An Exploration of Landscape DrawingGreGory Hardy

FALL 2012

September 7 - December 23, 2012

Front cover: Bison in March 2011

An Exploration of Landscape Drawing by Gregory HardyOrganized by Interim Chief Curator, Anne Ewen

Exhibition Venue:The Art Gallery of Calgary117 – 8 Avenue SWCalgary, AlbertaT2P 1B4403.770.1350www.artgallerycalgary.org

Exhibition Dates:September 7, 2012 to December 23, 2012

No part of this publication may be reproduced in any matter whatsoever without permission from The AGC.

CONTENTSCURATOR’S MESSAGE

AN EXPLORATION OF LANDSCAPE DRAWING

LIST OF WORKS IN THE EXHIBITION

2

5

19

1

CURATOR’S MESSAGEThe exhibition An Exploration of Landscape Drawing offers a rare view of creative expression by internationally respected Canadian artist Gregory Hardy. While drawings have been collected and admired since the 16th century, they were considered primarily as informed studies for an artist’s future painting or sculptural attempt. Their significance was as a reference; they were not regarded as a completed artwork. The influence of abstract painting and other contemporary movements in the 20th century inspired changes to the practices and attitudes about drawing. No longer just a means to an end, drawings were afforded stand-alone status. For the artist, the function of drawing still provides a way to clarify ideas, formulate concepts and resolve visual context. Additionally, its characteristics are emphasized by the artist’s choice of media, size and intended final objective. In Hardy’s drawings, we observe vast and intimate renderings; resplendent and pristine entities unto themselves. It was while in conversation with Colette Hubner of Wallace Galleries, Calgary that the idea of an exhibition of Hardy’s work first came to light. I credit her and the artist for strategic assistance, expertise and expediency. In addition, it has been a pleasure working with the staff of The Art Gallery of Calgary (The AGC) who, with their diverse backgrounds, expertise and experience, provide a colourful and magnanimous work environment.

The AGC recognizes the generous support of our many corporate, government and community sponsors. We thank you for ensuring our continued presence and participation in the cultural activities of Calgary. As well, we extend sincere gratitude to our visitors for reliable attendance and thank the artistic community for ongoing encouragement.

Anne EwenInterim Chief CuratorThe Art Gallery of Calgary

2

Storm, Orange Lichen 2009

AN EXPLORATION OF LANDSC APE DRAWINGGregory Hardy’s drawings articulate an exciting personal vocabulary. Adept in a variety of disciplines including acrylic and oil, Hardy turned to drawing relatively late in his career. For him, the function of drawing provides an emersion into the subject and immediacy to the surroundings on a conscious and intuitive level. A view is contemplated and rendered capturing intangibles, nuances, minimal or detailed gestures and movements. Absorbed in the moment, information is gathered and embedded in memory for future investigation and study in the studio environment.

Hardy’s observations are captured in small sketch books ranging in size from 2”x3” to 10” x 30”, but most frequently used are the Aquabee 6”x 12”. These immediate en plein air studies are later refined and interpreted onto large sheets of Rising Stonehenge drawing paper enabling the artist further opportunity to contemplate and engage with the power and source of the original inspiration. Each mark, line and attempt, whether rudimentary or complex, raw or refined, serves to augment the artist’s knowledge. The intrinsic beauty of the subject is emphasized by Hardy’s choice of materials and methods cleverly mirroring the style and quality of his other endeavors. When each mark and tonal variant is articulated and positioned, the drawing becomes the reference for translation onto canvas. Re-sketched, re-considered and at times re-interpreted, it is at this juncture that the artist either moves forward with or without paint.

Canola, Trees, and Cumulus 2011 Ditch Flowers, Edge of Fields Near the Farm 2012

5

The exhibition An Exploration of Landscape Drawing focuses on Hardy’s drawings on paper and canvas; works complete unto themselves. The images are eloquently depicted in graphite, charcoal and pastel revealing the subtle, rich fragility of the complex Saskatchewan ecosystem. This seemingly monochromatic province is awash with a plethora of vegetation and habitat. The extending plains thrive with resilient shrubbery, diverse grasses and wildlife, flourishing lakes and wetlands; theatrical climatic conditions combine to impart an irresistible domain for artistic discovery. Ditch Flowers, Edge of Fields Near the Farm nuances the provinces delicate nature while the drawing In Storm, Orange Lichen eludes to the swiftness of its atmospheric change. Often accompanied by classical music, Hardy allows its rhythms, forms and textures to orchestrate his compositions. The result is spontaneous and fluid evoking a harmonic response to the land he knows and adores.

Hardy’s source of intrigue is found in three prime locations. The landscape around his studio is punctuated by parkland, rolling hills and sloughs. Highlighted by radiant hues, swirling shapes, and linear sweeps, Canola, Trees and Cumulus aptly conveys the regional countryside. Grasslands National Park in the southwest of

Our Island 2009

6

Snow Covered Hills 2011

Big Storm, Last Mountain Lake 2007

the province with its semi-arid climate supports nooks and crannies for acclimatized plants and wildlife. Frenchman River and Willow is a fine interpretation of the rolling terrain, coulees, creeks and buttes where Hardy deftly swaths the surface of his page with subtly scripted colour. In his drawing From the Top the vast expanse and solitude of the prairie is intimated. We experience the summer heat abuzz with insects and

birds, relieved by gusts rippling across grasses and herbaceous wildflowers. Traversing across the tonally explicit plains and valleys, the viewer is pulled to the sky by wisps of cloud drifting off and into the distant horizon. Contrasting both of these locales is Hardy’s Lac La Ronge island retreat where the large expanse of clear, bountiful fresh water is peppered with a thousand Precambrian, wooded islands. Here the artist enjoys a respite from urban commitments and the vastness of the open prairie. At Lac La Ronge, the rhythm is more solitary allowing Hardy to absorb its history and richness by frequently paddling the channels and

Lone Tree 2010

Rhythm of the Road 2011

10

Lake Day, Sun on Rocks 2009

inlets. In Late Day, Sun on Rocks, a kaleidoscope of pastel colour infuses the topographic appearance and majestic beauty of the area. From each region, years of first hand observation and meditative presence are communicated with skill and confidence, leaving the viewer with a resplendent impression of his home province.

