commission

The Official Ocean Rain Recap

On Sunday, May 12th, I had the distinct pleasure of holding my sixth art show. This one broke new ground in terms of venue (the HiVE ), timing and structure. And if audience reactions are any indication, in terms of the art itself.

I mixed things up some this time around – metalflake paintings without the border treatment I usually employ, less square-format pieces than usual, size and shapes I don’t usually work in. Plus a more multi-layered approach to glazing and iridescents.

And the subject really seemed to strike a chord with people.

A few visual highlights:

Buttons courtesy of Annie Friesen and Dottie’s Buttons .

Some of the fine people who showed up.

The long-distance traveler award goes to Jaime, who came over from Vancouver Island for the show.

Team Sizzr represents.

Mesmerized.

Oops. Not Aaron.

In which I demonstrate a narwhal/unicorn swordfight.

All the support in the world.

Very serious discussion.
So I’m calling this another one for the victory column. I had an amazing day. Every time we put on another show, there’s less stress to deal with, and the process gets more streamlined.

__________________________________

A very special thank-you to:

Tess McCann , who put the pieces together.

John Watson , who documented the process.

Lyndsey MacEwen , who stepped up to bat.

Jaime Lee Purgavie , who believed.

Annie Friesen , who buttoned it all up.

Mike Watson , who drove the getaway car.

Lindsay Bayne , who wisely said “narwhal!”

Cindy McShane, Karina Halle, Kate MacDonald , and Lyndsey Locke , who bought the paintings.

Aaron Cruikshank, Eve Rickert, Margarete Hernandez , and Alan Cheung from the HiVE, who gave me the opportunity.

Heather Prost, Jess Couture, Meghan Kilner, Kyle Reid, Jenn Derksen, Steve Kinsey, Scott Graham, Ian McKinnon, Katie Moran, Jacquie Clarke, Cheryl Cheeks, Kitty Nichols , and Mike C. , who kept the faith.

Tom Odell and Lucy Schwartz , who provided the musical portion of the (very) exclusive afterparty.

Paul Keelan , who supplied my ticket.

Christy McNeil, Julia Gaetz , and Amanda West , who all made valiant efforts.

Jack Daniel , for service above and beyond the call of duty.

(Photos courtesy of John Watson and Imagemaker Photographic Studio .)


And then it was April.

Here we are, a quarter of the year already done. The first big show of 2013 is over (and a damn successful one it was), and two more are in the works. Longterm strategies are being developed, and new venues and opportunities being explored.

Creatively I feel incredibly positive. The ideas just won’t stop coming, I’m happier with my drawing skills than ever before, and I keep thinking of new variations on my metalflake technique. This in particular is pleasing, given that I’ve finished 102 of these paintings and currently have another 17 in the works (obviously I don’t ever want this to turn into some sort of assembly-line process; frankly I think that having assistants do the bulk of your work for you borders on the fraudulent).

With the Hot Pink show and the Christmas Metalflake series, I played around with the technique, sometimes out of necessity, and other times just out of curiosity. I did several paintings with pulverized Christmas balls worked into the strata for texture and reflectivity. And the other day it occurred to me that I could also use gold leaf in my backgrounds.

This experiment turned out even better than I’d anticipated. And it got me thinking about some other new possibilities.

A few specifics, then, before the conversation takes a turn for the personal. The Ocean Rain show, which you’ve already seen hints of, is progressing nicely. Expect an announcement regarding this very soon – we’re hoping for an early May launch date.

The show after that will most likely use superheroes and science fiction as its launching point.

After that I’d like to do something with an automotive theme, and of course we’ll be doing something Christmassy as well, in the fall (truth be told, we’ve probably got ideas for a dozen shows). Also in the fall, we’ll be releasing a book and/or calendar of T-Rex illustrations. Three of them are done already, and the Agent and I have been brainstorming on lots more.

And by this time next year I want to have my work in galleries.

So, enough business. Let’s talk about what else has been going on. Last year, as documented again and again (and AGAIN ), felt like some sort of trial to me. One trauma after another, month in, month out. By November I was a bit of a mess.

I can’t pinpoint any one specific moment when the game changed (unlike, say, in 2011), but a lot of minor victories added up to help pull me out of my funk.

And this process continued through January and February, to the point where I finally feel like I’ve gotten my groove back (I won’t lie; I was extremely worried about that, and for a long, long time). Friends and family have done their part to help, chance encounters have led to new opportunities… and inspiration? Inspiration is EVERYWHERE . I’m on fire creatively.

I’m back , baby.

Bret Taylor
Vancouver, BC
April, 2013.


Available.

First off, you may have noticed the lack of a report on the Hot Pink show. Fear not; it’s happening. It’s just been.. delayed a little while I recover. Further to that, though, this particular handful of paintings is still available for purchase:

Should something here catch your eye, please contact my agent, the lovely and talented Tess McCann , and she can arrange things for you.

Thanks,
Bret Taylor
Vancouver, BC
March 2013


So it’s official now: the Christmas metalflake paintings are happening, and in a big way. I’ve been building the bases for the paintings and refining the designs over the past month.

Here you can see a few of the bases, nearly ready for the lineart that will turn them into Christmas paintings:

These are the prototypes to give you a solid idea of what the finished pieces will look like. First, the 6×6-inch paintings:

And here are the smaller, 3×4-inch paintings:

They’re coming together rather quickly now. These paintings are limited edition pieces, and we’ve already had a number of inquiries, so if you’re interested in one of these, you should probably act fast.

Here’s how it breaks down. There’ll be 16 of the 6×6-inch paintings: 5 red santas, 5 green trees, 3 blue snowflakes, and 3 blue snowmen. These will be $60 apiece (plus shipping if you’re outside the Vancouver area).

And there will be 10 of the 3×4-inch pieces: 4 blue snowflakes, 3 red santas, and 3 green trees. These are $30 each (again, plus shipping where applicable).

If you want to reserve one, please contact my agent at this address: [email protected]

I’ll also be releasing Christmas t-shirts on Thursday. And while we’re on the topic of our metalflake Christmas, I’ve still got room in my schedule if you’d like to commission a custom piece as a present for someone you love. The window of availability is narrowing rapidly, though, so if you want one in time for Christmas, please let us know ASAP.

Ho ho ho.


Well, things are proceeding nicely. Out of the twelve 8×8-inch paintings, eleven are now done. Just finished this one late last night (or was that early this morning?):

And I designed the lineart for another of the 8×24 pieces this afternoon:

The biggest hurdle to get past now is building up the layers of clearcoat on the remaining paintings. Love to get these finished by the end of August, so I can book the space for the show in September.

Oh, and I’ll be spinning another painting off from this series – a friend has commissioned a big, expensive abstract piece. So essentially I’ll be eliminating the white lineart that graces all the others and just going with a similar colour/texture combo. I may do a keyline in gold leaf, though. Just to show the depth of the clearcoat.

Good times.


So in case you’re wondering, January was all about the Dawn Patrol triptych. All the base colour work and glazing are done now; the next step will be building up coats of clear.

For you process junkies, this slideshow shows a bunch of macro texture shots:

Thanks.


And in other art news, I picked this up from the printer today:

That’s a 16×20-inch lightjet print on metallic paper – essentially it’s a photo, as opposed to an inkjet print. Up close it almost looks like there’s a layer of liquid between the paper and the ink. I’ve done several commissioned pieces this way over the past few years, and they never fail to wow the client.


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