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A message from Studio Sixty Six regarding COVID-19

Posted on March 21, 2020
Consuming art in the form of music, film, dance and visual art is proven to provide valuable comfort and mood lifting inspiration; which is something we all need at this time.

Hi Folks, 

With COVID-19 concerns ever-growing, we are in awe of the many ways individuals have rallied to bolster unity, understanding and have found ways to connect in these uncertain times. As a small business, we ask ourselves, how can we best run our gallery, while continuing to offer you excellent fine art experiences, information and artwork from our premier artists in the safest and most complete fashion?

In order for us to continue to serve you in the most impervious ways possible we have closed the gallery to the public. Meanwhile here are some of the ways we will continue to offer art sales and services:

Private Viewings 
- While exercising social distancing we are still accepting private viewings and meetings with our collectors
Online Art Sales 
- We remain open to serve our clients through online art sales and we are still providing free delivery in Ottawa
- Studio Sixty Six offers gift certificates!
Online Content 
- In order to continue to connect to our community in meaningful ways we will be providing online exhibition and gallery attendance options such as our 
Upcoming Virtual Opening Exhibition for Andrew Beck | Vanishing Point

We want to thank you for your continued support.⁠ ⁠It is in these times that feel so surreal that we are reminded of our place in the community and what a beautiful one it is. Stay safe and healthy.⁠ We're in this together! 

Carrie Colton, gallery director
Sophie Zufferey, gallery manager

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Call us, email us or simply respond to this email to book an appointment.
info@studiosixtysix.ca613.355.0359
#ottawaartgallery #studiosixtysix

GUILLERMO PRESENTS: BRIDGET THOMPSON

Posted on December 19, 2019

This is the 3rd art collector conversation from the series "Guillermo Presents".

This time I would like to introduce you to
 Bridget Thompson.


Bridget and Guillermo
Jessica Bell painting on paper behind us, Small above my head, Michael Belmore, Below window - Craig Leonard cork piece, On floor, unknown artist

I have known Bridget for about 8 years. We met when she was interested in purchasing some of my
 prints (they were a couple of large poster-size prints of two wrestlers). I had shown these prints during
 the second ‘Chinatown remixed’, at a store on Somerset Street that doesn’t exist anymore.
 I have to say that I loved those prints. Particularly for the kind of joyful quality that they had, but mainly for 
the naive style. I am not saying that my current art practice doesn’t bring me joy, but I can feel how my work is more mature now and how my own expectations about art production are completely
 different.


Bridget and I met for that reason but our connection increased as the years passed, especially because
 she and her partner Danny Hussey are a power couple of the arts in Ottawa. They co-own, Central Art
 Garage framing studio and art gallery, one of the most interesting spaces in the city for contemporary 
art exhibitions, and definitely the house of the finest handmade frames. Bridget is also a big supporter of
 many art organizations and probably the only “civilian” that I know that has looked over budgets of art
institutions! That definitely shows commitment! Not a surprise she is also a collector of art and design.

- Guillermo Trejo

Bridget, thank you very much for participating in this interview.
Hi Guillermo! Thanks for interviewing me for this series. I remember very much that first art purchase from you. I immediately loved the prints but was concerned I would dent them if I carried them around while exploring the rest of Chinatown Remixed. I was disappointed (and mad at myself) when I returned and you were sold out. A classic art market lesson! I was very happy when I found out you had a couple more you could sell me, and now we’ve enjoyed them for years.

I always find it interesting how people become interested in the arts. At one point I believed that
 interest in the arts was natural, something that grows with no need of enforcement. However I’ve learned
 that art appreciation really start after an experience or from someone else; it could be a family
 member, teacher or travel.
 Is there someone or something in your past that started your interest? Do you remember a moment
 when you started to feel like “you like art”?
People always find it crazy when I say this, but I think a big influence on my appreciation of art was a high school job at a card store that I got through my friend Katie. Organizing the shelves resulted in my repeatedly seeing images of various famous artworks and I learned the basics by reading the back panel of the cards and calendars.