Born in Saskatoon, Saskatchewan in 1950 and now a resident there, Hardy also maintains a studio on an acreage near the village of Meacham, where several other artists, writers, and performers now reside. In 1970 he enrolled in a media studies program at Ryerson Polytechnic Institute in Toronto, studying photography and filmmaking with the intention of becoming a photojournalist for National Geographic magazine. But a school assignment kindled his interest in art and dissatisfied with photography yet inspired by the artistry in his native province, he moved home and became a painter.

Primarily self-taught, Hardy was encouraged by other Saskatchewan artists whose influence boosted his development. Otto Rogers, Joe Fafard, Robert Christie, Douglas Bentham, Dorothy Knowles and William Perehudoff are among the many. George Moppett wrote an insightful essay on Hardy’s work in the 2001

Dream Sky 2009

13

Mendel Art Gallery exhibition catalogue, Journeys in the Landscape where he connected Hardy’s work with earlier Saskatchewan artists such as Ernest Lindner and Leslie Saunders. American painters Friedel Dzubas, whom Hardy met at the 1979 University of Saskatchewan Emma Lake Artists’ Workshop provided

insight and guidance while Stanley Boxer with his ability to manipulate surfaces with intense, bonding colour and texture opened new avenues of artistic expression. Attending a total of six Emma Lake workshops, Hardy credits them for inspiring a broader approach to his methods of creativity and artistic repertoire by being exposed to the artwork of other artists as well as the theories of curators and critics. Hardy has also attended numerous other workshops including the Triangle Artists’ Workshop, Mashomack, New York(1989), the Xayamaca Workshop, Kingston, Jamaica (1993) and as Guest Artist, Grand Prairie Regional College, Alberta (1993).

Hardy has exhibited extensively in numerous solo and group exhibitions since 1977 and has an impressive bibliography of notable publications to support his career. He has been invited as a guest artist and

Teepee Rings 2010

Frenchman River and Willow 201014

Of Love and Daydreams 2011

instructor at Memorial University, Newfoundland (1999), University of Alberta, Edmonton (1987), Saskatchewan Community College systems (1980-1982) and Saskatchewan Summer School of the Arts, Fort San (1975-1980). Hardy’s work is included in the collections of Canada’s top corporations as well as Canadian Embassies in San Jose, Beijing, Warsaw, Sydney, London and Los Angeles. His work is also included in the Canada Council Art Bank, numerous University, civic, public gallery and private collections. Among his many accomplishments, Hardy has been awarded many commissions in Canada and the USA. In 1983 he was awarded a Saskatchewan Arts Board Senior Grant as well as three other Saskatchewan Arts Board grants. In 2002 he was elected to the prestigious Royal Canadian Academy of Arts.

Anne EwenInterim Chief Curator

Walking Hills 2010

From the Top 201117

Poplars 2007

List of works in tHe exHibition

Dream Sky 2008Pen on paper6” x 12”

Our Island 2008Pen on paper6” x 12”

Big Storm, Last Mountain 2007Charcoal and chalk pastel on paper22” x 30”

Poplars 2007Charcoal and chalk pastel on paper22” x 30”

Canola, Trees and Cumulus 2011Charcoal and chalk pastel on paper22” x 30”

Ditch Flowers, Edge of Fields Near the Farm 2012Charcoal and chalk pastel22” x 30” Late Day, Sun on Rocks 2009Charcoal and chalk pastel on paper21 3/4” x 51 1/4”

Rock Face, Green Water 2009Charcoal and chalk pastel on paper50 1/2” x 21”

Storm, Orange Lichen 2009Charcoal and chalk pastel on paper21 1/2” x 50 3/8”

Teepee Rings 2010Charcoal on paper8 1/2” x 50 3/8”

Rock Face, Green Water 2009

Walking Hills 2010Charcoal on paper12” x 47 1/2”

Lone Tree 2010Charcoal on paper10” x 48”

Frenchman River and Willow 2010Charcoal and chalk pastel on paper17” x 48”

Bison in March 2011Charcoal and chalk pastel on canvas64” x 192”

From the Top 2011Charcoal and chalk pastel on canvas66” x 188”

Of Love and Daydreams 2011Charcoal and chalk pastel on canvas66” x 188”

Snow Covered Hills 2011Charcoal and acrylic on canvas66” x 140”

Rhythm of the Road 2011Charcoal and chalk pastel on canvas30” x 85”

Skeleton of a Storm 2012Charcoal on canvas44” x 96”

Skeleton of a Storm 2012

20

ACKNOWLEDGEMENTSAnne Ewen, Interim Chief Curator

Dominique Ng, Manager, Marketing & Communications, Graphic DesignerWallace Galleries Ltd, Calgary, Alberta

THANKS TO

1 1 7 - 8 A V E N U E S . W . C A L G A R Y , A L B E R T A , C A N A D A T 2 P 1 B 4M A I N : 4 0 3 . 7 7 0 . 1 3 5 0 F A X : 4 0 3 . 2 6 4 . 8 0 7 7

W W W . A R T G A L L E R Y C A L G A R Y . O R G

Presenting Sponsor: