Art Review: The Awww of Architecture. Written by, Crystal Roy April 11 2019

For as long as there has been human beings they have created a place to worship. Worship means difference things to different peoples and cultures but no matter the origin, people have gathered to give thanks and celebrate beings greater then themselves. These spaces are most successful when architects and designers consider not only the user, but the atmosphere the users want to experience while in the space. Are they there to be self-reflective, give thanks to a higher being or celebrate? Many elements can be a contributing factor to the effectiveness of space on the people entering the space, including location, building materials with lighting playing a major role.

To begin with, the Ronchamp Chapel designed by Le Corbusier (1954) in Ronchamp, France. In the mid-20 century the design of this chapel become historic. It was a turning point in Le Corbusier’s career (Winston, 2016) and it broke away from traditional geometric structures. Using traditional materials Le Corbusier designed an organic form on the inside and outside of the chapel.

Ronchamp Chapel,

The chapel roof was designed to curve up, this may at first appear to be an odd feature however it was built to create a space between the walls and the roof itself. Like peeling the lid open, when inside the chapel this serves to let in additional light. It also creates a rim or hallow around the space. Additionally, the windows are a signature of Le Corbusier’s design style; the way the interior ledges of the windows are angled it allows for maximum light to enter throughout the day (regardless of where the sun is positioned in the sky). He used coloured glazing, Le Corbusier stressed that this was not to be considered stain glass but just a feature to see the outdoors (Winston, 2016). Although Le Corbusier didn’t want there to be a connection to stained glass there is one none-the-less; this occurs simple because of the history and uses of coloured glazing throughout the ages. The colouring of the glazing adds to the atmosphere within the space. It diffuses the light creating a softer atmosphere, calming the space for quiet reflection.

The walls follow an organic curved movement on the exterior as well as the interior of the building. The floor on the inside of the chapel also follows a natural line, as it follows the slope of the land it sits on (Winston, 2016). This form pays respect to the land it’s on by using simple materials and reducing the impact the construction had on the environment and the future use it may endure. The building is meant to be used as a Catholic chapel, but the limited seating is only meant to serve a small community, allowing for an intimate setting. Although Catholicism addresses higher heavenly duties which could be over whelming for some, but the smaller physical space may ground these issues. By balancing the scale of the chapel, atmosphere and content of the teaching Le Corbusier was able to create a memorable space that has become an iconic structure. Through the use of simple materials, multiple sources of natural light and an organic design Le Corbusier has created a space for simple contemplation. Whether it be for religious purposes or not, but through these simple design choices users are able to make a greater connection because there are fewer ornamental discretions.

In contrast, a new temple will be built in the Nevada dessert. Many people throughout North America have heard of Burning Man, a week long festival that gathers a diverse group of people. The festival hosts classes, music, food, art, meditation, religion and more for goers. A featured element of the festival is to erect an effigy made of found items throughout the week. At the end of the festival the effigy is burnt to symbolize the end of the celebration. In its own way Burning Man and the creation of effigy in the spirit of the festival is a form of worship. This year, 2019, the organizers have commissioned the creation of a temple. In the same spirit of the effigy this temple with also be burnt at the end of this year’s festival.

Burning man, Taylor, 2013

Temple Design, Baldwin, 2018

Although not a traditional form of worship, thousands of people from around the world make a pilgrimage to the Black Rock City, Nevada in order to attend Burning Man. They go in search of enlightenment and celebration, and like religion it means different things to different people. Where Burning Man used to be a metaphoric experience, this year marks a new development at Burning Man with the creation of the temple. This temple is intended to be used “to elicit both a "physical experience and a metaphorical journey." as a space that responds to the openness of the playa by creating a framework that encourages visitors to travel from end to end. Spanning 180-feet-long, 37-feet-wide, and 36-feet-high, the Temple will be oriented so its four entrances will align with the cardinal points. Decorated with lanterns, the temple's "linear form reflects the passage of life with its beginning, middle, and end,"” (Baldwin, 2018). Although some participants do go for a religious journey will the creation of an actual temple have the opposite effect then it is intended? Will the goers of the festival see the temple as the corporatisation of the festival? We can not say one way or the other until the end of this year’s festivities on September 2, 2019. However, reading the description of the structure they will build a space of quiet reflection amid the celebration (will it remain silent remains to be seen). The metaphorical journey that the organizers describe about traveling from one side of the temple to other can be seen as the journey the festival participants go through as they start the festival as opposed to where they end.

Following a more traditional approach to the architecture of a place of worship the architecture at Abalos + Sentikiewics Achitects took on the New Bund District Church in Pudong, Shanghai, China. The interior of the space is open with minimal ornamentation, the tall thin windows let in soft natural light throughout the space with pendent lights that mimic the tall thin space of the windows are aligned evenly within the main hall. The altar is a simple platform that is raised by three steps from the main level, it’s the practitioners that are raised above the alter. This symbology denotes an appreciation and gratitude to those that are using the space putting them in an elevated position.

New Bund District Church, Abalos and Sentkiewicz, 2018

New Bund District Church, Abalos and Sentkiewicz, 2018

This building is located in a highly populated part of the city and encourages all people of the community to use their building. There is a large exterior staircase that leads to the roof top activity area and green space of the church (Abalos + Sentkiewicz, 2018). But as the church encourages all to use the space it is more inviting and inclusive. This open invitation can be seen as a recruitment tool for the church but I chose to see this action as the church’s use as a community center. The open floor plan and multipurpose flexibility of the worship space also lends itself to the idea that this building can function as a community center.

Similarly, Meditation Hall in Huanghua, Cangzhou, Hebei, China also uses a form of pure minimalism to emphasise the space and allow for greater reflection. Originally used as retail space across from residential living these meditation spaces took advantage of the linear design that the structure already provided (ArchDaily, 2019). This building is located across from a wetland and was used as the inspiration for the interior space.

Meditation Hall, ArchDaily, 2019

Meditation Hall, ArchDaily, 2019

The architects, HIL Architects, started the conversion of this building with one space and slowly moved from room to room. Eliminating all unnecessary ornamentation the rooms have flat walls and solid colouring with minimal lighting. With minimal lighting in the space and no windows natural light enters through the door and dissipates as users move through the space (ArchDaily, 2019). As more rooms were added soft, sporadic and spontaneous lighting was added to the meditation halls. As a way to honour the land around the building still bodies of water were designed along the walls guiding users through the space. “The image that four huge columns rising from the water and the vessel being lifted together synthesizes, as though the whole meditation hall is a protective shelter for an archaeological site one the wetland, creating an imagery ‘wetland’ in meditation” (ArchDaily, 2019). As large as this quiet space is, moving through it would have a relaxing affect on the users. The dark space and yellow lighting would be like an embrace creating a comforting space instead of an overwhelming large empty hall.

Finally, Unity Temple designed by Frank Llyod Write uses simple materials and light to represent a religion that is based on utility, whether it be people, places or things. Wright was award the commission to rebuild the temple after a new leader was appointed. The new minister Rodney Johonnot published a book extolling the new direction of the church “he wanted a modern building that would embody the principles of ‘unity, truth, beauty, simplicity, freedom and reason’” (Frank Llyod Wright, 2019). The new qualities of the church were embodied in Wright’s work. Simplicity was an important factor of the church’s doctrine and of Wright’s architectural style however when evaluating his work he uses one simple form and repeats it multiple times and at different levels to create interest. This can undoubtably be seen in the exterior of Unity Temple.

Unity Temple, Gibson, 2017

Unity Temple, Rose, 2015

Again Wright repeats the square/rectangular space from the exterior on the interior. This creates continuity throughout the building but also re-enforces the beauty that can be found in simplicity. Once in the space because of how Wright positioned the stain glass windows and using the light that enters the space is warm and uplifting; one that can be described as sublime and perhaps divine.

No matter the place or kind of worship the best spaces are the ones that are designed with not only the user and use in mind, but are also designed with what feelings are intended to be experienced in the space. With all these structures we see that lighting is an integral part of creating of space for people. It dictates how people will feel in a space, which is a crucial facture. If users feel cold and unwelcome they will not return, leaving your space unused, however if users are embraced, welcomed and safe in an environment they are more likely to stay long and return more often. We also can see a connotation between how the light is used to denote different types of worship, bright warm lighting has a connect to the divine (something from the heavens) while low warm lighting has the tendency to provide a quiet tranquil space for individuals to look inwards for self-reflection.