In terms of being exposed to a home that had an art collection, Katie’s home was very memorable. Their house was filled with original artworks and antiques. It was obvious that a lot of time and thought had gone into the collection. I loved one piece in particular, a large painting of skaters on a river, and I’d often make a detour to go into the formal living room to see it. Many years later, while looking at an installation at the Ottawa Art Gallery, I realized that piece was by the artist Molly Lamb Bobak. 


When I lived Toronto doing my Masters, my friend artist Amy Thompson lived there at the same time. She introduced me to commercial galleries and artist events. I remember one evening in the late 90s following Amy to an event and wondering where she was taking me as we walked past boarded up storefronts and a business selling used appliances on Queen St. W. Of course the destination was Katherine Mulherin’s amazing space, and I believe this was my first introduction to a commercial art gallery. So really, I would say I have been influenced by my friends and I have been very lucky in this regard.


When remember you have mentioned to me that you work as a palliative care doctor suddenly it makes a lot of
 sense that you have an interest in the arts. I am not sure if you agree with me on this, but I think that
 dealing with the dying at that intimate level gives you a relatively different perspective of the world? Do you agree with me? If yes, how does art get involved here? 
Do you believe art can be therapeutic?
Yes, I’d agree that my job gives me a different perspective on the world. Having cared for a lot of patients who were diagnosed with terminal illnesses just as they were planning to ‘enjoy the good life’ in retirement has made me believe strongly in a good work-life balance. I’m lucky to work with a great group of physicians that shares this philosophy. We put a priority on each of us having time off and that lets me pursue interests outside of medicine. Since I do house-calls and care for people in their homes, I do get to know patients and their families in a very intimate way. People surround themselves with what is important to them, so I get a sense of who they are much more deeply. My patients want to be in their homes, to be with family, but also to be surrounded by the objects that they have accumulated over their lives; these provide comfort and remind them of the life they have lived.
I have seen art to be therapeutic in this manner.

I recently cared for a patient who lived in a very sparse apartment, she literally owned only one glass, but she did have one large painting that she loved and it provided her a great deal of solace. For her, the piece represented a happy time in her life when she raised animals, and she said that the artist had captured the spirit of the animal perfectly. Discussing the artwork and why it was important to her revealed more about her history and deepened the therapeutic bond.


I have been lucky to visit your home several times (especially for the legendary wine party!). And one
 thing that always impressed me is that the art is not only on the walls. You have a fantastic collection of
 mid-century furniture. Is design also part of your interest or this is mostly Danny’s influence?
I certainly had many design pieces in my collection prior to meeting Danny, mostly mid-century reproduction pieces. When Danny and I met we were both in transition phases in our lives and needed some new pieces of furniture. We were no longer interested in picking up the easy and trendy item but in putting in more time, more research and finding pieces of quality that we loved. For example, I had a particular idea of the type of bed frame I wanted; a queen teak bed frame with floating shelves, and it actually took years before I found the right one. I found it on Kijiji in Toronto and we picked it up on a trip there. Amazingly we just managed to fit it in my small car. Danny had to drive as I sat squeezed in a very tiny space left in the back seat behind the driver’s seat. An uncomfortable trip, but worth it!

Top - Michell Wiebe drawing, Lower - Ursula Johnson performance ephemera, Far wall- Christi Belcourt and Isaac Murdoch, Screenprint, Below that Josee Dubois drawing, Barry Ace, mixed media


This question is connected to the previous one: How much has your collection and your personal
 aesthetics been influenced, or should I say have evolved, because of your partner? Now when you collect
 art do you decide together as a couple, or do you each have your collection? As an artist and husband, I 
know that I “tend to curate” the art at my place and I just take over the whole art house… (Sorry Justine), it is hard to find a middle point for us. But in your case, it seems like both of you have similar aesthetics, which must be really handy when you are interested in collecting art and decorating a home. Is that a good description?

