG w232-SS08)
This intensive workshop combines hands-on studio practice with lectures on the work of abstract painters such as Jackson Pollock, Mark Rothko, Helen Frankenthaler and Gerhard Richter. Studio exercises focus on elements of technique and material issues, as well as inspiration and source material. Examples of exercises include use of large-scale supports and moving from observation to abstract imagery. Oil and acrylic painters welcome.
July 14 – 18 10:00 am – 5:00 pm John Luna
WEEKLONG WORKSHOPS WEEKLONG WORKSHOPS21 22
Documentary Photography (PHOT w205-SS08)
This workshop provides an introduction to the medium of documentary image-making and includes an overview of historical and contemporary documentary photography. Students achieve a solid foundation for undertaking their own documentary photography projects and produce a portfolio of eight to fifteen resolved and technically sound black and white photographs. Workshop includes field work in and around downtown Victoria, to include both indoor and outdoor photography such as the interior of cafés and street scenes as well as time in the darkroom/classroom. Basic darkroom knowledge is required. Photography Basics is recommended as a prerequisite to this workshop; (see 6–week course description: May 6 – June 10, 2 – 5 pm) Material fee: $40
July 28 – August 1 10:00 am – 5:00 pm Mike McLean
AUGUST
Textile Collage II (MMED w212-SS08)
In Textile Collage II students work with the layering techniques introduced in Textile Collage I, but will use a more formal, measured approach, using traditional tools and fabrics. Rather than the introduction through experimentation followed in Textile Collage I, students come to this workshop with a loose design they would like to realize. Students are introduced to the beautiful, traditional Japanese tools and approach for wax resist. In addition, a new photo transfer technique is taught to compliment the screen printing. Students are supplied old Japanese jacquard silk to work on. The goal is to complete a final piece by the end of the workshop. Material fee: $40
August 11 – 15 10:00 am – 5:00 pm Shannon Wardroper
Collage as Source (MMED w203-SS08)
This workshop offers an in-depth exploration into all the different ways that the collage process can act as a point of departure for drawing, painting, sculpture and installation art. Students experiment with using collages to work through formal and conceptual ideas. By the end of the workshop, participants have a vast array of collages that can be used as source material for further projects. Slide presentations discussing the history of collage in 20th century art are also included.
August 11 – 15 10:00 am – 5:00 pm Wendy Welch
Painting: Expression in Colour (PNTG w230-SS08)
This intensive workshop combines hands-on studio practice with lectures on the work of early modern colourists such as Andre Derain, Henri Matisse, Sonia Delaunay and Wassily Kandinsky. Studio exercises include elements of technique and material issues, as well as inspiration and source material. Class projects include developing intense colour palettes from observed subjects and using colour to create rhythm in composition. Historical background and biographies from the period help create a sense of immediacy and connection beyond images seen in art history texts and magazines. Oil and acrylic painters welcome.
August 11 – 15 10:00 am – 5:00 pm John Luna
Painting: The Urban Landscape (PNTG w233-SS08)
Both an introduction to painting on location and an exploration of working with the subject of place, this workshop combines excursions to the downtown area with intensive studio work. Using traditional and less-conventional methods to gather visual resources from their field trips, students learn from a series of demonstrations and slide lectures both technical and conceptual approaches to their subject.