References

Abalos + Sentkiewicz. (2018). New Bund District Church. Retrieved from: http://abalos-sentkiewicz.com/projects/new-bund-church/

Abalos + Sentkiewicz. (2018). New Bund District Church. Retrieved from: http://abalos-sentkiewicz.com/projects/new-bund-church/

ArchDaily. (2019). Meditation Hall. Retrieved from: https://www.archdaily.com/912262/meditation-hall-hil-architects

Baldwin, E. (2018). Burning Man Reveals 2019 Temple Design. Retrieved from: https://www.archdaily.com/908499/burning-man-reveals-2019-temple-design

Bianchini, R. (2018). Notre Dame du Haut Chapel by Le Corbusier-Ronchamp. Retrieved from: https://www.inexhibit.com/mymuseum/notre-dame-du-haut-le-corbusier-ronchamp-chapel/

Frank Llyod Wright Trust. (2019). Unity Temple Retrieved from: https://flwright.org/researchexplore/unitytemple

Gibson, E. (2017). Frank Llyod Wright’s Unity Temple was the “first expression” of modern architecture. Retrieved from: https://www.dezeen.com/2017/06/12/unity-temple-frank-lloyd-wright-chicago-oak-park-modern-architecture-150th-birthday/

Rose, A. (2015). Restoring Unity: Frank Llyod Wright’s Temple Gets Update for Eternity. Retrieved from: https://design.newcity.com/2015/04/21/restoring-unity-frank-lloyd-wrights-temple-gets-updated-for-eternity/

Taylor, A. (2013). Photos of Burning Man 2013. Retrieved from: https://www.theatlantic.com/photo/2013/09/photos-of-burning-man-2013/100584/

Viral Budda. (2019). Meditation Hall. Retrieved from: https://viralbudda.com/meditation-hall-hil-architects/

Winston, A. (2016). Le Corbusier’s Ronchamp chapel is one of the 20th century’s most important buildings. Retrieved from: https://www.dezeen.com/2016/07/24/le-corbusier-notre-dame-du-haut-ronchamp-chapel-france-unesco-world-heritage-list/

Art Review: The Female Nude, Cassatt vs. Degas. Written by: Crystal Roy April 6 2020

Introduction

“…it is not hard to understand Degas’s reaction to it. It has all the qualities that distinguish Cassatt’s most powerful Impressionist-phase pictures; it is highly realistic, in both a physical and psychological sense; it shows a solitary female figure unaware of being observed; its coloring (almost entirely shades of rose and white) is extremely subtle; and it is composed in such a way that the image one sees is enlivened by its fusion with the picture surface. (Munson, 1999)” This was said of an exhibition that showed in Washington, DC at the National Gallery of Mary Cassatt and Edgar Degas’s work. The two artists were long time friends during the Impressionist period in France in the late 1800. Because of their friendship and subject matter their work is often compared. Both artists chose to depict the female figure as the subject for many of their works. Throughout her career Cassatt’s work was scrutinized more so then her contemporaries because working as an artist was not an appropriate life to lead for any woman at this time. As such she sought to disconnect herself from her work, “her neutrality, or disinterestedness, enable her to paint extraordinarily compelling pictures of people… (Munson, 1999).” Her work focused on technique, mastering movement and the feeling the painting should invoke in the audience. Degas also focus his subject matter on everyday people in their daily lives. His technique was mastered through self-taught study and copying the masters at the Louvre. (Edgar Degas, 2017) Though Degas is best known for his ballerina’s, he also completed a series of nudes in which women were bathing. Both subject matters are created with the intention that the subjects didn’t know they were being watched however he’s nudes take on a voyeuristic aspect that Cassatt’s figure do not.

One of the reasons for this is the male gaze, which is “the patriarchal unconscious and spectatorial pleasure (Hollinger, 2012)” which is put upon women. It has been used in many forms of art work, and in today’s society it is also used in media. However in the case of Degas’s After the Bath (Woman Drying Herself) and Cassatt’s The Child’s Bath the voyeuristic feeling achieved in each piece is based on the development of the scene as oppose to the gaze.

Body

Edgar Degas was a French artist who worked along side the Impressionist group of artists based in Paris. Impressionist paintings are colourful landscapes or scenes with an elusive haze to them. This was because the artists wanted to capture a moment in time but unlike painting styles that came before it Impressionism was not a freeze frame of time but movement caught in action. The scenes that were being depicted had life before the painting and continued to have life and action after the work was complete. Although Degas was part of the Impressionist movement which was the popular style of painting at the time he considered himself a realist (Seventh Art Productions, 1998). Degas preferred this term because his line work and subject matter differed from other artists in the movement. The line work of a majority of Impressionist artists was uneven and undefine this is how they achieved movement in their paintings. Degas however studied the works of classical artists and preferred to have clean distinct line work to define the forms in his pieces (Seventh Art Productions, 1998). This line work can be seen in his series of works After the Bath which were exhibited at the Salon in Paris in 1896 (Seventh Art Productions, 1998).