We both came into the relationship with our own art collections, but mine was based on aesthetically liking a work and buying it to celebrate life milestones. Whereas Danny’s was based on being part of the arts community for years.

When I first started dating Danny, I went on a trip to NYC and I texted him from the MOMA ‘What’s the deal with this painting on a quilt?”. He surprised me by texting back a very long answer about Robert Rauschenberg and his influence on art history. When I got home I continued to pepper Danny with questions about art history and started doing research on my own. I started with ‘7 Days in the Art World’ by Sarah Thornton, and ‘Lives of the Artists’ by Calvin Tomkins, which are very approachable books.

I would say Danny has influenced me in my approach towards art that I don’t immediately like or understand. Whereas previously I might have said ‘I don’t get it’ and walked away, now I am willing to put more effort into understanding a work of art. If an artist has studied art and art history for years and is using their art practice to make a commentary on society, it’s absurd to think you will grasp the full meaning with a quick glance. You will need to put in some effort as well. I’ve found that having a deeper knowledge of the artist and the meaning of the work can lead to a greater appreciation of the piece.

We collect as a couple now, and our collection is mainly focused on artists that we know well. The pieces I most cherish in our collection are from artists that I know very well. When I look at the piece, I don’t just see the artwork, I see the artist, a person for whom I care deeply.

Stimson and Lahde, You can also see a Rita Letendre screenprint in the hallway

As someone that has had the chance to know the arts from both sides, as a business-owner, and as a collector,
 what do you think is needed in order to bring the local arts community to the next level? I am talking 
mostly about the independent spaces. I think that the institutions are having a kind of renaissance
with the new OAG and the new direction at the NGC, but at the same time, commercial art galleries are 
closing. What you think we need in order to reinforce the gallery sector in Ottawa?
When I travel to different cities I’m often fascinated by their cultural community and wonder how we could transplant some aspects to Ottawa. I’ve often observed cultural hubs, and would like to see more in our city.

In Pittsburgh, I enjoyed a street where many residential apartments’ first floors, or even just the front rooms, were being used as small commercial art spaces. The zoning permitted this, and it allowed small artistic businesses to incubate. There are a few areas in Ottawa where this happens, think of spaces like Anne Dahl Jewelry and Wiseman & Cromwell along Gladstone, which has main street zoning. Interestingly, there has been a recent change in zoning on some central residential streets (Rochester, Armstrong and Marier), which allows for small businesses to be run out of the houses. I’ve yet to see anything really happen with this but it’s an interesting opportunity.

We’ve also noticed in NYC that galleries and artistic hubs cluster around subway stops. Could something similar happen here with the LRT? Those industrial spaces south of the Cyrville LRT stop look pretty interesting, and as the LRT moves further east the business park that includes Dominion City Brewing, this has lots of industrial spaces.

The opening of Studio Space Ottawa on Kaladar, which is a reaction to the impending loss of the EBA space, might be a start of a new arts hub in the city. I’m excited to see how this develops.


Do you have any advice for people that are interested in starting to collect but that are not sure how to
start or where to start?
You can certainly head out to a commercial gallery to see and purchase art. I would also recommend any young collector get out to events, meet people in the arts community and learn! You don’t understand a reference that was made in a talk or conversation? It’s okay! You can ask or look it up. I do this often. I’ll enter a reference into my phone at events so I can look it up later. As a non-artist I have literally watched Youtube videos to understand the difference between the different types of printmaking.

In Ottawa we are blessed with so many great institutions with public galleries and artist run centers. The Ottawa Art Gallery and the National Gallery have many lectures and events. Check out Saw Gallery, AxeNeo7, Gallery 101, SPAO, The School of Art, Possible Worlds etc. These events can help you figure out what art interests you. It will also let you meet and get to know artists.