August 18 – 22 10:00 am – 5:00 pm John Luna
Printmaking: Chine en Colle (PRNT w103-SS08-MA)
In this two-day workshop, students receive a comprehensive overview of intaglio printmaking and are given the opportunity to work with a professional print technician. The workshop introduces the intaglio monoprint by focusing on the chine en colle technique. Students explore various methods of applying this process and experience the advantages of collaborating with a “master-printer”. While participants will be creating the imagery, due to time restraints and the technical complexity of the printing aspect, all actual printing will be done by the print technician. Material fee: $25 for printmaking supplies
May 17 & 18 10:00 am – 5:00 pm Susy Raxlen
Stop Motion Animation (PHOT w206-SS08)
This workshop provides an introduction to stop motion video animation techniques. Stop motion animation, also called frame-by-frame animation, is a general term for an animation technique which makes static objects appear to move. This is similar to classical animation but using real objects or people instead of drawings. During the course of the workshop, the participants are introduced to various stop motion animation techniques including direct manipulation animation, cutout animation, silhouette animation and pixilation. By the end of the workshop, the participants will have completed one short animation project. Material fee: $15
May 24 & 25 10:00 am – 5:00 pm Marilou Lemmens
Notan: The Dark-Light Principle of Design Workshop (FNDT w107-SS08)
Notan is the Japanese word for the interaction between dark and light (positive and negative or object and ground). In composition, Notan recognizes the separate but equally important identity of a shape and its background. A strong Notan design is therefore the key to a strong painting; without it, both color and line fail to reach their full impact. This workshop provides a complete introduction and overview of the text by Dorr Bothwell and Marlys Mayfield. Notan’s practical applications are presented in six progressive problems that will fascinate artists and designers. Workshop participants focus on how these powerful design principles exist in painting and learn how Notan can become an integral part of planning and developing a work of art. Material fee: $14 for textbook
May 31 & June 1 10:00 am – 5:00 pm Xane St Phillip
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WEEKEND WORKSHOPS
MAY
The Sketchbook: Keeping a Visual Diary (FNDT w109-SS08)
Drawing and sketching are used to visualize maps and plans or as a way to dream in doodles and scribbles. The sketchbook is a record of one’s personal everyday life: it gives an artist the tools to understand, change and exercise their visual perception of the world, as well to provide the building blocks for future artistic work. Students go through the process of gathering and collecting materials of interest (such as textures, fabrics, articles, photographs and written notes) and then experiment with different ways of drawing, using a range of techniques and materials.
May 17 & 18 10:00 am – 5:00 pm Inga Römer
Drawing Architecture (DRWG w118-SS08)
This two-day workshop is focused on equipping students with the various techniques and principles at work when drawing from architecture. Students learn to make dynamic drawings through the use of different mark making techniques and the principles behind one, two and three point perspective. These new skills are put to work as students venture out to draw from the diverse architecture of downtown Victoria. No experience is necessary.
May 17 & 18 10:00 am – 5:00 pm d bradley muir
Acrylics: Textures and Glazes (PNTG w118-SS08)
An immersion into the versatile methods of surface building in acrylic painting, this workshop is both an eye-opening look at the variable possibilities of the medium and its supports. This workshop includes an intensive painting session where students apply their newfound techniques to exercises in layering and small-format compositions.
May 17 & 18 10:00 am – 5:00 pm John Luna
Drawing from Memory (DRWG w114-SS08)
This introductory drawing workshop focuses on fundamental techniques and processes associated with traditional and contemporary drawing. The emphasis is on using drawing as a tool to articulate what stays in one’s memory from an experience or situation. Students use pencil, charcoal or brush to draw shapes and structures from memory, while at the same time developing an understanding of the abstract language of drawing.
June 7 & 8 10:00 am – 5:00 pm Inga Römer
Landscape Photography (PHOT w207-SS08)
Vancouver Island is known for its striking landscapes, including lush coastal forests and stunning seascapes. This workshop covers the basics of landscape photography including the importance of evaluating light and shadow and how they influence exposure, compositional rules (and when to break them) and how to best read a scene. Students hone their technical skills as well as developing an understanding of what makes an interesting and inspired landscape image. Students meet at Goldstream Park for a day of foot-travel, photography, and trailside pointers. On the second day, students meet at VISA for classroom-based instruction, including discussion and critique of images produced. The instructor will arrange to have slide images developed for viewing on the second day of workshop. Material fee: $20 (to cover cost of slide film and developing)
June 7 & 8 10:00 am – 5:00 pm Mike McLean
Printmaking: Monoprinting (PRNT w102-SS08)
