Laying Low
A zoomed out version of the other places detailed in my other paintings. This loosely represents the area where I live, qathet, on the Sunshine Coast, on the mainland of BC, backed by the Coast Mountains and protected by Vancouver Island. When we started boating a few years back I found out what a complicated and magnificent coastline I live on. I’ve used the mountain shapes I observe every day to explore colour, shapes and scale, and textural lines. I like the effect of space filled in with magic marker - mountain shapes are one of the first things I remember drawing. An early exploration of stacking shapes in space, jagged peaks with peaks peeking out from behind them and more behind them and even more behind them. Then a huge yellow sun of course. There are a few symbols here that appear in other work. The ovoid shapes with the slash through the middle could be clams to represent ancient middens or food gathering sites. They also resemble UFOs to some. The stacks of dots represent mineral exploration, piles of something extracted, stacks of wood, or simply smaller hills. The clusters of coloured dots can represent points of interest, the location of specific items or communities, or more literally, buoys. Above all they allow me to add visual interest and bops of colour, and invite the viewer to invent.
$5,100.00
Meghan Hildebrand
Meghan Hildebrand's paintings invite the viewer to get lost in worlds with few boundaries. Within dreamlike explorations of real and imagined landscapes, colours and forms are built up intuitively. Experimentation and spontaneous mark-making lend raw energy to the paintings. Drawing from environmental observation, painterly invention, and the inclusion of a wide vocabulary of visual symbols, unexpected breakthroughs keep Hildebrand in a constant process of reinvention, and her work ever-changing. Trees, tents, bottle shapes and colour-coded dots can represent community or industry, while anthropomorphized forms return the gaze of the viewer. A distorted sense of scale lends a magical quality to her work, creating scenes that tend to lose their logic the longer you look, inviting new translations.
“Meghan is very much aware of the structure of painting in terms of space and colour, moving with confidence between the abstraction of surface and the illusion of depth embodied in the work to serve the lively content. She accomplishes this with fresh innovations for each work, and although her presence in undeniable, there is no sense of mere repetition but rather continuous expansion of symbolic ideas.” - Norman Yates
Originally from Whitehorse, Yukon, Meghan now resides on the Sunshine Coast of BC.
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