"sandhills feeding" oil, 2023, Lesley Schatz
Sacred Ground means many things to many beings; means different things in different languages but the unspoken quiet in the world beyond the hum and buzz of the cities and towns tells us what Sacred Ground means by its silence:
Paintings are quiet ways to tell stories. In this collection of works I respectfully bring my passion for our beautiful and diverse world to you, my audience, who also is a part of the sacred ground, that we all might hear something in the silence. ~Lesley Schatz
Paintings are quiet ways to tell stories. In this collection of works I respectfully bring my passion for our beautiful and diverse world to you, my audience, who also is a part of the sacred ground, that we all might hear something in the silence. ~Lesley Schatz
My work is an inquiry into domestic space using the language of painting and ceramics. What makes a house a home? How does one evoke a sense of history, memory, legacy, and narrative? My paintings and ceramics flirt with the line between fine art and decoration, using both trending and vintage colours, patterns, and objects that evoke the quotidian, the nostalgic, and the rituals held within domes c space. I am interested in contemporary depictions of the home found in advertising, television, and social media. Consumer culture sells the image of a home as a place of perfect harmony and family life where happy memories and boundless imagination are promised through the designer goods and curated spaces that evoke feelings of nostalgia, vintage simplicity and nostalgic elegance. My paintings play with the unattainability of these states by moving between representation and abstraction, expressing oppositions such as Beauty and ugliness; disruption and continuity; and finally through the research of both contemporary and historical paintings.
My most recent body of work is a series of large paintings depicting still-life oral arrangements. Drawing on the long history of still-life, these works continue to explore notions of excess, while also reflecting on the transience of life. Working through post COVID pandemic, these works have moved from reflections of personal loss to a pervasive experience of collective grief, anxiety, and transformation.
Throughout my work there is a fascination with representations of domesticity, and how these representations dovetail with notions of gender and femininity. I amplify these connections using a visual language that evokes the ethos of the baroque when theatricality, bravado, and material excess conveyed the emotion and movement of the domestic and the palatial. - M. Eileen Murray
My most recent body of work is a series of large paintings depicting still-life oral arrangements. Drawing on the long history of still-life, these works continue to explore notions of excess, while also reflecting on the transience of life. Working through post COVID pandemic, these works have moved from reflections of personal loss to a pervasive experience of collective grief, anxiety, and transformation.
Throughout my work there is a fascination with representations of domesticity, and how these representations dovetail with notions of gender and femininity. I amplify these connections using a visual language that evokes the ethos of the baroque when theatricality, bravado, and material excess conveyed the emotion and movement of the domestic and the palatial. - M. Eileen Murray
@TheLebel
Crowsnest Pass Allied Arts Association gratefully acknowledges our ongoing relationship with the Allied Arts Council of Pincher Creek. They operate The Lebel Gallery and Gift Shop at 696 Kettles Street, Pincher Creek, Alberta.
Click on the link below to visit their website.
Click on the link below to visit their website.
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