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Achjadi, Diyan
Person · 1971-

Diyan Achjadi is a Vancouver-based artist who explores the ways that surface ornamentation and illustrated printed matter can function as archives documenting the circulation of ideas in visual form. Born in Jakarta, Indonesia, her formative years were spent moving between multiple educational, political and cultural systems.
Achjadi received a BFA from the Cooper Union (New York, NY) and an MFA from ConcordiaUniversity (Montreal, QC). She has exhibited widely at galleries and film festivals across Canada and beyond. In 2021, Achjadi was the recipient of the VIVA Award from the Jack and Doris Shadbolt Foundation.
Achjadi is a Professor in the Audain Faculty of Art at Emily Carr University of Art + Design.

Person · May 24, 1922 – November 21, 2015

Irene Cattelle Alexander (née Porter) was born in Montreal in 1922. During the 1920’s, her family moved west, first to Toronto, then Winnipeg, and finally to Vancouver in the 1930s.
Irene attended Britannia High School and in grade ten she won a scholarship to study drawing and painting at the Vancouver School of Art. She completed her first year at VSA in the late 1930’s where she studied under Grace Melvin. Porter left the Vancouver School of Art after her first year due to her family’s financial situation and began work at Woodward’s department store. She became their head Showcard writer and designed the trademark Woodward’s brushstroke logo using a sing painters brush.
Irene was a member of the Atelier Sketch Club, a group formed by art students taking Evening Classes at the Vancouver School of Art. She exhibited her work in a number of B.C. Artists annual exhibitions, from 1940 to 1949 inclusive. She was included on a list titled “Leading Vancouver Artists” provided to the Labour Arts Guild on April 10, 1946 by the Vancouver Art Gallery to assist in the Guild's call for entries to the second annual B.C. At Work exhibition
Irene met Robert Samuel Alexander in 1943. Together, they built their home in North Vancouver. The house was designed by Robert Alexander, who also constructed it with the help of a builder. They married in 1949. She had to quit work at Woodward’s due to company policy that required female employees to leave their jobs once married. After Irene left Woodward’s, she was commissioned to letter Woodward's retirement scrolls and shortly after began freelancing as a self-employed calligrapher. Recipients included the Van Dusen family, Jack Diamond and Prince Philip.
Irene and Robert had three daughters in 1951, 1953 and 1961. While they were kept busy raising a family, they formed a business in 1955, Studio Workshop. They later collaborated on various projects including the City of Vancouver "Freedom of the City" scrolls that were presented to dignitaries.
Irene was a founding member of the Westcoast Calligraphy Society originally named the Italic Handwriting Society, a branch of the one in England. During the 1970’s, she established many of the original calligraphy classes in the lower mainland, as well as the summer art school program in the interior and enjoyed teaching for many years. In 1980 she organized a very successful calligraphy tour to England for a few lucky members of the Society which included, as one of many highlights, dinner with the Lancaster Herald. During the seventies and eighties Rob Watt commissioned Irene to do the calligraphy on many of the patents for British Columbia recipients. She was awarded the 1985 Fellow of the Royal Heraldry Society of Canada.
Irene Cattelle Alexander (née Porter) passed away on November 21st, 2015.