Maura Doyle painting on paper, Guillermo Trejo painting


Do you have any advice for young artists?
I’m not an artist, so I’m poorly qualified to give advice in regards to an art career. However I can say from my experience that it is really important to be able to discuss your art practice. Many times my impression has been modified after an artist talk, formal or informal. I may spend quite a bit of time interacting with a work that I might have not noticed previously or I may become a fan and advocate of an artist that I had never heard of before.

Do you have any final comments?
Thanks for the conversation! I would like to highlight how much being involved in the arts community has added enjoyment and interest to my life. I really encourage other professionals who have an interest, even if they feel overwhelmed or undereducated in this area, to come out to events. There really is nothing like learning about an artist’s practice, seeing the world through someone else’s viewpoint. 

Danny Hussey, screenprint on Lorraine Gilbert photo

All Photos: Julia Martin

Guillermo Presents: Rupert Allen

Posted on September 18, 2019

This is the 2nd “Guillermo Presents” interview about art appreciation and art collecting, hosted by artist, instructor, S66 curatorial associate Guillermo Trejo:

This time I have the pleasure to introduce you to my good friend Rupert Allen. Rupert is a interviewee for this series, especially since he started collecting at a young age; something that is not that common.

Rupert and I have known each other for a long time now. I have to say that he is probably one of the first people that bought my art in Ottawa. It was a MUNNY figure that I designed for a collector’s toy store in the market (the store doesn’t exist anymore). That was about 10 years ago or maybe more; since then my work has evolved, as well as Rupert’s collection.

Perhaps you don’t know Rupert, but have most likely seen him. He is definitely one of the best dressed men in town; you can find him at many cultural events art openings, and social events. I used to dress up if I was going out with him because I did not want to look to bad next to Rupert!  


Rupert in front of his Whitney Lewis Smith Photograph

The one thing that I know to be part of his success as collector is his commitment to the arts and his involvement in the “ecology of the arts”. Meaning Rupert follows the evolution of artists, meets with artists, curators, and he is always aware of the macro and micro movements in the arts and I think this has helped him decide when to collect and when to wait. 

Rupert thanks for participating in this interview.

Let’s start with a generic but important question. Do you remember the first piece you purchased art and why you decided to purchase it? Was it an artist that you had been following or was it an impulsive decision?  Do you remember how old where you at the time?
Unfortunately, I cannot remember the first piece that I bought, but I can remember the first piece that I lost, and by that I mean a piece which someone else bought that I was coveting. It left a mark, and was when I realized I may have a burgeoning problem/addiction issue. I remember it very clearly, it was a lovely little Howie Tsui piece, an artist I have continued to like and follow to this day, who just had an extraordinary show at the Ottawa Art Gallery. I was 22 or 23, and at the SAW gallery art auction, and it was bought by someone else, and now long time nemesis. It is an odd feeling to be struck by regret when it is object-related. It also jumpstarted my collecting habit, because similar to heartbreak, you set out to never feel that way again. Sadly, I avoided neither heartbreak nor losing out on an art piece in my late twenties. I think it is insultingly called character building. And now that my memory has been greased a bit, I can remember the first piece that I bought. Shortly after I graduated from Carleton, I moved down to Brazil to work at the bank Itau, and at the Bienal. It was there that I became more familiar and engaged with the graffiti scene, and got a piece by the Brazilian duo, Osgemeos. Sadly, I traded it for a few bottles of decidedly mid-range wine and cash for a plane ticket to Venice a few years later, which is probably why I purposely forgot about it. Best not to dwell on mammoth personal failings too heavily. 


