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I’m pleased to present the fin­ished work, “The Artist’s Daugh­ter”. Fea­tured in ear­lier posts, and the sub­ject of a process video (see links below), this has been an impor­tant work for me — not only because my model and muse is my daugh­ter Grace, but because it was my first con­cen­trated effort in cre­at­ing a fig­u­ra­tive work in a clas­si­cal style.

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Any time that I spend a lengthy time work­ing on tight, clas­sic work…it’s too much for me. My cre­ative mus­cles atro­phy; my brain keeps me up all night and I feel like I’m trudg­ing along, ther­mos and lunch­pail, to my shift at the fac­tory studio.

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There is a big dif­fer­ence in work­ing on site, with all of the sen­sory input of the moment. Sound, light, colour, smells…they all ADD to the moment of rap­ture when cre­at­ing the work, and for me as an artist, there is noth­ing quite like that pure energy of cre­at­ing the “feel­ing” of what you have in that one moment and place.

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Art con­nects us and cre­ates space for new expe­ri­ences and dia­logue. This is the true value of a work, whether it is a piece of the­atre, music, writ­ing, sculp­ture, dance or a paint­ing that some­how moves us.

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I’m thrilled with what is com­ing off the easel for the paint­ing com­po­nent of the CAMP project, and so happy to share this work with you. Look­ing at this work on your small mon­i­tor can’t pos­si­bly cap­ture the scale of the pieces, many of which are six feet long. The works […]

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Some excit­ing new major works by Jan­ice Tan­ton hit­ting Effu­sion Gallery in Inver­mere, BC on Sat­ur­day, Feb­ru­ary 24, 2012.

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I’ve been work­ing on some very large pieces for a cou­ple of months for the CAMP body of work. The works — some of them 8 feet long and 4 feet high,  require mul­ti­ple lay­ers of glaz­ing, atten­tion to detail and drafts­man­ship and an eye for sub­tle light […]

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CAMP — Sneak Peek!

On February 16, 2012 By

My stu­dio is brim­ming with 95% fin­ished paint­ings in the CAMP project. Today was a good day as I worked on a mon­u­men­tal six foot piece. Here’s a sneak peek of the work.

 

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How a canoe is tra­di­tion­ally built reflects the form human so per­fectly as well. There is a bone struc­ture to it — a rigid­ity but yet flex­i­ble struc­ture that under­pins the func­tion and pro­vides form. The skin — a can­vas in many cases for the older canoes or actual skins of trees or ani­mals with ear­lier indige­nous canoes, the ves­sel itself becomes this human­is­tic art form for me.

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