Alexander, Robert Samuel
Person · August 16, 1916 – April 23, 1974

Robert Alexander (known as Rab to friends and family) was born in Vancouver, B.C. in 1916 to parents Agnes Boyd and Arthur Forbes Alexander. He was the oldest of four boys, who were raised alongside two cousins that were taken in by the family. He attended Hastings Elementary School, Templeton Junior High School and Britannia High School. He wanted to attend the Vancouver School of Art at age sixteen, but due to his father’s illness and the family’s financial situation he was required to look for work. With a keen interest in the arts, he applied and was hired to work at David Hall’s on Beach Avenue, the largest pictorial and sign company in Vancouver in the 1930’s. Alexander took painting and portraiture evening classes at the Vancouver School of Art and studied under Fred Varley and Platon Ustinov. He remained good friends with Ustinov after meeting as instructor and student.
During the 1930’s, Robert painted in his free time and exhibited regularly at the Vancouver Art Gallery. He was invited to become a member of the B.C. Society of Fine Arts in 1937 and received various honours including First Honourable Mention for Oils in the Annual B.C. Artist’s Exhibition in 1939 and later in 1941, First Honourable Mention for Watercolours. He also designed street and building decorations for the visit of King George and Queen Elizabeth in 1939.
Around this time, Robert became interested in the landscapes of the interior and northern areas of British Columbia. His uncle, Charlie Alexander, arranged a job opportunity for him working in Telegraph Creek as part of a crew to keep the telegraph trail open for repairs between Hazelton and Lake Atlin. He lived and worked on the territory of the Tahltan peoples for roughly a year and half, during which time he built relationships with members of the Nation.
Robert returned to Vancouver in 1941 as his father had fallen ill. After his father passed in October of 1941, Robert went back to work at David Hall’s where he worked on contracts to design and produce posters and displays for war bond promotions. He applied for service in the Navy and was accepted in the spring of 1943. He was stationed at the HMCS Discovery barracks on Skwtsa7s (what is known as Deadman’s Island) where he painted a mural over the entrance to the Officer’s Mess in 1946.
Robert used his wartime gratuities to attend the Vancouver School of Art and received his diploma with honours in 1947. He met Irene Cattelle Porter in 1943. Together, they built their home in North Vancouver. The house was designed by Robert, who also constructed it with the help of a builder. Alexander and Porter married in 1949. During this time, he worked as a designer and foreman of David Hall’s until 1952. Irene and Robert had three daughters in 1951, 1953 and 1961. After leaving David Hall’s, he worked as a freelance artist in various capacities, including illustrating books for W.G. Gage Publishing and teaching classes at the Vancouver School of Art, West Vancouver Sketch Club and art classes held at Britannia Beach on Sunday afternoons.
In 1955 he began teaching art classes in North Vancouver. In 1956, Robert completed further studies at the Art Students' League in New York. He came back to Vancouver and together Irene and Robert formed a business, Studio Workshop, offering art classes in Vancouver. He rented studio spaces at various locations including Robson St., West Broadway and Marine Drive (North Vancouver). He also had a studio space in the family home.
In the years between 1956 and 1967 Robert accomplished numerous and varied projects. He received Canada Council funding to work on a series of optical illusions. He completed portraits for clients in Toronto, Ottawa, Regina, Victoria, Vasar, New York, and Tokyo, Japan, as well as numerous portraits in Vancouver (including portraits of W.P. Weston, Justice Nathan T. Nemetz and George Cunningham). He also submitted the winning Christmas card design for UBC, competing against other prominent artists. Alexander completed another large mural for the Penticton Airport in 1963, which was later restored and relocated into the Penticton Civic Centre in 1989. Robert designed fresco panels for the Hotel Vancouver and also completed four murals for the now-demolished Grosvenor Hotel on Howe Street in Vancouver. His work was exhibited across North America and received a Purchase Prize Award from the Washington State Art Commission in 1963 and the Seattle Art Museum in 1966.
With development in Vancouver, including rising rents and an increasing demand on Robert’s time, the couple began to phase out Studio Workshop in 1969. They stopped using the name, as UBC had started using the name to refer to an art department. He worked out of the home studio, after making some improvements to the space. He returned to landscape painting and also took up an interest in heraldic art and the medieval art of illuminating. Robert collaborated with Irene, an accomplished calligrapher, on a variety of projects, including three Freedom Scrolls for the City of Vancouver.
After being diagnosed with pancreatic cancer in January of 1974, Robert Samuel Alexander passed away in his home in April of 1974.