Using After the Bath (Woman Drying Herself) as an example we can see heavy charcoal lines framing the woman’s body as well as being used being used to define the folds of the fabric the woman has under her body and in the background of the scene along the wall, tub and within the shadows. It is safe to say that if any of the other Impressionist artist were capturing this scene the background would not contain this heavy line work or have such saturated colouring to it. Because it is in the background the colours would be a lot more muted to show that they are farther back and undefinable. Degas’s use of shading is another key element that defines he’s style. Where the Impressionist shading was hazy, Degas’s shading forms the fullness of the figure in the foreground. The most refined part of the artwork is the woman drying her body. The rest of the objects in the piece have little rendering of forms. The wall in the background is flat with only slight variation in tone, and the tub is identifiable as such because it’s in context to the woman, but again the tub itself is flat with little depth development.  Even the space in which the woman is drying herself is undefined. The object she is resting on could be a pile of fabric or a chaise lounging chair as the viewer can see an exact form beneath the draped fabric. The shading on the woman’s body is the most developed part of the artwork.

Degas, “After the Bath (Woman Drying Herself")”

At the time of exhibition the After the Bath series was controversial because of the way in which Degas decided to depict the women in the works. Before this, nudes were always depicted in posed scenes and there was an intension behind the way in which the figures were posed (Seventh Art Productions, 1998). Previously in paintings of nudes the subjects were usually facing the audiences so there was an implication and awareness that the human body was going to be seen by others. In classical art the human body was usually painted in the nude during times of combat as a way to depict strength and virility.  In Degas’ series the viewer of the work is unaddressed by the subject matter which gives the illusion that we are looking at something we shouldn’t, something private is being seen. Although this is the feeling achieved in the scene all the bathers were models used by Degas and staged in the After the Bath scenes in his studio (Seventh Art Productions, 1998), the models fully aware of the intension behind the work. Despite the fact that these scenes were staged and Degas had time to refine the piece, but he didn’t. It’s not only the male gaze that creates a feeling of spying on something private, it’s the rushed nature of the work. As if the artist was hurried when capturing the scene, he couldn’t finish the drawing before the woman was done. When comparing the voyeurism of Degas’s After the Bath (Woman Drying Herself) to Mary Cassatt’s The Child’s Bath, 1893 the audience doesn’t have the same feelings.

Mary Cassatt was a rarity amongst the Impressionist, she was an American and a woman studying painting in Paris. At the time, painting and wanting to become a professional artist was not an acceptable way to live, as she came from a well-to-do family she was expected to marry and start a family (Munson,1999). However Cassatt decided to regret this life and dedicated herself to painting and studying the arts, and through her commitment she “master[ed] three different madia: oil painting, pastel and printmaking (Higonnet, 1999).” Although her father didn’t agree with her chosen career path because she came from a family with money she was able to study under different teachers and travel through Europe studying the masters on display in museums (Higonnet, 1999). Cassatt discovered Degas’ work on display in the window in Paris and immediately became enamoured with his technique. Cassatt began a friendship with Degas after her works were accepted to a couple of group exhibition at the Salon in Paris and he invited to be part of the Impressionist artist group the Independents (Higonnet, 1999). Their works influenced each other even though the subject matter and techniques differed. They were able to find a comradery perhaps because they were slightly on the fringes of what the Impressionist were creating at the time. Degas focused on creating works indoors and Cassatt was a woman and the other Independent artists focused on painting outdoors (Edgar Degas, 2017). Mary Cassatt’s The Child’s Bath is painted with more care and consideration for the subject matter than Degas’s bathers.

Cassatt, “The Child’s Bath”

A mother bathing her child using a basin of water is the subject matter of The Child’s Bath, and admittingly this could be a private, guarded time for the two figures in the scene they are not phased by someone watching them. Unlike Degas’ work the colours in Cassatt’s piece are softer and the hard black line work that Degas enforced isn’t found in this scene. Soft edges around the figures and the objects are a staple of the Impressionist. The mother is gently washing the child’s feet, while the child holds on to the mother’s leg to stop from falling. Even the hand wrapped around the child’s waist to help support them is holding on to them lightly. Furthermore unlike Degas’ work this piece has a fully developed scene for the characters to exist in. The brightly coloured rug makes the white patterned dress the woman is wearing stand out. And the soft background could be a flat colour but instead Cassatt has added a pattern creating the illusion of a sofa, or decorative cabinetry.