Monoprinting is a technique which produces one-of-a-kind, painterly prints. The beauty of the medium comes from its spontaneity and the combination of painting, drawing and print mediums. When creating monoprints experimentation is rewarded with unexpected surprises. In this course, students are taught how to paint directly onto plastic plates and transfer the painting onto paper. Instruction also covers press line drawing and reductive painting techniques using our new Ettan printing press. No experience required. Material fee: $25 for printmaking supplies
June 7 & 8 10:00 am – 5:00 pm Megan Dickie
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Drawing the Model (DRWG w100-SS08)
This two-day workshop introduces students to the basics of drawing from a model. Students learn to focus on contour, gesture, proportion, negative space and value, as well as seeing the figure in architectural space. This would be a good session to complement the “Life Drawing Studio” drop-in sessions. Model fee: $10
May 31 & June 1 10:00 am – 5:00 pm Tracey Nelson
Silver or Copper Chain Jewelry IV (MMED w124-SS08)
Learn to make the lovely narrow rope of the Jens Pind chain (perfect for showing off pendants), and the densely textured Square Maille chain, both in sterling silver rings. Students also learn to Spool Knit fine silver wire into a tube using a wooden “spool” and a crochet hook. Students make their own simple fastening mechanisms to finish three silver bracelets. No soldering and no experience necessary. It is not necessary to have taken Silver Chain Jewelry I or II or III. Material fee (payable directly to instructor on day of workshop): $20 for copper, approx: $80 for silver (may vary according to current silver prices)
May 31 & June 1 10:00 am – 5:00 pm Julia Lowther
Egg Tempera Painting (PNTG w124-SS08)
In this workshop, participants learn how to paint in egg tempera, a combination of egg yolk and pigment that produces wonderfully luminous, translucent colours. Students learn to prepare wooden panel for egg tempera using chalk gesso and have an opportunity to produce a small panel painting in egg tempera. Finished panels combine areas painted in egg tempera with gilding using gold or silver leaf so some basic gilding techniques are covered. Material fee: $30 to cover the cost of a prepared wooden panel, pigments and binders for the egg tempera, and gilding supplies
May 31 & June 1 10:00 am – 5:00 pm Jan Gates
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Narrative Drawing (DRWG w221-SS08)
This weekend workshop focuses on charcoal drawing to express ideas around narration and/or political commentary. The course consists of a concise overview of the history and techniques of charcoal from the charcoal drawings of Lascaux in France to Paul Gauguin and Kathe Kollwitz, to the work of contemporary artists such as William Kentridge. Kentridge exemplifies the potential of this medium by making it a true vehicle ‘to create art of cultural authority’. This course would be of interest to anybody who feels a deep desire to use charcoal drawing as a means to convey a story worth telling. Some art experience is required.
June 14 & 15 10:00 am – 5:00 pm Sandra Doore
Gilded Miniature (PNTG w100-SS08)
Participants in this engaging workshop create their own “small wonder”, a gilded miniature egg tempera painting inspired by the infinite wonders of the natural world. In producing the miniature, some of the fundamentals of egg tempera painting are covered as well as basic gilding techniques used in applying gold and silver leaf. Material fee: $20 to cover the cost of the prepared miniature panel, egg tempera pigments, binders and gilding supplies
June 14 10:00 am – 5:00 pm Jan Gates
Sculpting the Figure (SCLP w111-SS08)
Sculpt a figure from clay working from a live model. This workshop helps students to develop a three-dimensional understanding of observing and inform additive sculptural techniques. Casting techniques are discussed. A figurative drawing course would be an asset to this course. Material and model fee: $40
June 14 & 15 10:00 am – 5:00 pm Tracey Nelson
Expressive Text (DRWG w121-SS08)
Participants in this unique workshop learn a range of calligraphic techniques using a ruling pen. This tool is great for both experimental letter forms and expressive drawing as it makes very unusual and gestural marks. Students experiment with layered washes of walnut ink, use resist techniques and adding conté to make interesting surfaces for drawing and lettering. These pages are sewn together in a small book that can be used as an artist’s notebook or a finished work in itself. Material fee: $7
June 14 & 15 10:00 am – 5:00 pm Lorraine Douglas
Collage: Paper, Fabric & Thread (MMED w106-SS08)
This innovative and imaginative workshop explores different ways of combining paper, fabric and thread to create interesting collages. Surfaces are built up with layers of paper and fabric. Thread is used as a device to hold things together as well as to make drawing marks onto this multilayered surface. Material fee: $10 for collage materials
June 28 & 29 10:00 am – 5:00 pm Wendy Welch
Painting: Understanding Composition (PNTG w119-SS08)
Composition is an aspect of making a painting that we often take for granted, but how does it work? Focus, rhythm, symmetry, variety, repetition, economy, proportion and movement: from abstract expressionism to photo-realism, there is always the question of structure beneath the painted surface. Spend a weekend looking at examples from a range of historical and contemporary precedents. Learn to analyze how a picture comes together and apply a new point of view to the design of a painting.