Artists: Ambera Wellmann and Sarah Clifford Rashotte

Rupert, I find that you are really good at finding artists and developing your collection from there. Do you see yourself as a “talent finder”? How much effort do you put in to knowing the artist and looking at their work before you collect it? Or it is more of an organic process?
At best I am a good coattail rider of what others have discovered. Having said that I do try and read as much as I can and get out to as many art openings as possible. Now that I have two young children, and it is getting increasingly hard to get out to shows and find the time to read, I have found that listening to what others in at the art world are saying allows me to better triage what I should be looking at. I always try and chat with artists, collectors, dealers and curators, people who are no doubt smarter and have read significantly more than me. But getting back to the question of how I buy, sadly, I have no algorithm for that. Sometimes I impulse buy and sometimes I draw things out beyond reason. I know the owner of Le Petit Mort Gallery (which is sadly close), used to find it unbearably tedious when I hummed and hawed over a 50 dollar found photograph past gallery hours on a rainy Wednesday night. In my earlier years, I would say that my purchases were lubricated with a few more drinks than I can allow for now, and an expense account that didn’t have to rationalize childcare payments. 


SPAO students' work

One thing that I find really interesting about your collection is that really varies in esthetics; you have lowbrow art or street art beside fine photography, or a silkscreen poster beside an oil paint abstraction. It feels eclectic but not random; I find that the connection is the quality of the artist. How do you manage this? How can you be open in terms of “appreciating” different styles at the same time? It sounds easy, but I don’t think it’s easy to have a good eye.
Well thank you, I probably owe part of that eclecticism to my mother, who has a strong sense of design, and always had a lushly decorated house, full of gilded picture frames, antique wooden birds, old MoMA exhibition posters, stacks of Spode dishware, and myriad of flower vases. I would also have to say that the variance in the collection reflects the stages of my life. I like that as I look at the collection on the walls of our house, I can trace my life from my mid-twenties to now, the ups and downs and the inevitable sideways turns somewhere in my late twenties. It is a visual biography. Now I share my life and art collection with my wife Sarah, daughter Brooklyn and son Oliver, and the collection reflects them as well, which is where much of the eclecticism comes in. For instance, while I might like vintage black and white photos of racy nudes, my wife prefers colourful graffiti art to be positioned in the dining room. We have settled on both. Which I guess is why the collection may not feel random, because the choices have been deliberate, and selected individually for their quality, and personal fit. I think this eclecticness carries over to our furniture and finishings, which are from across the spectrum, but somewhat, somehow work, maybe. 


Artists: Karel Funk and Andy Summers and Hayden Menzies. We love that there is original art in the children bedroom! 


Artists: Shuvinai Ashoona and Barry Ace

In relation to the previous question, I have to say that I am always surprised at how much you know about artists and their projects. It’s almost as if you are collecting the artist rather than an individual piece of art, is this fair description? Are you mostly interested in the artist or interest in the art comes before interest in the artist? 
I would have to say both, we have many artists in our collection, whom I have never met personally but loved the particular piece. I always try and reach out to them, to ask about the work in question, and about their practice. I also go the route of meeting artists, and becoming interested in them before I see their work. I would say the two are complimentary. And where possible, I do like to have a bit of depth though, that is to say multiple works from the same artist in different styles and or mediums. But the ideal is really, when you become friends with cool, dynamic and impressive artistic people, you get the opportunity to support them and their careers and hang their work on your walls. I would say that would be my favourite part.  


Artists: Guillermo Trejo / Jinny Yu collaboration and an early Amy Schissel

Recently you donated some works from your collection to the city of Ottawa. I find this really interesting because this somehow validates you as a collector. Do you have any tips about this process of donation? I also find this is an interesting way to help artists enhance their curriculum, because by consequence of your donation, the artists are also in the collection of the city; was this part of your idea? 
No tips, but I would certainly encourage people to do it. My wife and I found it to be a very easy and fun process, especially when you see the works newly framed and hanging in the gallery. While it wasn’t part of why we did it, adding another institutional collection to an artist’s resume is never a bad thing, and we wanted make sure that the pieces were properly cared for. We donate wine as well, which is another collecting vice that I have picked up, both to my wife’s pleasure and dismay. Back to the art.