Conclusion

Looking at Degas’ After the Bath (Woman Drying Herself) the voyeur is depicted as having a male gaze placed on the woman in the artwork. We can image that when the woman turns around she will be startled to find us there. Where as Cassatt’s The Child’s Bath, both subjects know the viewers is there male or not, and they are not intimidated as if to suggest they know the viewer.  There is also a difference in how the works are drawn. Degas work seems to have been rushed even though it was staged in his studio. The lack of detail in the surroundings of the woman suggest that he did not have enough time to complete any patterns that may have been found on the fabrics, wood gain on the cupboards or the creation of depth. All his attention is focused on the woman leaning on a chair for stability. These details reference back to the idea that we are looking at something we shouldn’t, all our attention is on this forbidden thing. Another aspect of Cassatt’s work that suggested this subject was staged is that both figures have their heads down. They are relaxed and in a position of restful action instead of private action, as such Cassatt was able to convey a scene which was made for the viewer.

Both artists gave up family life to dedicate their lives as working artists. Although Cassatt’s woman-ness was seen as a downfall at the time, in hind sight it may be the reason way her figurative works are treated with a “neutrality, or disinterestedness” (Higonnet, 1999). She didn’t want her paintings to be seen as womanly and put down for being so. She had to disconnect from her subject matter where her male counter parts did not. She treated her female subjects with respect and consideration. Degas chose to pose his nudes in this fashion to contrast those seen in works of the masters in museums like the Louvre. However what he may not have taken into consideration is the discreet and intimate space he’s placed the figure and the intimate actions that she’s preforming. Perhaps if there was more care given to the scene it wouldn’t seem as though we are looking at a secret action quickly and that’s why the details are unclear and our view is only on what is desired. Mary Cassatt was able to take time and fully develop her painting and create a narrative within the work, which is why we are more at ease when looking at this composition.

References

Edgar Degas. (2017). Biography. Retrieved from: https://www.edgar-degas.org/biography.html

Higonnet, A. (1999, June). Mary Cassatt, Painter of Modern Women. The Women’s Review of Books. 16(9). 1. Retrieved from: https://eds-a-ebscohost-com.eztest.ocls.ca/eds/pdfviewer/pdfviewer?vid=5&sid=0abc2dc8-061f-49aa-afe4-e3e15f31b8e3%40sdc-v-sessmgr01

Hollinger, K. (2012). Feminist Film Studies. Abingdon, Oxon, England. Routledge. Retrieved from: https://eds-a-ebscohost-com.eztest.ocls.ca/eds/ebookviewer/ebook/ZTAwMHhuYV9fNDc5ODQ0X19BTg2?sid=431667d0-6ed1-4a5c-a206-d13ac51f7b7c@sdc-v-sessmgr02&vid=3&hid=http://eds.a.ebscohost.com/&format=EB

Munson, S.C. (1999, September). Mary Cassatt, Modern Painter. Commentary. 108(2). 3. Retrieved from: https://eds-a-ebscohost-com.eztest.ocls.ca/eds/pdfviewer/pdfviewer?vid=0&sid=118fcfda-b166-45ad-9212-a3b3e233911b%40sessionmgr4007

Seventh Art Productions (Producer). (1998). Degas: The Impressionists, with Tim Marlow [Streaming Video]. Retrieved from Films on Demand.

Art Review: Untitled from Forest Series by Bewabon Shilling. Written by: Crystal Roy, Feb 23 2020

Currently on display at the MacLaren Art Centre in Barrie, Ontario is Between the Forest and the Sky exhibit by Bewabon Shilling. Shilling is a member of the Rama Mnjikaning First Nation community north of Barrie. The exhibition focuses its content on addressing the land, given the surroundings of Shillings home and studio he doesn’t have to look very far for inspiration. Bewabon comes from a family of artists; his father Arthur Shilling (diseased) is a well-known painter, and brother Travis Shilling is a filmmaker, playwright and painter (travisshilling.com). Shilling works out of a studio steps from his home, the studio was constructed by his father when Bewabon was young. (McKibbon, 2019) Surrounded by powerful imagery and landscape it’s easy to understand where Bewabon finds inspiration for his paintings.

