The call for submissions for this year’s RBC Painting Competition is open until May 1st.
We showed work by Edmonton-based Brenda Draney in 2010 following her win. We’re looking forward to seeing more surprises this year.
Brenda Draney donated three watercolours to the Schmoozy silent auction. This is one of them—come see the others tomorrow night!
The latest three artworks to come in for Schmoozy: Andrew Buszchak, Gillian Willans and Brenda Draney.
In the Summer issue of Galleries West, Amy Fung writes about Brenda Draney’s recent show at Latitude 53. Read it on their site.
of Draney’s Work, Griwkowsky writes:
“… what pulls you into Draney’s spartan work is her paintings are a form of illustrated, personal journalism, however selective — surrounded by a lot of white space, as if half-recalled.
Sparse, but connected.”
Join us at Latitude 53 on Saturday March 27th at 2pm for what is sure to be an excellent talk by an excellent lady! 11th annual RBC panting award winner, Brenda Draney talks about her work and her exhibit Hold Still at Latitude 53.
Latitude 53 Video Podcast
Edmonton artist and recent RBC Painting Award recipient Brenda Draney talks to Latitude 53 about her show at the gallery and her recent residency at the Banff Centre. Made up of oil and watercolour paintings produced largely since finishing her MFA at Emily Carr University of Art and Design, Draney’s “Hold Still” delves into fragmentary memory and moments of clarity. (Watch or download from Vimeo)
On display March 5–April 10, 2010 at Latitude 53 in Edmonton. Read more on our website
Brenda Draney is calling her collection of new work Hold Still, and it’s coming together nicely in our Main Gallery. It opens on Friday with a reception at 8:00—and stay tuned for information about an artist-talk later this month.
Brenda Draney, “Aim Is Important”, 2009. Oil on canvas, 4 x 4 feet.
We asked Ben Reeves to write a short monograph essay on Brenda Draney’s painting for her upcoming show at Latitude 53:
Over the past few years Draney has been ridding her pictures of anything non-essential. She discarded source photographs as their visual authority was overwriting her memory and unduly governing her decisions. And gaps started to appear in her pictures. The blank canvas asserted itself as depictions became fragmented and stranded on raw canvas like beached boats at low tide. The interplay of blank, minimal canvas and isolated, representational fragment became key in her practice.
Read the essay here. Her show opens at Latitude 53 next week on Friday March 5th, at 8:00 PM, alongside Patrick J. Reed’s Wadcutter.