Artists: early Natalie Bruvels painting and ceramics by Celia Perrin Sidarous

Do you have any suggestion for a younger person interested in collecting art?
I would advise you to get out and start seeing some of the great art exhibits around the city. Local art shows are full of interesting people, in very fun and approachable atmospheres. They can be great parties as well. You will start discovering what you like, and build your own “eye” and taste. It is also very important to buy what you want to live with. Outside of Ottawa, art fairs like Toronto and Papier (Montreal), are great places to see a lot of art at once, and they also offer wonderful people watching in different cities. I took my daughter last year who was four at the time, and she wept when we didn’t buy a 20 thousand dollar photograph. And the time before she coloured over the piece we bought when it was resting on the table. I guess results vary when you make it a family outing. There is a lesson somewhere in there I guess.

Do you have any suggestion for younger artist? 
I am not an artist myself so I am not sure I will offer the best suggestions, but I would say that based on the conversations I’ve had with artists over the years, I get the sense that Ottawa is a great place to start a career in the arts as there are incredible institutional resources and very knowledgeable and approachable people here. In a larger town, some of these types of resources might feel beyond the grasp of an artist just starting out. 

What do you think about canary yellow pants for men? Asking for a friend… 
Ha. Your introduction reminded me of when I upped my dress code thanks to my friend Mauricio. Every-time we went out, which was often, I looked like a disheveled suburban garbage can standing next to him. Needless to say I had to pull myself together a bit more, and inject a bit of frivolous colour and insouciant pattern. So the answer is a strong, and unflappable yes to the canary yellow pants. 


Rupert with his Rémi Thériault photograph from the Front series

Do you have any other comments? 
No, I think I have rambled on enough. 

Thank you Rupert!

Guillermo Presents: Bill Staubi

Posted on July 23, 2019

We are excited to present to you the first of an interview series about art appreciation and art collecting that will be hosted by artist, instructor, S66 curatorial associate Guillermo Trejo. In this series, he will be interviewing various people that he knows and respects, people that also collect art.

For the inaugural interview of this series, Guillermo brings us Bill Staubi. For those who have not had the pleasure of meeting Bill, here is a brief introduction.

Bill has been an important member of the arts community in Ottawa for many years. Not only is he a supporter of the arts as collector, but he has also volunteered his time and knowledge for various art organizations in the city. He has a special interest in helping emerging artists and supporting local talent; his large collection consists mostly of Ottawa artists’ work. 

Bill thank you very much for accepting the invitation.
Do you remember what the first art piece you bought was and why you bought it?

I remember my first purchase very well. It was the summer I graduated from my BA (1978) and I was still living in the small house the University had available to students. A group of four artists had booked the space for an art show and I was helping them hang their work. I knew I wanted to have one and give the artists their first sale. But which one, I liked so many of them! Before the end of the day I ended up committing to buying 5 paintings; one from each of three artists and two small ones from the fourth. The challenge was that having just graduated I was unemployed, broke, and had a student loan to repay. So I went to the bank and negotiated my first personal loan to buy my first paintings. I still have three of those paintings.

2 views of Bill's art filled hall way with a view of a large Natalie Bruvels' painting

How did you start your art collection?

I have always been drawn to original work and preferred to decorate my homes with it but I did not really start “collecting” until 2006. A fundraising offer I made to the Pride Committee put me in touch with a local gallery that introduced me to a lot of art and artists and started me on the road to collecting. 

A view of the art on and around the dining room console

Close up of art work on the dining room console

Did you already collect other things before art or did you start buying art and then realized you were a collector? 

For many years I collected Santa Claus ornaments. When I moved downtown I moved over 50 boxes of books. I went through a period of collecting crystal. I have a weakness for multiples of the same thing and for the patterns involved in collections of things. All those previous collections are gone and there is just the art collection now.

I started acquiring a lot of art for various reasons before I realized I was a collector. In part, I enjoyed supporting local artists and the confidence it gave emerging artists to make their first sale. I've purchased work to support a cause, raise funds, or help an artist out during a difficult period. After a while I began to more consciously seek out specific artists or specific works – part of my love of multiples and patterns.