An “architectural landmark” (maclarenartcentre.com, 2019) houses the MacLaren Art Centre is an art gallery which services the Barrie area and the region throughout the County of Simcoe. They offer a variety of rotating exhibitions which include national and international content, they focus on the local and regional artistic community. MacLaren offers am assortment of educational programs and special events for people of all ages. They “emphasizes innovative artistic production in Canada” (maclarenartcentre.com, 2019) which supports artists like Bewabon Shilling produce meaningful work that speaks to the state of the land around us. The exhibition curated by Emily McKibbon of Shilling’s work is displayed in a space opposite the main gallery (maclarenartcentre.com, 2019). The exhibition space is one room where viewers can take in all paintings part of the Between the Forest and the Sky series at one time on entry. The exhibition is also laid out to tell a story to the viewers as the subjects of the of each painting transition from a focus on the wide-open sky to a dense field and through a forest. Or if visitors begin their journey in the opposite direction, they start in a forest and make their way to a far-reaching horizon.

A work that stood out was Untitled from Forest Series for the thickness of its brush stroke and varying tones of green. Bewabon has created a large piece that represents a tree line and dense forest. When the viewer is close to the work the strokes are a jumble of patterns and textures, it is only when viewed from afar that your eyes piece together the optical illusion created by impressionist painting when the image comes together. When looking at the painting from far you see the forest floor covered in a mix of green, yellow and orange leaves. At the top of the canvas blue sky pokes through the tops of the trees, and the middle of the canvas is packed with foliage. The viewers eye is lead through the work by following the trucks of the trees as they move through the piece.

Initially I did know that I wanted to speak about one of Bewabon Shilling’s works because of his loose brush strokes, saturated colours and subject matter, but I wasn’t sure which one. Three of the forest scenes looked very similar, what drew me to Untitled from Forest Series was the point of view. For me, the vantage point in this piece compared to the others gives us the best position in which the trees take up the full expanse of the canvas without overwhelming us. The sky at the top of the canvas allows us to situate ourselves within the scene and because of the space left in the foreground we don’t get lost in the trees. When looking at the oil painting, it’s like I can feel a cool breeze making its way through the branches.

As McKibbon explains during her trip to Shilling’s home studio, he works in an open clearing by a fire pit. (McKibbon, 2019) This open-air setting connects Shilling to nature literally and creatively. Begin in nature and around living plants is soothing for the mind and spirit which translate to his work. His paintings don’t depict a land that is destroyed, his landscapes show someone who loves this land and wants to show it at its best. On her visit to Shilling and his family members began a conversation that praised the best time of year to paint, that it’s “only possible to start painting in the fall, that summer was anathema to their work…” (McKibbon, 2019). Untitled from Forest Series portrays the beginning of fall, amongst the lavish green hues in the trees are small hints of yellows with a sprinkling of orange focused in the middle of the artwork. The leaves are starting to turn to their fall colours and Bewabon is documenting the process with care.

A look like Untitled from Forest Series shows us what we can appreciate about the world and can teach us that we need to preserve scenes like this. With deforestation on the rise and concerns over global warming our forests will slowly degrade. Although the introduction of this exhibition focuses on Bewabon’s connection and love of the land, it serves as a reminder and a lesson to care for places like this before they are lost to us forever.

The work is successful in creating a landscape of natural beauty, however its impressionist style and pieced together brush strokes make it hard to read at first glance. However just as we should care about the land, we should care about understanding the images in the work. It’s through time and consideration that the image comes together and so to will preservation of the earth succeed. The exhibition as a whole is read organized and read successfully, viewers can understand how the show is organized and it leads them through the space.

Bewabon Shilling has created a series of paintings that showcases his love of the land that surrounds him. This show inspired me to hope the more people that experience these works will also want to love the land and in turn care for it. His wide brush work is full of texture and colours that light up the senses. The green colour palette throughout Untitled from Forest Series calls me into the painting, inviting me to take a walk through the trees and feel the fresh air filling my lungs. This refreshing feeling puts me at ease makings me want to stay even longer.

References

MacLarenArtCentre.com. (2019). About. Retrieved from: https://maclarenart.com/about/

McKibbbon, E. (November 2019). The quality of light, the tone, the habit and the dream: The landscape paintings of Bewabon Shilling. MacLaren Art Centre.

Travisshilling.com. (2010.) Bio. Retrieved from: http://www.travisshilling.com/