This is a painting of rural Newfoundland that was completed in a mere two or three afternoons but in truth took the artist as many years to paint as she is and is one that she has a particularly strong relationship with. The grid not only echoes to emphasize the simple building in this quaint village but also the nature of making a painting. The work is self-reflective as a grid can be used as a tool to transfer an image from a photo, by dividing the image up and calculating and increasing the ratios to know what will go where. The grid also acts as a screen to keep the viewer from entering the space. The thick quickly applied strokes show a rather unselfconscious quality. The boys on the bottom right are fashioned out of the same strokes as the environment they inhabit and both inquisitive and detached.
"This is a painting of a Maritime town, exact location is unknown and has been based loosely off a found image and imagination. This image was a marathon to create though building up layers of paint using many techniques and materials apart from a brush and then building down with chemical solvents and sandpaper. The artist found a delicate position between cohesive representation and abstraction. This push pull and complex layering of paint creates both depth and intense visual interest. "
"This is a painting of the annual dory race in Lunenburg N.S. These traditional fishing boats were used in coastal waters and in the open ocean and were widely built from Long Island South to Nova Scotia. Lunenburg is a UNESCO world heritage site and this event helps preserve the history of dory rowing. The artist is both from Lunenburg and has been a participant in this event. Margaret Louise has a classical education in painting and draws upon her home setting to create an active visual experience on canvas. The painting begins with loose, thin layers of paint which are applied with big gestures that do not consider the image that will the overlaid. Working from a found image and from memory the images slowly gets build up over the already activated canvas. The artist uses the unplanned marks from loose gestural painting to find shapes and patterns that she works into the composition to complete the image."
This painting was based on an old image of St. Peter's, Cape Breton where my roots lie. The image struck me because of it cohesive composition, the large dark masses lead your eyes around the canvas naturally and hold down the image as a concrete form. This allows creative liberty to manipulate other aspects of the painting such as adding repetitive gestures and patterns. Many patterns arrive from visual cues found with in the landscape though others came from external influences such as the reference to Piet Mondrian's tree paintings found in the lower right hand corner. Though it is quite busy it is also balanced, depicting an imaginative maritime landscape.
This work is a playful mélange of perspectives; the buoys, landmass, diver and horizon all are out of sync which creates a slight tension between the elements. This technique is used to keep the work active and the slight unsettled quality gives energy to the work. The land mass shown here is Fort Amherst in St. John’s Newfoundland.