Lori Lukasewich

05/01/07 8:29:50 AM + zoom	20/12/06 8:44:06 AM + zoom	26/10/07 7:17:08 AM + zoom	Marigold 1 + zoom
Floating Begonia + zoom	Abalone + zoom	Conch Shells + zoom	Pas de Deux + zoom
Shimmering + zoom	Celeste + zoom	Colosse + zoom	Les Oignons + zoom
Single Bosc + zoom	Three Lemons + zoom	Two Pears + zoom	Decorative Pears + zoom
Little Wing - Inadvertent Angel + zoom	Three Varieties + zoom	Tableaux/The Gummies of Calais + zoom	Tragedy II/Broken Circle + zoom

What is your artwork about [ underlying concepts, focus, themes, intent, etc.? What matters to you most about the work you do? What is currently the central motivation for or conceptual concern in your work?

My intent is to arrest the viewers attention and to then invite them into a moment of contemplation or stillness. If they feel it in the painting they feel it in themselves, however briefly. And once I have their attention, the often formal presentation and the subject itself can offer food for thought or consideration. Why do we choose the objects we choose to surround ourselves with? Why a natural object? Why a man made object? What do we find valuable and why? What do we honour and why?

So, I think what is most important to me in my work would be the possibility that the work will inspire contemplation and consideration of what - to the viewer - is of value.

What informs your artwork and what are your influences? Do you feel the need to position your work within the context of art history and, if so, whats your take on that?

Beauty, pleasure, joy, light, shadow, shape, form, colour; as uncontemporary and unfashionable as it seems, these things work away on me until I express them in paint. From a philosophical and more contemporary point of view - I am working from the end result to the beginning - I do not focus on current affairs or political/sociological situations, because we are already inundated with these things. I am working to create - however briefly - moments of contemplation, pleasure and peace, so my work is instrumentalist in subtle but profound way.

I am positioned in the context of art history whether I care about it or not. The tradition of still life painting is long and venerable, but not of huge import to my daily concerns as an artist.

What mediums, techniques or processes are involved in your artmaking - and why these? Is there a trigger or a starting point for each piece? How does your physical/geographical environment inform the work you do? How has your work evolved over the last five years?

I do work in a very traditional manner, by beginning with a tonal underpainting and painting thin layers of transparency until finished. I paint in oils and am fond of alkyd mediums. I came back to oils after many years working with acrylics and watercolour. The ideas usually occur near the end of a current work in progress, building one on the other. Having said that sometimes they come from out of the blue and won't leave me alone until I create them. It is always better for me to go with the flow than to push the river. Until two years ago I painted solely from life, but I now use a digital camera and my computer to assist me in the preliminary stages. I prefer the total control and lack of distraction of the studio environment. The studio allows me the luxury of " long seeing" which is vital for the production of my work.

My composition and focus have become more simplified as I have shifted my concern to individual objects and their meanings. I am becoming more interested in specific man made objects like knick knacks. My mother would have used that word and I think it defines a particular time and locale. I am awestruck by the choices people make in the objects they choose to have in their environments.

I usually have several streams of thought and work going at a given time and some move faster than others, in terms of production.

What are your other passions in life and how have these influenced your work?

I am deeply concerned with the way that systems of thought, belief, and underlying assumptions, particularly in organized religion, but not solely, influence the way we build and live our lives. This has been with me since I was a child and has influenced every aspect of my life in a profound manner. I am very conscious of the effect that media of any kind has on the viewer and take my role as an artist very seriously from this point of view.

I do love to read and am rather eclectic in my tastes. My sense of humour has begun to make its way into my work recently and I'm looking forward to seeing what will result from that.

Why are you an artist?

My mother used to say that I was born with a crayon in one hand and a book in the other. I have been an artist all my life and with the exception of a brief flirtation with archaeology in Grade 6 - the Ancient Egyptians were irresistible - I have not been able to imagine myself doing anything else. So maybe I'm an artist because of a lack of imagination, but, of course, I hardly think that's the case. Everything in my life has conspired to keep me an artist, and I do almost feel that I haven't had much choice in the matter. There is great spiritual and intellectual freedom in it - its kind of like breathing.

Solo Exhibitions

Group Exhibitions

Commissions

• TROMPE L'OEIL MURAL, Apartment Lobby, Legacy Management, Calgary, Alberta. 1997
• WILDFLOWER FLOOR PAINTING, entire main floor, private residence, Calgary, Alberta. 1991
• FANTASY store decor, including murals, Beaners Fun Cuts for Kids, Calgary, Alberta 1988

Public & Corporate Collections

• Alberta Foundation for the Arts
• J. L. Morrison Professional Corporation, Calgary, Alberta
• Angles Hair Design, Dalhousie Station, Calgary, Alberta
• Zem Construction, Sylvan Lake, Alberta
• Planscape Design, Sylvan Lake, Alberta
• Dovetail Contractors Ltd., Calgary, Alberta
• Lorna Fraser, Design & Illustration, Calgary, Alberta
• Johanna Bates Literary Consultants Inc., Calgary, Alberta

Bibliography/*Reviews

• HABITAT HELPER, written by Cael Tucker, illustrated by Lori Lukasewich, published by Pheasants Forever Calgary, 2004
• FANTASTIC VOYAGES, Chrysalis Poster, Young Alberta Book Society, 2002
• MY GOOSE IS COOKED,written by Oney Martin, illustrations by Lori Lukasewich, 2002
• THE NIGHT FIRE, written and illustrated by Lori Lukasewich, published by Stoddart Kids, Canada, 2001
• * Linda Ludke, School Library Journal, Editorial Review, 2002
• * Ian Stewart, CM Magazine, 2001
• * Susan Perren, The Globe and Mail, 2001
• * Carrie Snyder, The National Post, 2001
• * Beverly Brenna, The Star Phoenix, 2001
• * Calgary Herald, " Calgary Authors First Offering is One Red Hot Read', 2001
• TARTABUL, written by Jerry Sharkey, illustrated by Lori Lukasewich, published by Shark Publishing, Canada, 2001
• Red Deer Advocate, Photo of work " Ambiguity", front page Whats Happening, 1994
• Muttart Art Gallery Newsletter, " All in the Name of Fun and Laughter", 1987

Awards

• Chosen for the 2002 Our Choice Book List, Canadian Children's Book Centre THE NIGHT FIRE, written and illustrated by Lori Lukasewich

Lectures/Public Speaking Engagements

• Chryalis events, Young Alberta Book Society. 2003
• Lecture, Federation of Canadian Artists, Calgary, Alberta. 2002
• Workshop, Alberta Summer Games Literary Arts Festival, Camrose, Alberta. 2002
• Reading/presentation, Canada Book Day, [ with Sen. J. Fairbairn ] W. R. Castell Branch, Calgary Public Library, Calgary, Alberta. 2001
• Lecture, Calgary Association of Catholic School District Librarians, St. Leo Centre, Calgary, Alberta. 2001
• Ongoing school presentations

Education

• Alberta College of Art, Calgary, Alberta. 1970 - 72, 1975