Those red cliffs

 

                                                                            Red Cliffs #1 (paper, 9" x 12")

                                                                            Red Cliffs #2 (paper, 9" x 12")

The Swiftly Changing Shore

 All can transition, in one movement, to a new epoch, the "before" and the "after".  

                                                            2022 (acrylic on canvas, 24 x 20)

Timing is everything. 

Louise Mould - Artists in Canada

for details, etc

 

 

Headland

Sandstone soft. Striking in colour. 

Wind, in effects.

Brilliant light of summer.

                                            

The Landscape of the Imagination: re-visioning Prince Edward Island

In association with the LMMI’s 15th biennial conference (22-26 June), I have one of three special exhibitions on display at UPEI’s Robertson Library.

"L.M. Montgomery’s landscape descriptions allow readers to envision the Island before ever having actually seen it. The black lettering organized on pages enters through our eyes and into our mind. There we see with our inner eye a world of her making that combines with our own imagination.

The artistic representation of that world is portrayed by its own re-visioning in imaginary landscapes of shore and field. Abstraction and imagination are the key words, but key words can never convey thought or concepts formed by the endless immensity of the imagination."

2022 June LMMI Biennial Conference art exhibit – Louise Mould 

https://lmmontgomery.ca/exhibitions-history-and-art

There are eight of my paintings in this exhibit and they will be there until the 30th of June. It is located at the Robertson Library in the Upper Level Reading Room (#308 on the Library floor plan -- https://library.upei.ca/floorplans on campus.

Here are two of them:

                                                    The Dunes (12"x16" acrylic on canvas)

                                                The Ebbing Tide (11"x14" acrylic on canvas)
 

 

 

The Constant Shore Reprised

 Constant in its colours -- in the contrasting blues, greens and rust; constant in the renewal after a long winter dormant under ice and snow, and fierce winds.

L.Mould, The Constant Shore Reprised, 2021 (acrylic on canvas, 20" x 24")

An eroding shoreline belies the optimism.

The Dunes, 2020 version

 Playing on a lazy summer day.

2020 (acrylic on canvas 12" x 16")

      Multi-hued soft sands beckon in a memory of summer.  

                                        Available.                                                  

Artscapes Canada Reprised, or, Act 2

The magazine Our Canada has just published a story about the project Artscapes Canada = Paye-arts Canada in which I participated representing Prince Edward Island. It started in 2009 with an email from Ray Belcourt, whose idea it was and whose photographs form the backbone of all the paintings depicting the Canadian landscape with the many and varied interpretations of the 11 painters who participated. Without Ray's dedication and ceaseless efforts, it would never have concluded in a book and exhibit in 2013.

The story in Our Canada (available at news stands) describes the essence of the project and includes one painting from each province and the NWT. My contribution is Cavendish Winds (2011) and features in the centre of p. 13. (see my post from August 19, 2012 for more of this story and a better look at Cavendish Winds https://louisemould.blogspot.com/2012/08/artscapes-canada.html ) 

p. 13, Our Canada (December 2018)

The book has gone into a second edition - an expanded, hardcover edition - and includes the third painting I did called Bales of Hay (see post from July 7, 2013 https://louisemould.blogspot.com/2013/07/bales-of-hay.html for more detail) as well as Cavendish Winds and the first one Prince Edward Island Potato Fields. Iconic themes with new interpretations. 

Below are a few photos of the three paintings were the focus of a solo show at Howes Hall in the summer of 2013 that featured these and many of the paintings that were studies.

Howes Hall, 2013

Howes Hall, 2013

Howes Hall, 2013

And finally, the book that is going on sale next week at https://www.amazon.ca/dp/0980957281/ref=sr_1_1…

For more about my work see Louise Mould Artists in Canada website

Late Summer

Lazy days ripening in warm sunshine; the late summer mellows as we reflect on growth.

"Late Summer" 2017, (acrylic on canvas, 20" x 24")

The land's changing hues in lengthening shadows begs the question "is there a seasonal lag?"

West River Country

It was the rolling hills, and the sloping fields, and the hidden mouth of the West River that gave the August report back in 2007.

West River Country (acrylic on paper, 7.5” x 20”)

 Reflections of 2010 repeated the deal,

Reflections (acrylic on canvas, 20" x 28")

but not to be out done, it was a return to the same hills and fields that fed the sky in this South Shore West River country report of October 2011. Plans C, D and E indeed. 

The South Shore (acrylic on paper, 15" x 22")

The Constant Shore

Timeless, enduring, constant -- the dunes are deceptive in appearance. A surge with a nor'easter shouts at them -- they are not so constant after all. 

Acrylic on canvas (20" x 24")

They are changeable, eroding, losing ground - every year.

The Playful Dunes

They beckon in the summer casting an allure of sparkling seas and warm sands.

The Playful Dunes (a study), (acrylic on paper, 15"x 22")

Winter, not so  much; repelling in the austere cold of a windswept, below zero prospect of fortitude.

The North Shore

It is an old shore, this north shore. Exploring the coast on canvas, I searched out the qualities of the grasses; I asked about the shapes of the cliffs and in so doing tried to capture that elusive colour and movement of the water.

"The North Shore" (acrylic on canvas, 12" x 16")

 It is an internal conversation with unseen links and threads --  and surfaces again with a need for expression.

All in a Row (reprised)

It speaks of ditches and windbreaks, of fields, and wayward seeds making a soft landing, protected from the plough and the combine.

Spruce in a Row (12" x 9" on paper)

 A landing that favours growth and nurtures seedlings. A demarcation line.

Gulf Shore North Triptych

Identity and place -- a bay within a bay -- stretching out to the deep-water blue of the Gulf. The shore, the coast, the beach, the dunes and then the allure of the ocean beyond.

Acrylic on canvas (24 " x 70") (c) L.Mould

The Gulf meets the Island and plays.

Farewell Summer!

Thank you for the beauty, the warmth and the lazy days.

Onshore Mist (acrylic on canvas)

Which begs the question, am I ready for the Fall?

PEI Storm

Drama in the skies over pasture, farms and woodlots,

Acrylic on paper 1992, from a 1980 sketch (23" x 30")

signaling perhaps that the storms are over and tomorrow holds a promise.

The Dunes

Coastal dunes made of shape shifting sand, windblown on a gulf, on a sea, on a beach or in a desert.  Tenuously held in place with grasses and other fragile plants in need of protection.

Acrylic on canvas (18" x 24")

Like arms around a parabolic curve.

The White Pine -- Upton Farmlands

It is tall; the tallest tree there. It marks a high point; it marks that point where the view of the estuary appears.

Acrylic on paper (30" x 22")

It marks the wind blowing in an ever changing world of seasonal weather and land ownership -- it stands as a beacon against all the odds.

Essence of Spruce (a study)

Shouting, "See? Look at me" -- always clothed, unless dead.

Acrylic on paper

Sculpted and brilliant against the sky. Proud and perfect; it is an exhibitionist, a dresser, a looker.

It's the scent, the posture and the attitude.

Essence of Spruce (Study #3)

Proud and perfect; it is an exhibitionist, a dresser, a looker.

Acrylic on paper (15" x 11")

Shouting, "See? Look at me" -- always clothed unless dead.