Shown here, Heidi Conrod painting, Jonathan Hobin photograph, Christos Pantieras cake sculptures

What came first, the crucifix collection or the art collection? (Bill has an amazing collection of Crucifixes  and religious figurines are probably the main object in the collection). 

The religious collection, affectionately known as The Grotto, came later and by accident. I enjoy the majesty, ritual, and passion that some religious work embodies but I am not a religious person at all. 


The entrance to the "grotto"

I was shopping at an antique store in the final hours of it going out of business. Unbeknownst to me, the owner put two plaster statues in the boxes I was filling. When I got home and unpacked them I put them in a spare half-bath in my apartment – #outofsightoutofmind;  I thought. Soon another small piece joined them. Then friends starting bringing pieces by and The Grotto was born. I've also added fine art pieces to the mix and now over 300 items make The Grotto a destination visit. 

It has been a fun art installation to have in my home, and although respectfully done, it is a huge source of entertainment for visitors. I'm open to visitors if you contact me to arrange a time to drop by.

I know that you have an special taste for emerging artists’ work. I feel like you buy art as a way to push their careers, to make them feel like their work is not forgotten. Are you conscious about this or do you have another indirect mandate or reason to support emerging artists?

There is a slight selfish element to it, I want to live in a city that has a vibrant arts community. That requires artists who make art and people who buy it. Art-making is expensive, emotionally demanding, and a hard way to make a living. Emerging artists don't always produce their best work at the beginning, but they cannot get to that best work if they give up, or have to give up.

The confidence it can give them to keep on trying is priceless. The purchase helps them get supplies and more than once has put dinner on a table.

I like to promote the artists I support. I take pictures of the shows I attend to encourage others to check them out and to support the artists in the community. Recently I've organized some art shows for artists and will be doing more of this in the future. 

I don't buy for financial investment, I don't worry that it might not be their life's “best work”. The return I get on the psychological and emotional investment is the rich reward. Plus I get the joy of living with the art ! 

The bedroom featuring Natalie Grice deer sculptures

You have made art and even exhibited some of your works. Has this changed your appreciation about artists and their work?

Yes, the act of art-making and exhibiting does give you a greater appreciation for the effort that goes into making and selling; especially the aspects the buyer usually does not see – the failed efforts, the anxiety, the compromises, the amount of materials/time a “simple” project requires. It has made me a bit more critical, but on the whole it made me more sympathetic

Do you have any tips for someone that is interested in becoming a collector?

Buy what you like, what you can afford, and what you can live with every day. Buy work that challenges you, not just work that looks nice on the wall.

As you collect, you will find pieces change each time you hang a new piece nearby. You don't have to frame everything, get portfolios to house your unframed works on paper and keep them out where you can see them. Almost every piece I have has a small story that goes with it – something the artist said, something that happened at the show or the purchase. Visit the artists' studio if you can. Learn how your piece fits into where they are going with things. Do not think of the art as an object, think of it as an investment in the artist and the arts community.

Do you have any advice for emerging artists?

Yes. Too many artists, especially emerging artists, are their own worst enemies. If you see me looking at your work come over and speak to me. Ask me what I think of the piece. Be prepared to tell me something about it – why you made it, how you made it, what it means to you. It does not have to be impressive. More than once, the conversation with the artist has nailed a sale I was prepared to walk away from.

Price your work according to where you are in your art practice and what will make it attractive to buyers. Many potential buyers are nervous about buying new artists' work – being vouched for by a collector who has it on their walls can stimulate interest in your work.

There is, wonderfully, no lack of art work available in the City these days! The market is competitive. 


Living room with salon style walls

Do you have any other comments or do you want to add anything else?

Don't avoid collecting art because you think it has to be expensive or give back a big financial return. My collection is both worthless and priceless.

