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Artemis of Ephesus

“What is Artemis ?” The question was asked by a lovely woman, just leaving the studio after painting class. It’s a good question, for lots of reasons, but especially because ‘Artemis’ is the name of the little art gallery/studio I established five years ago on Vancouver’s North Shore. That the question was ‘what’ and not ‘who’ made me realize I had a responsibility to do a better job of introducing ‘Artemis’ to my community. Although I knew how complicated it was going to be, I promised myself to eventually forge a comprehensive answer.

I chose the name ‘Artemis’ after several of my dreams dovetailed with my travels, and led me to realize that somehow ‘She’ was calling. I presumed that most people might know her as ‘the other Diana’ – Roman goddess of the hunt and the moon. That’s one of the initial reasons I thought this name & deity would be appropriate. Deep Cove, where I live, is situated on the most southern fiord of North America, with huge mountains that plunge down into a narrow channel of the sea. Facing east, it’s the best place to catch a spectacular moonrise. But other signs of Artemis were all around me – evidence that she (known by one name or another) has been here all along. Mythology tells us that the lush-green wooded mountains are where she wanders; little fish in the coves are guarded by her gaze; the bear and deer, always close by, are two of the animals most sacred to her.

Some people may know about the Ephesian Artemis, who was such a revelation to me when I first visited Turkey. But few will have guessed her many names or all the realms over which she is said to preside. My own epiphany came two years ago on a ‘chance’ journey to the tiny village of Patara in south-western Turkey. I found that the people there, both ancient and modern Lycians, claim the goddess Leto, and her twin-children Apollo & Artemis, as their own. I apparently had stumbled upon the birthplace of Artemis, which made me even more curious to understand the breadth and depth of this goddess and the mythos that surrounds her.

Since then, my personal definition of ‘Artemis’ has expanded almost beyond words. But, as I’m still determined to answer ‘the question’, watch for a series of concise, incremental posts on the new ‘blog’ portion of this website, where I plan to share what I’ve discovered, along with some simple visual offerings – to Her.

Shannon Browne
October 2014

Image:
Statue of Artemis (detail) taken at the Ephesus Museum, Selchuk, Turkey, 2008.
(Excavated from the ruins of the great temple of Artemis at Ephesus)

Autumn 2014 ~ What’s on at Artemis

 Back after the summer, our on-going classes at Artemis are up and running, with the added prospect of several new offerings this fall / winter. Come & join us!

Watercolour classes – with Enda Bardell
Tuesdays 10 – 1pm 4 sessions for $120, ongoing ($35 for “drop in”)

Just announced:
2 Special Weekend Watercolour Workshops – with Enda Bardell

Saturday October 25 10 AM – 4PM $60
Saturday November 15 10 AM – 4PM $60

Acrylic Painting – with Kerry Vaughn Erickson
Sunday Mornings 10:30 AM to 1:30PM $40  (drop-in $45)

Just announced:
Portrait Painting Session ~ Live Model & Demo with Kerry Vaughn Erickson
Sunday, October 19th 10:30AM to 1:30PM $40  (drop-in $45)

Theatrical Wonderland – with Carmel Amit
After-school drama classes for children 8 to 12yrs
Thursdays 3:30PM to 5:00PM $100 per month (4 classes)
NEW: Film & TV Acting Classes for Teens 13 to 18 yrs.
Thursdays 5:00PM to 6:30PM $125 per month (4 classes)
Upcoming Special Offerings:

Life Drawing Soiree ~ Live models / props & costumes / with instructor Kerry Vaughn Erickson
Drawing boards & newsprint provided
Bring your own drawing materials, etc.

Thursday October 30th 7:30PM to 10:30PM $50:00
Thursday November 20th 7:30PM to 10:30PM $50.00
(2015 dates to be announced)

Encaustic Painting ~ Hot Wax Workshop with Maria Josenhans
and
The Cut Lino Block ~ Multi-Plate Colour Printing Workshop with Susan Gransby
Both of these workshops are being planned for early 2015. Please let me know if you’re interested asap, so we can endeavor to find the best dates for the most people!

Two special bookings in November, that may interest you:
‘The way of the Shaman’ ~ Basic workshop with Gizelle Rhyon Berry
Two days – November 1st & 2nd 9:00AM to 5:00PM

‘Mbera Invocation’ ~ Reverent, musical fundraiser to support renewed interest by African youth in this traditional instrument: Evening of November 8th

Information & registration & for all classes, workshops & special events: 
artemisinthecove@gmail.com

Summer 2014 Exhibition ~ June Yun’s transcendent oil paintings

 

June Yun’s new work m i (d) s t  is an extension of her ‘water’ series that continues to explore the ephemeral quality of water’s many forms and reflections. As in a dream or mirage, it’s the uncertain qualities of water which has attracted her interest. These transcendent new paintings conjure a place where the real and unreal merge, like a memory – both clear and misty. .

“I am concerned with the processes of painting in a way that functions as a metaphor for idea and emotion, and as the sublimation of content. My paintings are about sensory experience, which plays at the edge of realism and abstraction….  I want the viewer to feel an ephemeral, reclusive atmosphere through my subtle un-ostentatious colour, the use of many thin layers paint, and open composition which allows room for interpretation.”

