Wood Panel Figurative Paintings

With Into the Deep Blue Sea, Nova Scotia-born, New Brunswick-based artist Colleen Wolstenholme presents a series of deep sea oil paintings and ink drawings, accompanied by a tent ins...

With Into the Deep Blue Sea, Nova Scotia-born, New Brunswick-based artist Colleen Wolstenholme presents a series of deep sea oil paintings and ink drawings, accompanied by a tent ins...

With Into the Deep Blue Sea, Nova Scotia-born, New Brunswick-based artist Colleen Wolstenholme presents a series of deep sea oil paintings and ink drawings, accompanied by a tent ins...

With Into the Deep Blue Sea, Nova Scotia-born, New Brunswick-based artist Colleen Wolstenholme presents a series of deep sea oil paintings and ink drawings, accompanied by a tent ins...

With Into the Deep Blue Sea, Nova Scotia-born, New Brunswick-based artist Colleen Wolstenholme presents a series of deep sea oil paintings and ink drawings, accompanied by a tent ins...

With Into the Deep Blue Sea, Nova Scotia-born, New Brunswick-based artist Colleen Wolstenholme presents a series of deep sea oil paintings and ink drawings, accompanied by a tent ins...

Oli Sorenson’s solo exhibition, «Après moi, le déluge » discloses a series of impactful works on the deadly perils of capitalism through a group of paintings, prints, watercolours, a...

Oli Sorenson’s solo exhibition, «Après moi, le déluge » discloses a series of impactful works on the deadly perils of capitalism through a group of paintings, prints, watercolours, a...

The artist thinks of their paintings primarily as landscapes. Lately, these landscapes have taken on a more manufactured feel rather than organic. At first glance, the subjects may a...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup...

Adam Gunn’s painting practice began with a desire to subvert the traditional still life genre, creating an absurd experience that would evoke a sense of uncertainty in the viewer. In...

Adam Gunn’s painting practice began with a desire to subvert the traditional still life genre, creating an absurd experience that would evoke a sense of uncertainty in the viewer. In...

Adam Gunn’s painting practice began with a desire to subvert the traditional still life genre, creating an absurd experience that would evoke a sense of uncertainty in the viewer. In...

Adam Gunn’s painting practice began with a desire to subvert the traditional still life genre, creating an absurd experience that would evoke a sense of uncertainty in the viewer. In...

Adam Gunn’s painting practice began with a desire to subvert the traditional still life genre, creating an absurd experience that would evoke a sense of uncertainty in the viewer. In...

The themes visited in this show stem from a desire to extend the vocabulary of my painting while forming a metaphor for the chaos of contemporary life. The title, Escalade, has differing and complimentary functions in English and French. Continuing to paint, over a lengthening career, the medium poses more questions than answers. The title is a reference to my attempt to overcome these difficulties through the expansion of my painting language. The title also refers to the escalation of crises in the world at large. It is the larger picture in which I am a small person trying to make my way. In a concrete sense, the title also refers to a strategy I have taken in a number of these paintings. That is, to re-examine very small paintings...

The themes visited in this show stem from a desire to extend the vocabulary of my painting while forming a metaphor for the chaos of contemporary life. The title, Escalade, has differing and complimentary functions in English and French. Continuing to paint, over a lengthening career, the medium poses more questions than answers. The title is a reference to my attempt to overcome these difficulties through the expansion of my painting language. The title also refers to the escalation of crises in the world at large. It is the larger picture in which I am a small person trying to make my way. In a concrete sense, the title also refers to a strategy I have taken in a number of these paintings. That is, to re-examine very small paintings...