Anderson, King
Person · 1941-

King Anderson is a Canadian painter, photographer, collage/montage artist, video artist, and curator. Anderson was born in 1941 in Saskatoon, Saskatchewan and grew up on Vancouver Island and in West Vancouver, B.C. Anderson studied at the Vancouver School of Art (now Emily Carr University of Art + Design) from 1961 to 1964. During his time at the VSA, Anderson studied drawing, painting, and design with Roy Kiyooka, Takao Tanabe, Orville Fisher, Don Stewart, and others. Anderson pursued additional education in art history at Simon Fraser University’s downtown Vancouver campus from 1989-1991.

In the 1960s, Anderson produced a series of photo-based, pop-inspired collages that received some notoriety. Anderson began to exhibit his works in Vancouver, the Lower Mainland, and British Columbia in the mid-1960s. Anderson’s first solo show, A Dream of People, took place at the Mary Frazee Gallery in West Vancouver, B.C. (1965), and Anderson continued to exhibit regularly in galleries and juried shows throughout British Columbia, Canada, the USA, Japan, and Australia from the mid-1960s until the mid-2010s.

In addition to Anderson’s work in painting, collage, and black and white photography, Anderson designed bookmarks for Duthie Books and started to build model landscapes at the Ecology Centre in Lynn Canyon Park in North Vancouver in the 1970s. Anderson continued to build models and other interactive displays at the Ecology Centre until 2008. In 1972, Anderson started Rain Forest Music, a folk music project with Brent Titcomb, and travelled and performed extensively as a singer-songwriter and playing the twelve-string guitar.

While living in Roberts Creek, B.C. in the early 1980s, Anderson started a series of sea/sky landscape paintings, The Edge of the World, before producing more exploratory and experimental paintings and collages when he returned to his Vancouver studio. Also in the 1980s, Anderson received a Fred & Betty Amess Endowment Fund Grant (1986) and was awarded a prize by Alvin Balkind, Curator of the UBC Fine Arts Gallery" in VIEW 3, a juried show at the Sunshine Coast Arts Centre (1981). Throughout the 1990s and into the 2000s, Anderson produced more of his photo-based works on canvas. In the 1990s, Anderson wrote of his art: “Collage and photo-montage have been a large preoccupation over the decades; recombining and juxtaposing photographs, combined with areas of acrylic paint and sand to engage the viewer and … generally messing with images to come up with eye candy that has verbal and visual snap.”

Anderson formed Blue Pony Art Videos in 1996. Between 1996 and the late 2000s, he produced video art documentaries about the Vancouver and British Columbia arts community and experimental art videos. These were often screened at The Blinding Light!! Cinema in Vancouver (operating 1998-2003) and other galleries and theatres throughout B.C. Many of these videos are now available on Anderson’s extensive YouTube channel, King Anderson Art Videos.

Anderson curated and was featured in the 35 Years Later group show that was held at the Helen Pitt Gallery in Vancouver, B.C. in 1999; this show included Anderson’s friends and fellow Vancouver School of Art alumni, and specifically former painting students of Jack Shadbolt and Roy Kiyooka. Anderson’s work was also featured in the Artropolis 2001 exhibition, and Anderson served on the Exhibition Steering Committee and Board of Directors for the Artropolis 2001 and 2003 exhibitions (1999-2004).

Anderson and his wife, Cindy Anderson – a musician and an established potter, who married Anderson in 1992 – moved to Hornby Island in 2008. Anderson continued to exhibit his work and started two radio shows, Jazz from the Deep Dark Woods and The Sound Museum, on Hornby’s community radio station, CHFR 96.5 FM. Anderson served on the boards for the Hornby Island Arts Council Board of Directors (2009-2015), and the Hornby Radio Station Board of Directors (2014-2020). Anderson continues to document and participate in the Hornby Island arts community.

Anderson’s work is held in many collections, including: Balaclava Enterprises; Tourland Travel Ltd.; The Brookman Corp.; The Coast Art Trust Collection in the Maltwood Art Museum at the University of Victoria; the Morris & Helen Belkin Art Gallery at the University of British Columbia; and other private collections.