June Yun, born in China, received a MFA from the University of Newcastle upon Tyne in UK, and taught art in universities and institutions in China and Canada – most recently at the Emily Carr University of Art and Design. Yun has exhibited internationally since 2000: in China, France, Belgium and UK. In Canada, Banff Centre, Richmond Art Gallery and Centre A. Recently, she showed in the Shanghai Himalayas Art Museum, and Art Beatus in Vancouver. Yun also did the public collaborative mural, “Radius” – a project at Firehall Art Centre. In early 2014, she participated an International Contemporary Art Project “Mapping Mapusa Market” in Goa, India.

For more about June Yun’s artwork go to: http://www.juneyun.org

 

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Everyday Offerings

everyday (ˈɛvrɪˌdeɪ) adj 
1. happening each day; daily   2. commonplace or ordinary

offering  (ˈɒfərɪŋ) noun
1. something offered in devotion, as to a deity   2.  given as a gift

Not always daily, or necessarily commonplace…

 more a moment of attention…….where & how one can.

One of my photographs of the roots that are presently dangling from the ceiling at Artemis; a reminder of the beauty and preponderance of unseen things.

Shannon, What Are You Doing?

photo(63)Art educator, art director and curator Shannon Browne is changing things up at Artemis Gallery this year. For the first time since graduating from the Emily Carr Institute of Art and Design in 1987, she’s taking a chunk of time and turning her attention to her own creative process. Her art gallery will be just as much art studio, as Shannon experiments with symbols, themes in nature and the cycle of the year. An interdisciplinary artist, she plans to use this year in the gallery as her playpen – exploring archetypes, dream images, meaning and process. I had the chance to interview Shannon and hear more about her plans.

Susan: Something different is going on at Artemis Gallery. Can you tell us what’s happening?

Shannon: When I first established Artemis it was always with the idea of it being a studio, gallery and event place. The gallery part happened almost spontaneously. It quickly became a very busy exhibiting place. We’ve been showing almost non-stop these past three years, with lots of events booked in the space as well. Other artists have been successfully utilizing the gallery as a studio for teaching classes, and I’ve helped to facilitate quite a number of workshops. The thing that has not been happening in the studio, is my own art-making. Frankly, it’s hard to recall ever having much time to make my own art. Like most people, I’ve been busy – most recently as curator, director and every other role at Artemis. It’s been great (!) but it’s time for me to set some time aside to create in the space myself. It will still be a shared space, but I’m taking an opportunity to give my own work a shot now.

Susan: Do people know you as an artist?

Shannon: It’s funny. People from different parts of your life know you as such diverse entities. I don’t think the artists who teach here or their students are aware of either my art-making or art-teaching background. People who know me socially have seen some of my art in my home, and they may be aware of things I’ve designed or created, but it’s impossible for them to know ‘what’ I was doing all the years I was teaching, which was an intensely creative time for me. The documentation of that work really shows ‘what’ I do, but very few people have ever seen that documentation. And people who know me only as director and curator at Artemis, would not expect that I’m also an artist. I’m probably seen as this middle aged lady who came out of nowhere to open a gallery. And that is also true…

Susan: Do you have a sense of the kind of media you are going to be working with?

Shannon: Well, I graduated in Interdisciplinary Studies from Emily Carr, so I’m jack of all Feathered nest detail small file (1)trades – master of none, and probably one reason why I was a such good teacher. For me, it’s always been about choosing the materials that will best convey my ideas, and the connections I’m trying to make, which carries through to what I’ll be doing this year. One of my first loves was printmaking. I prefer a process-based way of working, so there’s bound to be a printmaking element in some of the work I’ll be doing this year. Not in a formal way, but it will be there. I’ve taken thousands of photographs that show my fascination with plant-life and all things mythical/symbolic, and some of these will find their way into the work as well.  In a tongue-in-cheek way, I’ve told people I may start making art by just playing around with sticks in the studio, and ironically, I am playing around with sticks right now. I built a nest a couple weeks ago. Anyway, my plan is to loosely follow the cycle of a full year, and really pay attention to my inner & outer world. If I tether myself to that, it should lead me to play with a range of diverse materials and various aspects of nature. Right now, I’m drawn to roots and sticks, and bare trees in watery places.

Susan: You’ve talked about the cycle of the year and playing with sticks. What other kinds of themes do you think you’ll be exploring?

Shannon: Back to the conceptual thing – for as long as I can remember I’ve made connections between the things I observe and sense in my waking-world, and whatever is informing me from my dreaming-world. I’m beginning work on a project I’ve had in mind for over 20 years, but I will definitely take a detour should I get a big ‘whack’ of an image in a dream…and ‘dream’ isn’t really the best way to describe these experiences. These are more like vivid static images that take up my whole field of vision and make a huge impression on me, leaving me feeling that they need to be explored. Recently, one was an image of a nest, lined with peacock feathers, but not built by any bird. So now, I’m following my impulse to complete a physical version of that nest, which will take precedence until I can stand back and look at it. This may all sound a little “out there”, but it’s a major part of how my concepts are formed and where ultimately I’m led to find meaningful connections. And, the symbolism of this “nest” is so rich – a place of incubation & nurturing. It’s an obvious metaphor for the this time I’m setting aside and studio at Artemis, but it also has many layers of meaning for my personal life as well. I try to follow these symbols when they appear – even when they take me away from what I’d thought I’d be working on.