The themes visited in this show stem from a desire to extend the vocabulary of my painting while forming a metaphor for the chaos of contemporary life. The title, Escalade, has differing and complimentary functions in English and French. Continuing to paint, over a lengthening career, the medium poses more questions than answers. The title is a reference to my attempt to overcome these difficulties through the expansion of my painting language. The title also refers to the escalation of crises in the world at large. It is the larger picture in which I am a small person trying to make my way. In a concrete sense, the title also refers to a strategy I have taken in a number of these paintings. That is, to re-examine very small paintings...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup being handed to me, and I can vividly remember the very first time I was able to wield colour with a red crayon. As a painter, I acutely feel the significance of this change in colour of the world’s landscapes...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup being handed to me, and I can vividly remember the very first time I was able to wield colour with a red crayon. As a painter, I acutely feel the significance of this change in colour of the world’s landscapes...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup...

Oil painting and collage on wood panel Unique work Hand-signed higher right by the artist

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

Oil paint on panel Unique Signed on the back

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice ca...

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice caps and slowed down the circulation of the oceans so that they have become like a gigantic stagnant pond. This still oxygen depleted water will allow the proliferation of anoxygenic bacteria that will change the chemistry of the ocean making it poisonous to oxygen dependant life. These bacteria will also release hydrogen sulfide into the atmosphere causing a mass extinction of animal and plant life on land. This stark yet colourful world will be sublimely beautiful, but there will be no one around to see it. This series of paintings depicts an imagining of our world after the catastrophic consequences of climate change through a reinterpretation of well-known images with a romantic sensibility towards nature. Romanticism was in part a reaction to the industrial revolution marked by a nostalgia for an untouched natural world and a reverence for its overwhelming power. Ironically the spread and continuation of that industrialism is predicted to set in motion a new version of nature that will completely overpower the human world as we know it. With these thoughts in mind, I’ve sourced some paintings associated with the romantic movement and removed the human figures from them – the only evidence of people are the decaying ruins left behind in this uncanny green and purple landscape. I’ve also referenced some photographs from the Apollo moon missions that are thought to have influenced the beginning of modern environmental awareness. The starting point for this series of paintings was Arnold Böcklin’s Isle of the Dead...

Oil paint on wood panel Signed on the back

Oil paint on wood panel Signed on the back

Oil paint on wood panel Signed on the back "Incanto" or the enchantment of shifting "Nicolas Kennett revisits the organic world through painted and s...

Oil paint on wood panel Signed on the back "Incanto" or the enchantment of shifting "Nicolas Kennett revisits the organic world through painted and s...

Oil paint on wood panel Signed on the back "Incanto" or the enchantment of shifting "Nicolas Kennett revisits the organic world through painted and sculpted matter. He oscillates b...

Holly King was born in Montreal and has a BFA from Laval and an MFA in visual art from York University. She currently teaches at Concordia University. Her photographs have been shown...

Holly King was born in Montreal and has a BFA from Laval and an MFA in visual art from York University. She currently teaches at Concordia University. Her photographs have been shown...

King’s interpretation of nature’s struggle takes the shape of small-format oil paintings, which depict landscapes merged with vessels that work to destroy or protect the environment ...

King’s interpretation of nature’s struggle takes the shape of small-format oil paintings, which depict landscapes merged with vessels that work to destroy or protect the environment ...

King’s interpretation of nature’s struggle takes the shape of small-format oil paintings, which depict landscapes merged with vessels that work to destroy or protect the environment ...

King’s interpretation of nature’s struggle takes the shape of small-format oil paintings, which depict landscapes merged with vessels that work to destroy or protect the environment ...

King’s interpretation of nature’s struggle takes the shape of small-format oil paintings, which depict landscapes merged with vessels that work to destroy or protect the environment ...

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice ca...

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice ca...

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice ca...

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice ca...

My painting practice began with subverting the idea of a still life to create an absurd experience where the presence of carefully observed and exaggerated absurd forms painted from ...

My painting practice began with subverting the idea of a still life to create an absurd experience where the presence of carefully observed and exaggerated absurd forms painted from ...

My painting practice began with subverting the idea of a still life to create an absurd experience where the presence of carefully observed and exaggerated absurd forms painted from ...

My painting practice began with subverting the idea of a still life to create an absurd experience where the presence of carefully observed and exaggerated absurd forms painted from ...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...