June 28 & 29 10:00 am – 5:00 pm John Luna
Watercolour and Mixed Media (MMED w110-SS08)
This workshop explores the creative mark making and painterly possibilities of watercolour, gouache and ink. Students learn how the mediums differ and interact with each other and the unique properties of each. Students paint on unusual surfaces such as synthetic paper, mylar and rice papers as well as incorporating photo-transfers and other collage elements with pastels, colored pencils or other dry media.
July 5 & 6 10:00 am – 5:00 pm Alesha Davies-Fowlie
Comic Book Art (DRWG w122-SS08)
This workshop introduces students to some basic approaches to comic book drawing. Students have the opportunity to expand their imagination as they create their own personal narratives through the combination of whimsical drawings and text. Drawing experience is not necessary.
July 19 & 20 10:00 am – 5:00 pm Gareth Gaudin
Fresco Techniques from the Renaissance: The Sinopia Panel (PNTG w136-SS08)
This one-day workshop is an introduction to the Renaissance technique of fresco, a time-honoured process where artists paint with pigments on freshly laid wet lime plaster. Participants can imaginatively travel in the footsteps of Italian Renaissance painters Michelangelo, Masaccio and Pontormo, learning the basics as they would have done – preparing affresco panels, transferring drawings and painting a monochromatic fresco on a portable wooden panel. In Renaissance times, the sinopia served as the “rough draft” for artists awaiting approval by their patrons of proposed fresco projects, but by any standard, sinopia paintings are beautiful in their own right. Participants are encouraged to consider combining this workshop with Fresco Techniques from the Renaissance: The Colour Fresco. Material fee: $45 to cover the cost of a prepared panel, imported lime plaster and pigments
July 19 10:00 am – 5:00 pm Jan Gates
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Pinhole Photography (PHOT w104-SS08)
This two-day workshop on pinhole photography introduces students to the fundamental techniques of photography. Students learn about a multitude of pinhole cameras through hands-on construction and are introduced to the basics of the darkroom, where they print and process the images that they have captured throughout the day. Pinhole photography is a method of photography that offers something for any level of photographer, from advanced to beginner. This workshop would appeal to photographers working with traditional cameras as well as those working in a digital format. Material fee: $20
June 28 & 29 10:00 am – 5:00 pm d bradley muir
Pen & Ink: An Experimental Approach (DRWG w109-SS08)
This workshop uses the traditional form of drawing with pen and ink as a starting point to explore the possibilities of line, form, washes, collage and layering to create exciting and dynamic surfaces. A slide presentation, including artists such as Rembrandt and van Gogh to more contemporary artists who use ink in their work, complements the hands-on exercises. No experience necessary.
July 5 & 6 10:00 am – 5:00 pm Wendy Welch
Mark Making on Fabric (MMED w125-SS08)
Students discover the many ways to create pattern and design on fabric in this workshop. Students are guided through a series of sample making projects using simple print processes: stamping, monoprinting and screen printing in an interesting and straightforward way. Textile paints, thickened dyes and bronzing powders are explored through mark making, pattern and layering techniques. Using a variety of tools and direct application processes, participants will create a range of unique and delectable fabric pieces that can be further enhanced at home. Material fee: $75 to include fabrics, paints and use of silk screens specially prepared by instructor.