Art is meant to be seen. Don't confine yourself to one piece for each wall. Collect for the love of supporting the arts and the joy of having it to see and share. 


Artworks leaning up against Bill's wall waiting to be hung! 

--

Thank you Guillermo for conducting this interview and many thanks to Bill Staubi for giving us insight into his world and many wise words about collecting art.

Reading Bill Staubi's thoughts on collecting art was warming and emphasizes the importance of supporting the local art scene through artists. We welcome any and all questions regarding these topics and the artists that we represent. You can contact us through email at info@studiosixtysix.ca or you can contact our director, Carrie Colton, directly at 613 355 0359 or carrie@studiosixtysix.ca 

 

Edited for brevity.

THRĒO PROCESSES

Posted on June 28, 2019

Our present exhibition THRĒO, features MaryAnn Camps, Barbara Brown & Angelina McCormick

Studio Sixty Six is excited to introduce you to three Ottawa, women artists who all work with photo-based processes in innovative ways. Here we provide you with a brief explanation of each artist's technical process used to create these exciting and provocative artworks. 

MARYANNE CAMPS


MaryAnne Camps. Morning 4th & King #3, Acrylic photo image transfer on duralar

In MaryAnn’s work the acrylic transfer captures time unstopped. The monoprints in this body of work are made by manually transferring laser printed photographs to Duralar, a dimensionally stable and archival translucent polyester film. The laser toner transfers into an acrylic medium 
on the plastic film, after which the layers of paper are carefully peeled and then completely rubbed off. The resulting image is akin to the subject of the work; the tears and marks left by the transfer process provokes an experience rather than a freezing of these morning commutes of the subjects captured. The imperfections become a patina integral to the work.

 

BARBARA BROWN


Barbara Brown. Oriental Poppy, Archival pigment print on cotton rag

One would imagine the studio of Barbara Brown to resemble that of a botanist. Something more along the lines of scientist become artist. But of course, the sciences and arts are not as distant as people think. The intense fascination with the most minute details, and the need to pull something apart–the need to understand it– lies at the core of both disciplines.

Barbara Brown’s process begins with observation in the garden. At a particular moment when the sun is at a low angle, either at dawn or dusk, leaves and flowers are illuminated from behind causing a particularly stunning moment. Having seen and experienced this in the garden, Brown is intent on recreating this effect by backlighting the plants she works with. Using a light table, Brown creates the composition and photographs it from above.

ANGELINE MCCORMICK

Angelina McCormick. Italia No.7, Inkjet print on Epson Hot Press Natural

In McCormicks blurred photographs of curious landscapes and still lifes the living quality of McCormicks subjects are amplified. The hand of the artist is omnipresent in her work, giving life to living dreams and hybrid creatures.

McCormick built a medium format film pinhole camera to capture the moments of life in Italy that collided with scenes from her past. With a pinhole camera the photographer must manually remove the material (the shutter) they have used to cover the pinhole (the lens.) The results cannot be reduced to a technical or mechanical method. The need to hold still for an entire minute to capture these photos and lack of viewfinder means that McCormick could not see what she was photographing, giving her permission to take in the moment and capture an experience at the same time.


Angelina McCormick. Chemigram Landscape No. 1, Inkjet print on Epson Hot Press Natural

Chemigrams are a process that uses the darkroom chemicals to paint on photographic paper. Resist, developer, stop, and fix are painted on with brushes in the light, pushing and pulling the chemicals to create movement, staining the paper as the contrast of chemistries both initiate and then stop the development. With the particular paper used in this process, McCormick cannot permanently fix the silver gelatin paper and protect the colours so they are scanned and then reprinted to preserve them.

Show Runs: June 14 - July 28


About

Studio Sixty Six is a contemporary art gallery devoted to showcasing unique, thought-provoking Canadian art located at 858 Bank Street, Suite 101, in the Glebe. This is our official blog, where we share what's happening at the gallery, as well as in the broader fine art and design communities of Ottawa.

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