G A L L E R Y
A R C T U R U S
Choosing a world
Collage by deborah harris
Stretched to find my footing
Autumn Light
The fish is always younger on the other side
You know 'The grass is always greener....'
Words and Ladders or Seeing Eye to Eye
Four Heads are better than one (but a little scary)
What is Mystery?
Check out the book 'The Mysteries' by Bill Watterson
and John Kascht.
They also made a great video of their collaborative process of making this book. You can
see it on YouTube.
Everyday is Somebody's Birthday
Make a wish and blow out the candle!
Returning to you with light and song
The gallery was closed for a couple of weeks from August 19 - September 2
and we only just now realized that we did not push the publish button to let you know and wish you well til our return.
Alas, we are back and apologize for our tardiness,. Please forgive.
Today we are stepping into September the ending of summer and the beginning of autumn.
The images above are taken of the fabric collage that Sae and I are working on in the Genesis Gallery.
Carrying the light and singing the new season into being.
Thank you for staying with us.
d and S
A Keyboard of Littles
Little Littles by Eric McConnachie
If you don't like what you're reading...
...chew it up
Tread Softly
Wishes for the Cloths of Heaven
Had I the heavens’
embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
of night and light and the half light,
I would spread the cloths under your feet,
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
W.B. Yeats 1865 - 1939
Strewn on the floor
The beginning of a process. To be cont.,
Playing the Tuba
I think that playing the tuba is better than making a collage called 'playing the tuba', but making collages are what I do and I cannot play the tuba. Maybe its like, 'the grass is always greener on the other side'. Often I am amazed that making a collage can bring as much satisfaction and joy as it seems to. It is so mysterious the way the pieces come together, such a surprise.
and it stays that way, surprising and mysterious and yet there is this decisiveness in the pieces that are chosen, where and how they are placed. I don't need to know why or try to give them some importance or meaning. There may be more useful things
I can do with my time but this is what I return to when I need to be fully attentive and with myself. It is a gift I am grateful for.
Setting the stage
Today we were privileged to have in our space the musicians Emma Menrenken, Lynn Sue A Quan and Dale Jeong to play a wonderful collection of classical works as well as a contemporary piece,- 'Fly with Crows' by Andrew Staniland. You can find out more about them on their website musicaroundthecorner.com. We look forward to having them come again soon.
Open to Receive
Being receptive is not the same as being passive
it takes courage and strength to hold the door open
Seemingly Impossible
An installation in the Genesis Gallery at Arcturus
One of us says she's like a snail today
but she' s trying her best: )
What is this?
The moon's surface seen from space.
An ice cortado.
Light reflected on water.
A tie dyed bed sheet.
Magnified moth wing.
Hmmm....
A bit of a conundrum.
Head in the Clouds
Garden of Future Follies by Hadley and Maxwell, Front St. E., Toronto
The Curators Assistant
hands full of inspiration and impulse
the assistant observes, listens and finds
what is necessary to realize the vision.
Stepping into the other side
Painting by Della Heywood, drawings by Daniel Hanequand
Today we added this painting by Della to the Dark Room.
The size and scale makes it feel like an opening into another world.
This space allows for a powerful experience and relationship to certain works.
A Long Bridge to the Other Side
Mixed Media Painting by Eduard Zibnitski
Flying Fish
Video from Japan by Noriko Kimura
A lively sky
Painting by Eric McConnachie
A Variation on Picasso
Harlequin by Pablo Picasso
Harlequin's Brother by deborah harris
It seems almost sacrilegious to collage over a painting of Picasso's even if only a print
but at the same time it is so compelling.
How to allow the underlying painting to remain visible
and to show clearly what you have added,
seeking to find a balance which acknowledges the masters work.
What is the nature of resistance?
Sculpture by Camie Geary-Martin
Added elements for installation
by deborah harris