July 5 & 6 10:00 am - 5:00 pm Hilary Young
Silver or Copper Chain Jewelry I (MMED w113-SS08)
The striking and popular Byzantine chain pattern and the sleek ribbon chain pattern are both constructed of sterling silver or copper rings each student will cut. The freehand knitted bracelet in fine silver wire or copper wire is woven with fingers and a single knitting needle. Students will make their own simple fastening mechanisms to complete their three bracelets. No soldering and no experience necessary. Material fee (payable directly to instructor on day of workshop): $20 for copper, approx: $80 for silver (may vary according to current silver prices)
August 9 & 10 10:00 am – 5:00 pm Julia Lowther
Fresco Techniques from the Renaissance: The Colour Fresco (PNTG w121-SS08)
This one-day workshop is an introduction to the Renaissance technique of fresco, a time-honoured process where artists paint with pigments on freshly laid wet lime plaster. Participants can imaginatively travel in the footsteps of Italian Renaissance painters Michelangelo, Masaccio and Pontormo, learning the basics as they would have done – preparing affresco panels, transferring drawings and painting a colour fresco using natural earth pigments on a portable wooden panel. Participants are encouraged to consider combining this workshop with Fresco Techniques from the Renaissance: The Sinopia Panel. Material fee: $50 to cover the cost of a prepared panel, imported lime plaster and coloured pigments
August 9 10:00 am – 5:00 pm Jan Gates
The Gallery and Portfolio Preparation (SEMR w205-SS08)
This workshop is ideal for artists wishing to exhibit their artwork in a gallery. Through a combination of gallery trips, lectures and short writing projects, students gain a better understanding of the gallery and what is involved in becoming an exhibiting artist. In-class work includes information and exercises on how to write an artist statement, curriculum vitae and other necessary support material needed when applying to a gallery. Students learn the steps to creating a professional portfolio and start their journey toward exhibiting and promoting their artwork. Transportation to and from galleries will be arranged at VISA (car pooling). Please bring $7–12 for entrance fee to AGGV.
August 9 & 10 10:00 am – 5:00 pm Robyn Foster
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Watercolour Sketching (PNTG w126-SS08)
This workshop introduces students to some basic watercolour techniques through the simple and casual process of sketching. Students learn to use the sketchbook as a way to record observations and ideas as well as how to turn the book into an art object in itself.
July 19 & 20 10:00 am – 5:00 pm Tracey Nelson
Abstract Painting (PNTG w125-SS08)
This two day workshop gives students a brief introduction to the ideas and approaches behind abstract painting. Exercises focus on the formal composition structure of a painting as well as how to look at the ways the actual process of painting can inform surface and content.
July 26 & 27 10:00 am – 5:00 pm Sara McIntosh-Robichaud
Photographing Downtown (PHOT w101-SS08)
Instructor and photographer, d bradley muir takes participants around the downtown area of Victoria and discusses the various ways one might approach photographing the city. The focus is on taking photographs of buildings and architectural details and students learn about ways to think about composition, light, texture and other details necessary for creating interesting photographs.
July 26 10:00 am – 5:00 pm d bradley muir
Sculpture: Installation Art (SCLP w205-SS08)
This workshop introduces students to the world of sculptural installation. Working with personal objects, photos, furniture, clothing and fabric, students explore the possibility of creating private spaces in public places. In-class work includes hands-on experimentation with materials and demonstrations of sculptural techniques and construction. In addition to class work, this workshop includes discussions which focus on artists who challenge viewer participation, specifically artists who bring aspects of the private domain into public places and site specific artwork. No previous sculpture experience necessary.
July 26 & 27 10:00 am – 5:00 pm Robyn Foster
FACULTY
All members of the regular faculty at the Vancouver Island School of Art are practicing artists with teaching experience and graduate level university degrees.
Megan Dickie has taught at the University of Saskatchewan and is currently teaching at the University of Victoria. Her own art includes drawing and sculpture using a fascinating range of materials and techniques. Megan has had recent solo exhibitions in The LAB space at the Art Gallery of Greater Victoria and at the Nanaimo Art Gallery and was included in a group exhibition at Grunt Gallery, Vancouver, BC.
MFA, University of Saskatchewan BFA, University of Calgary
Sandra Doore does painterly installations that focus on physical and psychological space. Recent exhibitions include: Art Produce Gallery in San Diego (2006), Limbo Gallery, San Diego (2006), Blackstone River Gallery, Woonsocket, RI (2005) and Concrete Walls @ Backdoor Boba in Los Angeles (2004). She taught Drawing and Composition at San Diego State University and currently teaches at the University of Victoria. Sandra was the recipient of the SDSU Art Council Award in 2006.
