Thanksgiving

For all these trees. For this cabin. For the studio. For my neighbours. For this beautifully enveloping artist residency at Sitka Center. For the Sitka workers.
For land without names, borders and division.
For time & space to explore. For the desire, ability and encouragement to create art.
For the elks who have and have not been shot during hunting season.
For the rain. For the sunshine. For the wind, for the thunder. For the river, the estuary, the ocean. For the seals and sea lions, fish and birds.
For those who trust. For those who help. For those with compassion. For friends who be in touch, for friends who don’t. For friends who love. For family.
For music. For contrast, pain, doubt, sorrow, loss. For introspective time & the inner journey.
For creators.
For counters of stars. For thinkers, actors, writers, dancers, lovers. For caretakers.
For angels. For all my relations in spirit. For dreamers.

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Islands & Time

It is amazing to me that I am already three weeks into the month long artist residency at Earthskin in New Zealand! Since packing my things into storage in Vancouver to make life as creatively exploratory and affordable as possible, I have spent time at Lake Ontario visiting family and house-sitting, attended my beloved Uncle Liam’s funeral in Ireland with my Dad, spent a whirlwind eighteen days in Gwaii Haanas and the Haida Gwaii Museum as one of three artists in residence and am now preparing an artist talk for this Sunday at Earthskin.

With the rise in rent at the ARC (Vancouver’s unique live/work artist’s studios) and my desire to continue to develop my art practice outside of painting work for commercial galleries, these residencies have been a perfect unfolding for me both professionally and emotionally. I have felt my body relax here in a way that it hasn’t in years. Emerging through exploration of the Nikau palm forest, the Gannet bird colony and Muriwai Beach, is the organic linking of new themes that began in Gwaii Haanas with already established ones from my MFA studies in Cornwall, UK.

My art practice is evolving in unexpected ways and as a direct response to following this interdisciplinary path, I have added two new pages to the website: COLLECTIONS & EARTHWORKS. I am also building a synopsis page of the artist residencies I’ve done since 2012 to visually link these creatively intense periods that have marked significant shifts in the art I make.

Next up: from October 3rd through until mid-January I will be Artist in Residence at the stunning Sitka Center for Art & Ecology (Oregon coast, USA) with several artists, poets, musicians and ecologists. To follow the day to day stream of photographs, please follow me at ‘siobhanhumstonart’ on Instagram

Meanwhile, here’s a sampling of what’s new.

eelgrass globeEelgrass Globe, Haida Gwaii Museum, July 2017 [Earthworks page]

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Tidal Marking, Haida Gwaii Museum  [Earthworks page]

blacks & colours laid outKunghit Island Finds, Haida Gwaii Museum [Collections page]

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Ninety Gwaii Haanas Islands, Haida Gwaii Museum [not yet posted]

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Never an Island, Always the Sea, Earthskin New Zealand [work in progress]

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Earthskin studio, work in progress

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Earthskin studio, Never an Island drawings in progress

 

 

Upcoming Artist in Residence gigs

I am honoured and excited to share with you that I have been selected as an Artist in Residence by the kind folks at Parks Canada and Haida Gwaii Museum. The residency will be for two weeks this coming July and offers a three person exhibition at the museum for early 2018.

The course of my adult life has seen me following a trail of creative crumbs that continues to lead me to the deeper parts of my soul through connecting with nature and such a lovely variety of people from all over the world. I have followed both my family line and my heart’s path. These two upcoming residencies, the first in Gwaii Haanas National Reserve and the second at Earthskin in New Zealand feel like a coming home to elsewhere, that liminal place of land, sea and the greater past. Of nature and of exploration.

Thank you to everyone who helps with words of encouragement and hope. To collectors of my work and professional connections, to my family and my friends: I am so blessed to be sharing these breaths with you. Haawa. Bless.

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Lynn Canyon, North Vancouver

Not Lost at Sea exhibition photographs

Thank you to everyone who came out to the opening reception of my solo exhibition Not Lost at Sea this past Sunday! It was lovely to see people interacting with the work and engaging in a variety of conversations about the pieces. Special thanks to Curator/Director Rosa Quintana Lillo (Rosa Quintana Lillo at Fazakas Gallery) and welcome to new Artist in Residence Bren Simmers.

 

 

Tender to the Sea catalogue, re-release

With over eighty photographs of recent sculptures, installations, paintings and drawings, the Tender to the Sea catalogue has been edited and is about to go to a second printing. It contains forty-eight pages of writing & documentation of the work and work-in-progress.

For pre-order at $14, which will include postage to wherever you’d like it sent, please email me at smhumston@gmail.com, text or call me in Vancouver at 00-1-604-773-9229 or contact me at twitterinstagram or linkedin.

Payment can be made via Paypal, by cash if you’re in Vancouver, cheque via post to Studio 308-1701 Powell Street, Vancouver, BC Canada  V5L 5C9 or by direct deposit via my email address shumston@gmail.com. I am registered on Paypal under my full name and email address smhumston@gmail.com.

Special thanks to Derek von Essen, who helped refine the design and correct all those pesky little mistakes, and to my good friends and my good dad who helped proofread. You are far more insightful than spell check!

Thank you, as always, my lovelies!

Cheers, my lovelies,
Siobhan

cover pages
Front & back cover |  7″ x 9.5″

Desire Line, pg 35 .jpg

 

 

Back Lane West, Artist in Residence

December 2015/January 2016 | Back Lane West, Artist in Residence  |
Redruth, Cornwall   UK

Back Lane West was a great space to finish off some new work, develop new iterations of recent pieces and re-stage the Tender to the Sea work from my MFA degree at Falmouth University. Special thanks to Jane & Patrick who run this residency with great dedication and with a compassionate interest in what each artist brings to BLW’s collective story.

 

In this body of work Tender to the Sea, I weave my art making process through the development of Day-to-Day Aesthetics methodology with varied environmental concerns and personal interests. Through the consideration of materials available to me by chance and circumstance combined with addressing the importance that place plays on the human psyche, I strive to create work that is deeply personal and intricately connected to my time living in Cornwall.

The plan for my time of academic and practical study was not to work on one specific project but to create a body of work that would effectively interlace elements of my existing art practice, adding interests in three dimensional work, sound and video alongside my passion and commitment to issues of the natural environment and human interaction with it.  My task as an artist is to create work that is stimulating, intriguing and inspiring and that may transport the viewer to a state of wonder or awe or inquiry. Using my immediate surroundings, past experiences with my existing creative space, I make objects, installations, video/soundscapes that seek to enrich and broaden the experience of those who come into contact with them. Beyond these concerns are questions, answers, challenges, successes, flops and work that continues to suggest a forward movement. A movement toward connectivity, between myself and the viewer and perhaps even more significantly, between myself and my own work.

Taking inspiration from those artists and critics with similar interests such as Suzi Gablick, Allan Kaprow, Joseph Beuys and the Arte Povera group, I respond intrinsically to the question Where am I in the art? and furthermore think philosophically about Where am I in the seed from which it grows, the fruit that it produces and at all stages in between? To create work that is deeply personal is a risk. It speaks beyond the fashion of what is expected and aspires to uncover new territory. I believe the greatest potential of art-work created from a place of emotional and spiritual authenticity is that it may inspire its audience to also take risks, ask questions and delve deeply into the humanity and fragility that is life.’

Introduction from Tender to the Sea catalogue, 2016