Mathieu, Paul
Person · 1954 -

Paul Mathieu was born on July 28th, 1954 in Bouchette, Québec to Gertrude Mathieu (née Rondeau) and Raymond Mathieu. Paul Mathieu started making and studying ceramics in 1972 at the age of 18. Mathieu began his ceramics education at the Cégep du Vieux-Montréal to continue for a fourth year at the Alberta College of Art in Calgary, Alberta and after graduating in 197, he went on to study for another year at North Staffordshire Polytechnic in Stoke-on Trent, United Kingdom in 1978-79. In 1982, Mathieu attended Université de Québec à Montréal (UQAM) and received a Diploma in Printmaking. He continued pursuing higher education and received two Masters degrees: a Master of Arts (MA) from San Francisco State University (SFSU) in 1984 and a Master of Fine Arts (MFA) from University of California Los Angeles (UCLA) in 1987.

Mathieu started teaching ceramics in 1976. He taught in Montréal at Le Centre des Arts Visuels from 1976-1980, Cégep du Vieux Montréal from 1980-1981, and L’Université du Québec à Montréal in 1988; at San Francisco State University in 1984; San Miguel, México at the Allende Institute in 1991, and Paris, France at the l’École Nationale Supérieure des Beaux-Arts in 1996. In 1996, Mathieu began teaching at Emily Carr University of Art + Design in the Faculty of Visual and Material Culture and retired as a Professor of Visual Arts in 2020.

Mathieu has lectured on a variety of ceramics-related subjects in Canada and in the USA, including at the National Conference on Education in the Ceramic Arts (NCECA) in 1996, 1998, and 2008, as well as in Japan, China, France, Italy, England, Mexico, and Hungary. Mathieu was invited to be the keynote speaker at the National Ceramics Conference in Australia in 1999, and was a conference presenter in 2009.

Throughout his career, Mathieu has been invited to participate in numerous artist residencies, most notably at the Tama International Residency, Machida, Japan (1994); The Banff Centre for the Arts for the Pop/Mass and Sub Culture artist residency (1996); the East/West International Exchange at the University of Hawaii in Honolulu, Hawaii (1998); the International Ceramics Studio in Kecskemet, Hungary (2001); the ​​Sanbao Ceramic Art Institute (2003-2005) and The Pottery Workshop Experimental Factory (2007-2008) in Jingdezhen, China; the Huaguang Zibo Bone China Factory in Shandong, China (2009, 2011, 2013-2014); and the Shangyu International Celadon Artists Residency in Shangyu, China (2016). Mathieu has also traveled extensively to China (1996), Peru (2001), England and France (1997) to support his research and writing practice on ceramics.

Mathieu has had reviews, articles, essays, and features published in books, magazines, and exhibition catalogues in Canada, the USA, Europe, Israel, Japan, and China. More specifically, his writing has been published in The Studio Potter in the USA, Ceramics: Art and Perception in Australia, La Revue de la Céramique et du Verre in France, Keramieki Techni in Greece, the National Ceramics Magazine of Israel, as well as Espace Magazine, Artichoke, and Contact in Canada. Additionally, Mathieu has written two books: Sex Pots: Eroticism in Ceramics (A&C Black and Rutgers University Press, 2003), which studies “...erotic ceramics from the Neolithic to today with an emphasis on the work of upward to 100 contemporary artists from all over the world” and CERAMICS:The Art of the Future?: a History and Theory (self-published, 2010), which provides a comprehensive “...overview of the history of ceramics, with an emphasis on contemporary works.” A memoir of the 16 working Trips in China, “Making china in China”, has also been completed.