MFA, University of California, San Diego BFA, University of Victoria
Jan Gates has studied drawing, fresco painting and painting restoration in Italy and has worked in Firenze as an apprentice painting restorer. She is completing an M.A. in Art History at the University of Victoria. Jan is also an art writer and has exhibited her work at Open Space, the Nanaimo Art Gallery and at Access Artist Run Centre. She has written a catalogue essay for the Southern Alberta Art Gallery and a recent exhibition monograph for the Nanaimo Art Gallery. Jan also teaches drawing and photography at Malaspina University College in Nanaimo.
MFA, University of Victoria BFA, Simon Fraser University
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Contemporary Book Structures (MMED w126-SS08)
This workshop is for anyone interested in incorporating art such as drawings/prints/photographs/ephemera into two innovative book structures. One is a hardcover concertina in which the pages are hinged together and works are mounted. The second is a softcover flag book in which images are hinged on a folded page which, when opened, creates an amazing panoramic view. The flag book format is also suitable for concepts of repetition and the inclusion of text art. No experience in bookbinding or special equipment is required to create these books. Material fee: $10 for book board, pastes and wax paper
August 16 & 17 10:00 am – 5:00 pm Lorraine Douglas
Printmaking: Chine en Colle (PRNT w103-SS08-AU)
In this two-day workshop, students receive a comprehensive overview of intaglio print-making and are given the opportunity to work with a professional print technician. The workshop introduces the intaglio monoprint by focusing on the chine en colle technique. Students explore various methods of applying this process and experience the advantages of collaborating with a “master-printer”. While participants will be creating the imagery, due to time restraints and the technical complexity of the printing aspect, all actual printing will be done by the print technician. Material fee: $25 for printmaking supplies
August 16 & 17 10:00 am – 5:00 pm Susy Raxlen
Transferring Image to Cloth (MMED w128-SS08)
This hands-on technique workshop offers students the opportunity to try several methods of transferring images onto fabric in black and white and colour. Students experiment with toner-based copies and inkjet prints, solvents, adhesives, photo transfer paper and transparency printing. Any image that ‘catches your eye’ can be transferred using the many different techniques explored during the two-day workshop. Working to a personal theme, students are encouraged to bring imagery and text to work to work from and to transferred onto a variety of fabrics. Material fee: $40
August 16 & 17 10:00 am – 5:00 pm Hilary Young
All weekend workshops have a one-hour break for lunch.
Xane St Phillip has over 15 years experience as an art educator and his work focuses on painting, sculpture and installation. He is also an art and design consultant in the architectural field. Xane has exhibited his work in Canada and U.S and is currently working on a ‘living wall’ for the Gateway Green development on Blanshard and Fisgard with Victoria architects De Hoog and Kierulf.
MFA, University of California Santa Barbara BFA, University of Victoria
Wendy Welch is an artist whose practice includes sculpture, painting, drawing, art writing and curatorial work. Wendy has taught at the Victoria College of Art, the University of Victoria and Camosun College. She has had a solo exhibition at the Southern Alberta Art Gallery and represented the Art Gallery of Greater Victoria at the Portland Art Fair (Affair@theJupiter) and has an upcoming solo exhibition at Open Space (2009). Wendy also writes for Monday Magazine, Border Crossings and Canadian Art.
MFA, University of Victoria BFA, Concordia University
GUEST INSTRUCTORS
Lorraine Douglas is a book artist and calligrapher and has taught classes and workshops since 1984. Her work has been included in juried and solo exhibitions in Canada and Japan and in 2004 her book and calligraphy sculpture “Spring Roll” received a Juror’s Award for Excellence in the Manitoba Crafts Council Spring Show. Lorraine has a Certificate in Education and a B A from the University of Manitoba and a BLS from the University of Alberta.
Robyn Foster is a Nanaimo-based sculptor with an MFA from the University of Western Ontario (2002) and a BFA from the University of Victoria (2000). Robyn has taught at the University of Western Ontario as well as at Museum London in London, Ontario and she has also participated in several group and solo exhibitions in London (Ontario), Winnipeg, Kelowna, Nanaimo and Victoria.
