| | Copping St Art Studio - Summer 2025 Newsletter | |
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| | | Hi , How’s your scrolling finger holding up these days? I’m no stranger to a good news binge - but earlier this year, I found myself deep in a full-blown doomscrolling loop. When the world beyond your door offers up a steady stream of anxiety-inducing situations, it’s hard not to stay glued to your screen. What a golden age we live in, eh? Yep. | |
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| | Eventually, I realized how futile that kind of screen time really was and knew I needed to force a reset. The solution? Make more art. So I’ve been putting in extra time at the easel and my phone has never felt lonelier. Now it’s finally time to take the wraps off this new collection of work. It began last week with the opening of On The Edge, a group show at the Federation Gallery on Granville Island. You’ll find more details about my two pieces in that exhibit below. | |
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| | Looking ahead, I’m now preparing for a couple of big art fairs this summer: the first in West Vancouver in early August, the other in South Langley in mid-September. I hope you’ll be able to drop by one of these shows and see what I’ve been up to - there’s a lot to share. Turns out, when you’re not checking your phone every few minutes, you can actually get quite a bit done. Who knew?! As always, this edition of the newsletter includes everything but the kitchen sink - i.e. dates & details for upcoming shows, a look at some new pieces, and other bits and bobs from the studio. Let’s get started! | |
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| | As a thank you for being a newsletter subscriber, here’s an early look at my latest painting! This piece will only appear on social media on July 1st.
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| | It’s been said - possibly by the ancient Greek philosopher Heraclitus, or maybe it was that barista who got annoyed when I tried to pay for my coffee with cash - that “the only constant in the universe is change.” Whoever said it, the sentiment certainly applies to most artists’ practices - my own included. For quite a while, my work focused on straightforward still lifes. But over the past couple of years, things have started to shift. A whole menagerie of creatures has begun to wander into my compositions: birds by the flock, the occasional cat, a wolf, a bull… you get the idea. And the latest ‘critter' to elbow its way onto the easel is this national icon. 12x16, oil on ACM. As a nation, we might be slow to anger — but once we get there, it’s… “Canadians? Mad? You’re Dam Right!”
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| | That Pearl Earring Probably Isn’t... | | | |
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| | Girl With A Pearl Earring | |
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| | | Chick With A Pearl Earring | |
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| | Long before we got married, I introduced my then-girlfriend to one of my brothers, who - in his own inimitable style - greeted her with, "So you're the chick my brother's been running around with?” It’s something of a miracle she didn’t run right out the door.
That ‘pearl' of a memory came to mind as I painted this black-capped chickadee spin on Vermeer’s masterpiece this past spring. This painting started, as many of mine do, with the title: Chick With A Pearl Earring. The rest followed naturally. A chickadee in the starring role, a porcelain bowl for that Vermeer-glow complexion, and a piece of draped fabric or two for good measure. This isn’t meant as a parody of Vermeer’s famous Girl With A Pearl Earring so much as a respectful nod to it. The composition echoes the original, but this still life needed to stand on its own, not simply ride the coattails (or turban tails) of a classic. Fun fact about Vermeer’s famous pearl? It probably wasn’t one. If you look very closely, you’ll see that there’s no indication of iridescence in the highlights at all. And, as it turns out, some art historians believe it was probably a Venetian glass earring, not a pearl… Not quite as shocking as if one discovered that Mona Lisa's iconic smile was a result of collagen injections, but still a bit of a surprise. As for the Chick With A Pearl Earring, it will be unveiled at the upcoming West Fine Art Show in September. (Details below) | |
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| | | Retribution In The China Shop | |
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| | Writers often talk about their characters hijacking the story, insisting on where things must go. As a painter, I’ve found the same thing can sometimes happen on canvas. You start with a clear idea, and suddenly the painting veers off, dragging you along with it. It can be unnerving, but also exhilarating. | |
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"Sometimes the brush knows better.”
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| | | Lately, this has been happening more and more in my practice. I’ve always gravitated toward narrative paintings, but these days, the narratives seem to be writing themselves. These two paintings are perfect examples. Both began as fairly straightforward still life concepts, and both took unexpected turns. | |
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| | Band Books explores the intersection of censorship, music, and artistic resistance. At first glance, it’s a stack of books labeled with the names of iconic rock bands. But look closer. A crow, long a symbol of rebellion and intelligence, tears away a dust jacket to expose 1984 by George Orwell, one of the most frequently banned books of all time. Censorship has always targeted the arts—books, music, visual art—any medium that dares to challenge authority.
Retribution in the China Shop heads into surreal territory. A lone figure flees from a massive, charging bull as enormous china cups lie shattered and overturned. The fragile balance has tipped. The bull, a symbol of raw, unchecked nature, has had enough. In an overheated world teetering on collapse, this is nature’s reckoning. No longer tame. No longer patient.
Rest assured, these were not the paintings I imagined when I started either piece. But sometimes the brush knows better. And when it does, the best thing you can do is just follow.
Both works are part of the Federation Gallery’s On the Edge exhibition, June 23 to July 13. Band Books is on view in the gallery on Granville Island in Vancouver. Retribution in the China Shop is featured in the online show. | |
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| | A Seaside Art Celebration | | | |
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| | | | A highlight of summer on the North Shore, the Harmony Arts Festival is an iconic West Coast event held along West Vancouver’s beautiful Ambleside waterfront.