Mathieu’s achievements and contributions to the field of contemporary ceramics have been widely recognized with numerous awards and fellowships, including: a Voulkos Fellowship at the Archie Bray Foundation in Helena, Montana (2010); the Vancouver Mayor’s Art Award (2008); the Governor General Award of Visual Arts (2007); the Saidye Bronfman Award for Crafts (2007); and the Chalmers Award for Excellence in Crafts (2000). Mathieu has also received multiple grants through public funding bodies such as the Canada Council for the Arts, to support his work, as well as two SSHRC (Social Science and Humanities Research Council) grants in 2007 and 2013.

Mathieu has participated in numerous solo and group exhibitions in China, Korea, Taiwan, Italy, England, Australia, as well as in the USA and Canada (Montréal, Toronto, Calgary, Vancouver) and the USA (New York, Los Angeles, Chicago). His work is held in many private and public collections in North America (Canada and USA), including at the Vancouver Art Gallery; the Musée du Québec, Musée d’Art Contemporain, Musée des Beaux-Arts; and the Gardiner Museum for Ceramic Art in Toronto. Internationally, his work is held in collections at the LA County Art Museum, Houston Museum of Fine Arts, Texass, the Arizona State University Art Museum, and the Nelson Fine Arts Center in the USA, as well as in Shigaraki, Japan at the The Museum for Contemporary Ceramic Art, and in London, England at The Victoria & Albert Museum.

Mathieu self-describes his work as “highly decorative yet functional pottery” and is interested in techniques that explore “the limitations and potentials of materials and my needs.” His work engages with broad themes of material and pop culture, conceptualism, art history, religion (specifically Catholicism), identity, and sexuality. Mathieu is widely recognized as one of Canada’s foremost contemporary, francophone ceramic artists.

Van Halm, Renée
Person · 1949 -

Renée Van Halm is a Canadian visual artist and arts educator best known for her installations, paintings, and collages. Born on July 11, 1949, in Badhoevedorp, Netherlands, Van Halm immigrated with her family to Canada in 1953. Van Halm graduated from high school in North Vancouver in 1967 and enrolled in the Vancouver School of Art (now Emily Carr University of Art + Design). Van Halm studied printmaking with Bob Evermon and Gary Bowden and graduated with honors in 1975, after taking time off to travel in Africa, Asia, and Europe from 1968-1971. While in school, Van Halm was an Adult Education Instructor for the North Vancouver School Board (1973-1974) and Vancouver School of Art (1974-1975). Van Halm was a founding student member of the Malaspina Printmakers Society in Vancouver (1974). In 1975, Van Halm moved to Montréal to attend Concordia University, where she earned her MFA in 1977 after studying under Guido Molinari and Irene Whittome. At this time, Van Halm worked as a Teaching Assistant at Concordia, and an Instructor at the Montréal Museum School of Art and Design. Van Halm was the Director of Galerie Optica (1977-1979), a contemporary art gallery in Montréal, where she curated and/or coordinated exhibitions including Suzy Lake, Bill Vazan, Robert Walker, Miroslav Maler, Pierre Boogaerts, and Paul Diamond.

In 1979, Van Halm moved to Toronto, where she helped found Mercer Union, an artist-run centre, and taught painting and drawing courses at York University as a Sessional faculty member (1979-1991). Van Halm also taught at the Banff School of Fine Arts (Banff, Alberta) as visiting faculty (1982) and the Associate Head (1984), and at the Ontario College of Art (Toronto) where she was the Course Director (1988-1989).

Van Halm was active in the Toronto arts community, serving on the Mercer Union Resource Board (1984-1990), Art Gallery of Ontario Canadian Contemporary Acquisitions Committee (1986-1993), Power Plant Contemporary Art Gallery Board of Directors (1989-1992), Metropolitan Toronto Public Art Policy Advisory Committee (1990-1992), and various other public art selection committees. Van Halm also worked on projects related to the performing arts, designing and constructing sets for choreographers Denise Fujiwara’s Life Lines (1985) and Paula Ravitz’s Dorothy (1987), and designing costumes for the Clichettes’ play Up Against the Wallpaper (1988), for which Van Halm received a Dora Mavor Moore Award nomination.