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John Luna grew up in Victoria and studied at the Victoria College of Art and the University of Victoria before completing his graduate studies at the University of Calgary. He has exhibited selections and installations of painting, drawing and related work in Victoria, Kelowna, Calgary and San Francisco. As a writer, John has contributed catalogue essays and criticism for publication in Victoria, Vancouver, Toronto and Jakarta. He also teaches at the University of Victoria.
MFA, University of Calgary BFA, University of Victoria
d bradley muir is an artist whose practice focuses on contemporary photography, sculpture and installation. He has taught at the University of Victoria and currently teaches at Camosun College. Muir recently received a BC Arts Council Production grant and continues to publish and exhibit on an internationally in Vancouver, Montreal, Toronto and New York.
MFA, University of Victoria BFA, Concordia University
Tracey Nelson is an artist who has worked in a variety of media, such as watercolour, papier maché sculpture, oil painting and video art. She has exhibited her work in Canada, the U.S. and Europe. Tracey has worked as an art educator for the past 15 years, taught at Concordia University, and worked at the Canadian Center for Architecture. Her most recent solo exhibition of watercolour drawings was at the Black Rock Gallery in Nanaimo, and she participated in a group show at the Martin Bachelor Gallery in Victoria in 2007.
MFA, Concordia University BFA, Concordia University
Inga Römer is a painter from Berlin, Germany. She received her Diplom in 2002 at the Staatliche Kunstakademie, Karlsuhe, where she studied under Silvia Bächli and Franz Ackermann. Inga has studied and exhibited in several European countries and Canada. Recent exhibitions include: Production Studios in Vancouver (2005), Deluge Contemporary Art (2005), Rogue-Art Gallery (2004), Gallerie Unter den Linden, Berlin (2001). Inga also teaches at the University of Victoria.
Diplom, Staatliche Kunstakademie MFA, University of Victoria
Sara McIntosh-Robichaud completed her BFA at Queen’s University and is currently completing her MFA at the University of Victoria. She has taught painting at the Surrey Art Gallery and has exhibited at the Jennifer Kostiuck Gallery, Vancouver; Sopa Fine Arts; Kelowna, Axis Contempoary Art; Calgary; Engine Gallery, Toronto and Espace B51, Montreal. Her work has been exhibited at international art fairs in New York and Toronto.
Mike McLean has worked as an instructor at the University of Victoria, and in NSCAD University’s continuing education department. His photography has been presented in group and solo exhibitions across Canada. His has a BFA from NSCAD and has recently completed his MFA at the University of Victoria.
Susy Raxlen is an artist who has had an intense involvement with intaglio printmaking for over thirty years. During her professional career as an intaglio printer, she has collaborated with close to a hundred different artists in Montreal, Santa Monica, and Victoria. Since moving to Victoria in 1992, she has established her own studio and has given numerous demonstrations and workshops in secondary and post-secondary schools and to individual groups in Victoria and other parts of Vancouver Island. She began producing her own work in 1996 and has developed an innovative approach to the application of traditional European intaglio printing techniques.
Hilary Young has had a successful career since graduating with a BA (Honours) from Edinburgh Art School, specializing in Textile Design. Winning many awards and selling her designs around the world, she continues to create exciting multi-media textiles. Her work has been exhibited in Germany, Italy, Scotland and at the prestigious New Designers show in London. Hilary has been teaching workshops in Scotland at the Edinburg College of Art since 2002 and most recently in Vancouver at Maiwa Handprints and Capilano College.
Shannon Wardroper, originally from Victoria, is a graduate of the Alberta College of Art where she majored in Textiles. She has spent the last twelve years teaching, working and studying abroad in Japan, Southeast Asia and the United Kingdom. Working with traditional techniques and recycled materials in a contemporary way to create large scale wall hangings and interior accessories, her work is exhibited and sold internationally, a highlight being her botanically inspired work for the annual Chelsea Flower Show in London.