This ten-day celebration of music, food, and visual arts draws thousands of visitors every year - and for good reason. There’s truly something for everyone. This is one of those events that can make you wish summer never ended. | | | |
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| | I don’t have a booth there every year but, when I do, I’ve typically been there for just the first weekend. This year, I’m excited to share, I’ll be participating in both weekends of the festival’s Fresh Street Art Market. You can find my booth August 1st to 4th & then again August 8th to 10th. The complete event schedule is available at this link.
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| | I’ll be unveiling several new small works during the festival. I’d love for you to stop by, say hello, and take in all that the festival has to offer. See you at Ambleside! | |
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| | | | I'm pleased to share that I’ll once again be exhibiting at the West Fine Art Show at the end of the summer. It's a great event - not just for the amazing art on display but also for the wonderful community it brings together. This year’s show runs September 12th to 14th and takes place in the beautiful conservatory at the Glass House Estate Winery in Langley, BC - a fitting backdrop for what promises to be a memorable exhibit and sale featuring the work of 19 artists from the region. There will be live music by guitarist John Gilliat, and a meaningful cause at the heart of it all: 25% of show proceeds will go to support the Langley Hospice Society. If you’ve attended in years past, you’ll know why the West Fine Art Show is known for its thoughtful curation and warm atmosphere. If you’re new to it, this is a wonderful opportunity to discover exceptional art in a setting designed to welcome and inspire. Fine art and fine wine. What’s not to love? You’ll find full details at westart.ca. I hope to see you there! | | | |
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| | October 3 - 5 Open House Weekend | | | |
| | The North Shore Art Crawl will take place October 3rd to 5th. The popular annual event is an opportunity to visit artists' workspaces all across North and West Vancouver. In addition to my own paintings, this year visitors to the Copping Street Art Studio will also have the opportunity to experience artwork from two exceptional guest artists - Louise Nicholson and Guy Hollington. Plan to drop by during the weekend to chat with the artists and to see their amazing artworks. The open house hours are 7 to 9PM on Friday, October 3rd, and 11AM to 5PM on both Saturday the 4th and Sunday the 5th of October. | |
| | Louise is known for her expressive and imaginative paintings. Her work blends confident brushwork with emotional depth, inviting viewers to reflect on our relationship with the natural world. She has developed a compelling visual language that bridges realism and storytelling in a highly compelling way. Her paintings always spark curiosity and conversation. | |
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| | Don’t miss this opportunity to meet her and experience her powerful, thought-provoking art up close. Visitors to the studio during the Art Crawl will get to see Louise’s process in person, as she'll be painting live on site throughout the weekend!
You can check out her website at louisenicholsonartist.com. | |
| | Much like the drawings of Renaissance master Raphael, Guy’s sculptural glass works celebrate the eternal beauty of the elegant line. But unlike two-dimensional art, these pieces add a thrilling twist: the grace of form brought fully into three dimensions. The result is a striking fusion of function and form—each piece far greater than the sum of its parts. | |
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| | “I want my pieces to become part of everyday life for the collector,” Guy explains. “Something soothing and reflective, yet useful. Glass is not only visually stimulating—it’s highly tactile. The smoothness of the finished surface invites touch.”
You’ll find Guy’s website at guyhollington.com. | |
| | Problem Or Opportunity? It’s All In How You Frame It | |
| | A few years ago, a fellow artist here in Vancouver held an opening for a new exhibition. His original paintings are quite expensive, so to make his work more accessible, he included some beautifully framed limited edition prints. At some point during the evening, temptation got the better of someone and one of the prints was stolen. But not before they carefully removed it from the frame! For those of us who frame our work, this hits close to home. Framing is a constant source of stress. My paintings can’t be shown unframed, as the panels I paint on aren’t thick enough to hang on their own. And yet, I always worry that my choice of frame might not align with a collector’s taste. I worked with the same frame maker for years but due to recent staffing issues their quality and turnaround time slipped badly. Making a change was not a decision I took lightly. Framing is the final step before a piece meets the world, and I want that presentation to reflect the same care and attention I've given to the painting itself. | |
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| | Fortunately, through some local connections, I found a skilled craftsman who builds beautiful frames - on time, and to a standard I’m proud to show. Going forward, I’ll be using two consistent frame styles: for smaller works, a narrow black frame with a liner; and for larger works, a similar wider version. The transition began in January. The look is clean and contemporary. And I think it's a perfect match for this style of art.
That said, if you own a piece of mine framed in a different moulding and would like a matching frame for another piece, I’m always happy to help source one for you. | |
| | (Mis)Adventures In Publishing: The Next Chapter | | | |
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| | In between painting sessions, work continues on the fourth and most comprehensive edition yet of my studio catalog.
The goal is simple: to create a clear, complete record of my paintings for collectors and followers of my work. But the task is formidable. This new volume brings the story of my work up to date, covering twelve years of painting, including 236 new pieces completed since the last edition was published in 2020.
Each new edition builds on the last, reflecting not just the paintings themselves, but also the evolution of a studio practice shaped by consistency, curiosity, and close observation. | |
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| | I had very much hoped to announce a publication date in this newsletter, but recurring production problems have slowed the project to a crawl. Things are a bit in limbo at the moment. Keep an eye on my social media pages for updates. | |
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| | Last but not least, I’m very happy to share that I’ve been awarded elected member status in the Society of Canadian Artists by its board of directors. This national organization is home to many of Canada’s most accomplished visual artists, and I’m honoured to be welcomed into its ranks. Election to the SCA follows a rigorous adjudication process, and I’m grateful for the opportunity to grow within a community so dedicated to artistic excellence. Membership offers the chance to participate in national exhibitions—both online and in-gallery—and to connect with other artists who share a deep commitment to their craft. I’m excited for what lies ahead. | |
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