Van Halm moved back to Vancouver in 1992, when she became an Associate Professor at Emily Carr University of Art + Design. Van Halm taught classes in the Painting Department and was Dean of the School of Visual Arts (1996-1999). Van Halm continued teaching as an Associate Professor until 2008, when she became Interim Dean of the Faculty of Graduate Studies, a position she held until 2010, when she was named Professor Emerita. In Vancouver, Van Halm continued to be active in the arts community, serving on the Vancouver Art Gallery Board of Trustees (1993-1996), Surrey Art Gallery Acquisitions Committee (1998-2001), Vancouver Foundation Arts and Culture Advisory Board (2000-2005), City of Vancouver Public Art Committee (2011-2016), and various selection panels and committees.

Nationally, Van Halm served on Selection Committees for the Canada Council Grant (1980, 1989, 1991, 1994 and 1996), and Canada Council Art Bank (1978, 1980, 1982, and 1991). Van Halm also served as a member of Canada Council’s Visual Arts Advisory Committee (1997-1999) and Royal Canadian Academy of the Arts Board of Governors (2011-2013).
Van Halm has been represented by S.L. Simpson Gallery in Toronto (1986-1998), Equinox Gallery in Vancouver (2000-present) and Birch Contemporary in Toronto (2001-present). Her work has been featured in numerous solo and group exhibitions throughout Canada, the USA, Italy, Germany, China, England, South Korea, Japan, Taiwan, and Australia. In addition, her work is held in many public and private collections, including by Air Canada, Art Gallery of Nova Scotia, Bank of Montréal, Burnaby Art Gallery, Canada Council Art Bank, Government of Canada Global Affairs, Kamloops Art Gallery, Musée d’art contemporain in Montréal, National Gallery of Canada, and the Vancouver Art Gallery. Van Halm has been commissioned to provide pieces for the Keesee Office Building (now Kirkpatrick Bank) in Oklahoma City, Oklahoma, the South Hill community in Vancouver, the Joyce-Collingwood Skytrain Station in Vancouver, the Façade Festival at the Vancouver Art Gallery in Vancouver, and the West Vancouver Art Gallery in West Vancouver.

Throughout her career, Van Halm participated in numerous guest lectures, visiting artist series, and residencies, including at the Nova Scotia College of Art and Design, Halifax (1980), University of Lethbridge, Lethbridge, Alberta (1982, 1984, 1988, 1995, 1999, 2002); Emily Carr College of Art, Vancouver (1984, 1988, 1991, 1992); National Gallery of Canada, Ottawa (1986); Cité internationale des Arts, Paris (1990); Pratt Institute, Brooklyn, New York (1999); Banff Centre for the Arts, Banff, Alberta (2000); Contemporary Art Gallery, Vancouver (2002); Vancouver Island School of Art, Victoria, BC (2016); and many others. Van Halm has also spoken on many panels, including at the Western Canadian Museum Conference, Saskatoon, Saskatchewan (1983); the Social Theory and Art Conference at York University, Toronto (1990); the John Clark Symposium at the University of Lethbridge (1993); the Yokohama Citizen’s Gallery, Yokohama, Japan (1996); and the Nadiff Bookstore and Gallery, Tokyo (2005).

Van Halm’s work is often a combination of media, blending painting, sculpture, and architecture. Describing her artistic practice, Van Halm has stated that, “Cultural history and how we represent and inhabit architecture are fundamental to my work. Over the years I have looked at many subjects that reflect on art and design practices through the genres of still life and landscape as well as decor, abstraction and pattern.” Van Halm’s work has been inspired by a variety of sources, including early renaissance paintings, media images of disasters and social phenomena, modernist furniture and interior design, film set design, and images from magazines and the internet.

According to Van Halm, her “ongoing interests are with the politics of space, who owns it, who inhabits it and how we, as individuals, define and negotiate our private and public identities in the spaces where we live.” Van Halm currently lives in Vancouver and is continuing her artistic practice.