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Alesha Fowlie is an artist who works in a variety of media including watercolour, acrylic, collage, assemblage and printmaking. She attended the Camosun Visual Arts Program then received a diploma from the Emily Carr Institute of Art and Design in 1993. Alesha has been teaching art courses and workshops at art centers around Victoria for over ten years. Her work hangs in private collections in Canada and internationally.
Gareth Gaudin has been drawing since he was five. As a cartoonist, he has been working on his “Magic Teeth” art project since 1990. He writes, draws, publishes and distributes his own line of comic books, graphic novels, records, cds and toys and spends his days working in his downtown Victoria comic book shop, Legends Comic. In 2004 he committed himself to drawing a cartoon-a-day for the rest of his life and is, as of this writing, 1302 days into it. Gareth has a BFA from University of Victoria.
Todd Lambeth attended the Alberta College of Art, the Emily Carr College of Art and graduated with honors in drawing and painting from the Ontario College of Art in 1991.Todd has exhibited across Canada in both artist run centres and commercial galleries, notably The Edward Day gallery in Toronto/Kingston, The Ingram Gallery, Toronto, the Kensington Fine Art Gallery, Calgary and Truck gallery in Calgary. In 2002 Todd received a Canada council grant to emerging Artists. Todd is currently finishing off his MFA at the University of Victoria.
Marilou Lemmens holds a BFA in Photography from Concordia University and an MFA in Visual Art from the University of British Columbia. Her work takes the form of video projections and installations, often including voice-over, text, animation and photography. Marilou’s work has been exhibited in solo and group exhibitions in Canada and in Europe. She has taught at the University of British Columbia and the Richmond Art Gallery.
Julia Lowther has been teaching jewelry making nationally and internationally for almost a decade. Her current work focuses on reviving and expanding the ancient arts of chain making. She loves the process of transforming stiff, unruly coils of wire into delightfully flexible and sensuous ribbons of chain. Julia’s work has been published most recently in Art Jewelry Magazine, and the books Chain Mail Jewelry, and The Art & Craft of Making Jewelry. She lives and works in Seattle, WA.
The Vancouver Island School of Art is located at 2549 Quadra Street (between Bay and Hillside).
Parking is available on site.
Bus route #6 Quadra (get off at Bay).
The Vancouver Island School of Art Society is a non-profit incorporation registered in the province of British Columbia.
The Vancouver Island School of Art is a Registered Charity. All donations of goods and money are welcome and are tax deductible.
The Vancouver Island School of Art is an accredited post secondary institution with the Private Career Training Institute Agency (PCTIA).
CORPORATE SPONSORS
TUITION AND REGISTRATION REFUND POLICY CORPORATE SPONSORS39 40
TUITION AND REGISTRATION
Six Week Courses: $225 (18 hours of instruction)
Six Week Courses (2 classes weekly): $350 (36 hours of instruction)
One-Week Workshops: $350 (30 hours of instruction)
Weekend (two days): $150 (12 hours of instruction)
Weekend (one day): $75 (6 hours of instruction)
Some courses have an additional supply fee – check individual course descriptions for details.
Please note that ALL courses and workshop have a SUPPLY LIST that includes supplies needed for the first class. Supply lists can be found on the website under the course or workshop description.
Payment can be made by cash, cheque, credit card or Interac. No GST is applicable as the Vancouver Island School of Art is a charitable institution.
To register or for more information phone: 250.380.3500 email: [email protected] www.vancouverislandschoolart.com
Registration forms are available on the website for those wanting to mail in their registration.
REFUND POLICY
A full refund will be provided if a course is cancelled by the Vancouver Island School of Art. If a student withdraws seven days or more before the start date of the first class, they will receive a full refund minus a 10% administration fee. If a student withdraws less than seven days before the start of the class, they will receive a full refund minus a 15% administrative fee. If a student withdraws after the first class, they will receive a full refund minus a 20% administration fee. There are no refunds after the second class.
Thank you to ourcorporate sponsors.
Art Courses and WorkshopsCertificate of Visual ArtsDiploma of Fine Arts
2008SPRING/SUMMER
Vancouver Island School of Art 2549 Quadra Street, Victoria, BC V8T 4E1 ph [email protected] www.vancouverislandschoolart.com