P1050135Susan: As we follow your progress over the course of the year, what can people expect to see at Artemis? You’ve talked about art exhibits – about events and a community place. What else can the general public expect to see from Artemis this year?

Shannon: Several wonderful artists teach classes at Artemis, and these are ongoing. That’s part of what the public will see – that there’s activity here. People will also see aspects of what I’m working on and the way I’m working on it. I tend to make test plates and collections of things that will become part of the larger ‘something’ down the road.  I don’t feel the need to have everything under wraps and sequestered. It should be fine to have it up and around as it evolves. The space will be less the formal gallery that people have come to know – it will feel more like a studio. That said, there will still be an occasional influx of work by other artists – ideally work that fits the spirit of a particular time of year, and by that I don’t mean beach scenes for summer and holly for winter. It will need to complement the ideas I’ll be working with and hopefully tie in with whatever part of the Wheel of the Year we’re on. People are probably going to scratch their heads a lot because there won’t be the usual promotion or opening nights for specific exhibitions. The experience will come from a very different place: an organic springing up, blossoming, then withering kind of thing – as work comes and goes, and things “morph” in here throughout the year.

Susan: Do you have an artist’s statement?

Shannon: No, not really. I’m not crazy about artist’s statements. To understand what I’m doing, one just needs to know that the ‘concept’ is the most important thing for me.  A dedicated painter or a sculptor, for instance, might begin a piece by considering what next to create with the materials they’ve mastered.  I, on the other hand, begin by imagining which materials & images might help visually connect ‘the dots’ of things I feel are somehow related. This esthetic also influences the way I select the work of other artists for exhibitions at Artemis – my objective being that every piece in a show contributes to an overall concept or creates a distinct environment in the gallery.

Susan: Which will continue in your own work this year?

Shannon: Very much. All of the elements I plan to work with are inter-related and extremely meaningful to me. Hopefully the work will resonate with people – not just the recognizable themes, but the “in-between stuff” as well.

Susan: Do you expect, as the progress of the year unfolds, that you will have a show of your work?

Shannon: Sure. It may not be by the end of this calendar year. In a way, ‘the show’ will be what’s up when you come into Artemis. Some objects in the studio will be what I’m actually working on, but other objects will be there as touchstones for the way I’m thinking – what I’m formulating; things that feed my soul. For instance, there’s a root mass hanging in the studio right now, which on some level relates to my work on the nest that I mentioned earlier. It’s to do with this time of year; contemplating things dormant, empty or hidden. There’s also an old fashioned light bulb involved… 

Susan: So, in conclusion, if I were to say to you, “Shannon, what are you doing?” how would you answer?

Shannon: I would say “I don’t know” and that “I’m asking the Gods for assistance”! That’s a little disingenuous… I don’t know what I’m doing in a logical, linear way.  I do know that I’m giving myself permission to respond to and remember things, in a way that I haven’t before. I’m so very grateful for the way creativity has manifested throughout my life, but until now there hasn’t been an opportunity for me to nurture these ideas purely for their own sake. That’s what this year is going to be.

Susan Robertson is a friend and blogger who will be following Shannon’s work at Artemis.

Printmaking Workshop with Susan Gransby

Susan Gransby 2 THE COLOUR REDUCTION LINOCUT  (INTERMEDIATE)

 
INSTRUCTOR: SUSAN GRANSBY
 
LOCATION: ARTEMIS STUDIO/GALLERY, DEEP COVE, NORTH VANCOUVER
 
DATES: SATURDAYS MARCH 1 & MARCH 8 2014

TIME:  1 P.M. – 4 P.M.

COST:  $110

This workshop will consist of two 3-hour Saturday classes, held in the relaxed atmosphere of the beautiful Artemis studio/gallery.
 
Reduction linocut, a major method of colour relief printing will be taught and an edition  printed.
 
The class is for students who have completed a beginners course or have basic experience cutting and printing a black and white block.  They will bring their own carving tools, one lino block and three tubes of primary coloured (red, yellow, blue) water-based inks.  
Paper will be supplied at $2 per 22×30″ sheet.  All other supplies, plus tea and cookies, will be provided.
 
To register or for further information, please contact
Required supplies (all available at Opus):


Inks: Block printing water-soluble ink in
yellow (large tube) plus 2 or 3 colours
of your choice (small tubes):
Speedball  37 or 147 ml. tubes                                    $3.90 or $10.30
or Printmasters 150 ml. tubes.                                                  $10.20                                               

One tan Speedball linoblock – 6 x 8 inches
 (or larger if you prefer).                                                             $3.30 each        

SUGGESTION:  Share tools & inks with a friend.

Bring a simple sketch using 3 or 4 colours.