W. N. Pope
Bio
I am 61. I have drawn, painted, scupted, and wrote all my life. I come from a family that works hard overcoming many physical, mental, and material disabilities. I have lived in Vancouver for almost 14 years now, and have painted and drawn the west coast of Canada for 24 years. Previously I lived in Victoria and Salt Spring Island. I am teated for mental ilness, and I live alone. I have a 25 year old son and a grandson.
I am represented by the Galley Gachet in Vancouver. I mostly do visual art in an expressive, realist style, but have studies ongoing in history, poetry, and journalism. I also work non-objectively on glass with acrylic paint, and sculpt with found objects.
I grew up in Corbyville, 3 miles north of Belleville, Ontario, where my father and mother owned a corner store and was Post Master of Corbyville. From age thirteen I studied art with Chris Heywood, Carl Williams, Jane Sykes, while at Quinte S.S., and did my first oil painting at 17 where I had my own studio in my mothers store. I first exhibited paintings and sculpture with Robert Huffman at Corby Public Library, Belleville, in fall,1970: paintings of landscapes, pop assemblages, and train wrecks. I also painted with Richard Grills, Robert Huffman, and the Wiegand Bros.
I attended O.C.A. in Toronto where I studied under Thepot, Coughtrey, Raynor, and Pike. I was mentored there by George Grube, the poet. Roy Ascot was the director.
I developed a style based on photographic processes, and learned that craft in Toronto and Ottawa through work doing photo slide shows and contracting in the field of advertising.
I have operated an activity centre for persons with mental health challenges as Activity Co-ordinator.
I Facilitated meetings, curated art shows, taught computer skills, art-related topics to persons with disabilities and can illustrate ideas clearly in writing, drawing, painting, photography, sound, and multi-media.
Have co-ordinated, facilitated, trained volunteers, written proposals, lectured, and operated as treasurer for registered societies, volunteer for CMHA, Vancouver, Gallery Gachet Collective, Kettle Friendship Societies, etc.
I am 61. I have drawn, painted, scupted, and wrote all my life. I come from a family that works hard overcoming many physical, mental, and material disabilities. I have lived in Vancouver for almost 14 years now, and have painted and drawn the west coast of Canada for 24 years. Previously I lived in Victoria and Salt Spring Island. I am teated for mental ilness, and I live alone. I have a 25 year old son and a grandson.
I am represented by the Galley Gachet in Vancouver. I mostly do visual art in an expressive, realist style, but have studies ongoing in history, poetry, and journalism. I also work non-objectively on glass with acrylic paint, and sculpt with found objects.
I grew up in Corbyville, 3 miles north of Belleville, Ontario, where my father and mother owned a corner store and was Post Master of Corbyville. From age thirteen I studied art with Chris Heywood, Carl Williams, Jane Sykes, while at Quinte S.S., and did my first oil painting at 17 where I had my own studio in my mothers store. I first exhibited paintings and sculpture with Robert Huffman at Corby Public Library, Belleville, in fall,1970: paintings of landscapes, pop assemblages, and train wrecks. I also painted with Richard Grills, Robert Huffman, and the Wiegand Bros.
I attended O.C.A. in Toronto where I studied under Thepot, Coughtrey, Raynor, and Pike. I was mentored there by George Grube, the poet. Roy Ascot was the director.
I developed a style based on photographic processes, and learned that craft in Toronto and Ottawa through work doing photo slide shows and contracting in the field of advertising.
I have operated an activity centre for persons with mental health challenges as Activity Co-ordinator.
I Facilitated meetings, curated art shows, taught computer skills, art-related topics to persons with disabilities and can illustrate ideas clearly in writing, drawing, painting, photography, sound, and multi-media.
Have co-ordinated, facilitated, trained volunteers, written proposals, lectured, and operated as treasurer for registered societies, volunteer for CMHA, Vancouver, Gallery Gachet Collective, Kettle Friendship Societies, etc.
Dad Playing Biscuit Board
11”X14” framed
acrylic on canvas
$200.00
11”X14” framed
acrylic on canvas
$200.00
Artist Statement
Orangie’s Last Stand
A night painting. Night is the obscure time. The magic reality of cats is that they are cats. They go out at night (or are supposed to) and fight over territory. Humans do it too. Why? Another magic myth: survival of the fittest. In our society money and power has nothing to do with fitness. It is lip service, urban maintenance, fine print in contracts that lets everyone in the know off the hook. Its like writing to explain something to people who don’t care about pictures so that documentary evidence of acts of art can be catalogued by persons who can add value to an artists work, and then make observers and catalogues seem important to a process that is unnecessary. The value adders then can take some of the credit. Like a catfight, nobody but the cats seem to know what is going on. It’s deadly serious business to the cats, but just wild noise to others that don’t care. It mostly ends up in the landfill. Painting is a symbolic act of remembrance, not a civil ceremony.
Dad Playing Biscuit Board
This painting comes from a dream I had of my father playing slide guitar on a stool at a shivarree. Slide guitar my dad called a “biscuit board”. My father died in 1965 when I was 13 years old. I only saw my dad play guitar once. He’d played in western bands in the ‘30’s and ‘40’s in Ontario, around Prince Edward County. He was born in Picton, Ont. He had survived polio. He walked with steel braces and on crutches he’d made himself out of hickory wagon tongues. This is a retroactive piece of reality, part of an heritage of mysticism I embrace. My interest is in recreating the bygone: the style of painting that is rural folk art from 100 years ago. This is the kind of keepsake paintings or samplers in a small cheap frame seen in rural Ontario sold at estate auctions when I was a boy. It has an ambience. Doing this sort of acrylic painting predating the invention of acrylic paint interests me.
Beamer
You see what you want to see. Who’s zooming who? So long as they can blame things on the unknown, the military industrial complex can do whatever it wishes with us, and our environment. All those that loot and abandon our environment are the real U.F.O.s.
Orangie’s Last Stand
A night painting. Night is the obscure time. The magic reality of cats is that they are cats. They go out at night (or are supposed to) and fight over territory. Humans do it too. Why? Another magic myth: survival of the fittest. In our society money and power has nothing to do with fitness. It is lip service, urban maintenance, fine print in contracts that lets everyone in the know off the hook. Its like writing to explain something to people who don’t care about pictures so that documentary evidence of acts of art can be catalogued by persons who can add value to an artists work, and then make observers and catalogues seem important to a process that is unnecessary. The value adders then can take some of the credit. Like a catfight, nobody but the cats seem to know what is going on. It’s deadly serious business to the cats, but just wild noise to others that don’t care. It mostly ends up in the landfill. Painting is a symbolic act of remembrance, not a civil ceremony.
Dad Playing Biscuit Board
This painting comes from a dream I had of my father playing slide guitar on a stool at a shivarree. Slide guitar my dad called a “biscuit board”. My father died in 1965 when I was 13 years old. I only saw my dad play guitar once. He’d played in western bands in the ‘30’s and ‘40’s in Ontario, around Prince Edward County. He was born in Picton, Ont. He had survived polio. He walked with steel braces and on crutches he’d made himself out of hickory wagon tongues. This is a retroactive piece of reality, part of an heritage of mysticism I embrace. My interest is in recreating the bygone: the style of painting that is rural folk art from 100 years ago. This is the kind of keepsake paintings or samplers in a small cheap frame seen in rural Ontario sold at estate auctions when I was a boy. It has an ambience. Doing this sort of acrylic painting predating the invention of acrylic paint interests me.
Beamer
You see what you want to see. Who’s zooming who? So long as they can blame things on the unknown, the military industrial complex can do whatever it wishes with us, and our environment. All those that loot and abandon our environment are the real U.F.O.s.
Orangie’s Last Stand
16’X20” framed
acrylic on canvas
$650.00
16’X20” framed
acrylic on canvas
$650.00
Beamer
20”X24” framed
oil painting on canvas
$700.00
20”X24” framed
oil painting on canvas
$700.00
Photographs by Rachel Warick
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