Recently Alex and I made the acquaintance of a newcomer on the art scene, Pat Guinn of Barrie, Ontario. Mrs. Guinn was kind enough to let us view her collection –- an honour that we greatly enjoyed.

The first thing that strikes one about these works is the sheer ‘joy of life’ that is captured in each and every image. Hence, my title for today’s blog: The Joy of Painting. From her magnificent sky-scape titled ‘Heaven’s Glory’ to her sparkling portraits, including the unmistakably warm smiles of ‘Tina and Yvette’ -- from the elegant and colourful Daisy Series to the vivacious ‘Box of Bubbles’ -- Mrs. Guinn displays her obvious attachment to the world around her, and her ability to tap into the gladness that exudes from her subjects.

There is a powerful feminine element to this work that speaks of a long line of mothers and daughters. This aspect is most notable in the mother/child piece titled ‘Danielle and Gabrielle’, an image that calls to mind the earliest stages of that unending love.

The portraits are not only technically skilled, but delve beyond technique into that realm inhabited by the true artists: the capacity to ‘capture’ a thought or a moment and display it eternally for all to see. There is a light in the eyes and a turn of the head, a curve in the smile that can only be unique to the subject of that individual piece. In viewing the drawings, one feels one can almost speak to the subject and anticipate the answer that each will give. In short, there is the essence of personality in these pieces.

More subtly perhaps, we are similarly moved by the floral pieces. Their colourful splendour is rendered all the more precious for being so short-lived. But wait -- in the world of art, such delicate lovelies can live on! In these works we are asked to share the kiss of the sun and the caress of the warm morning breeze, and to imagine that we, too, are endowed with a universal spirit of beauty.

Likewise, the quiet lines of the piece titled ‘Covered Bridge’ draw the psyche into a place and time of rest and tranquillity. In viewing such an image one can remember the goodness of the moment, and forget those troubles that might otherwise interfere with meditation.

Images like these are sure to leave a lasting imprint of peace and joy on the viewer. To inquire about the works, or to view the artist’s collection, please contact Pat Guinn at patrishg @ rogers . com. (HINT: You will need to type the email address rather than pasting, due to inserted spaces, and please use the subject line: Patrish’s Art.) Pat Guinn studied at Georgian College, Fine Arts programme, and is a member of the Barrie Art Club.

As always, please feel free to post a comment below on this or any of my blog items, or if you would like to contact me directly, please do so through the contact form on my Website: www.DonnaCarrick.com .

Interview with the artist:
Q- The piece titled Heaven's Glory is truly inspired. It invokes in the viewer strong spiritual feelings that transcend any single faith or concept. Can you tell us where it was painted, what materials you used, and what feelings motivated you to capture this image?

A- Most of my paintings are completed with acrylics, as in "Heaven's Glory", although I am beginning to work with water soluble oil paints and am truly enjoying the ability to blend and tone. These techniques are difficult to achieve with acrylics, so I tend to use washes and thin layers of paint to achieve an effect. I am also not averse to leaving evident brush strokes visible if they add to the overall effect.

"Heaven's Glory" was inspired by one of the many photos I have in my file, and, since I didn't record the location, I really don't know where I was when I took it. Originally the piece was created for an exhibit in June hosted by the Barrie Art Club, titled "Big Skies". One of my greatest joys is to watch as a sky changes, regardless of the time of day, season, or weather. I am particularly moved when I see rays that are often seen peeking through cloud formations . . . to me, they are God's hand touching the earth. As I was painting "Heaven's Glory", I was attempting to portray that spiritual essence as can be seen in a Big Sky.

Q- Your portraits are exceptional. They present the inner life force of the subject in a manner that reveals individual personalities to the viewer. Where did you learn to create human images, and what types of models are most rewarding to capture?

A- Since I was a child, I have been fascinated by the human face, old, young, and in between. My doodles were always "Estee Lauder" stylized line drawings ... no animals and flowers for me. I have learned geometric tricks from fellow artists, have gained knowledge of toning, shadowing, and contouring from teachers at college, but continue to hone my observational skills to see beyond what is in front of me to the spiritual essence contained within. Beauty is in the eye of the beholder, and I see beauty in faces of any age, gender, and ethnicity.

While I have worked with live models at college, my commission work to this point results from colour photographs which I download into my computer before enlarging them to an 8" x 10" image, from which I produce a larger image. Most are 11" x 14", since standard frames can be purchased. Most members of my family possess either a painted portrait, or a graphite drawing, since they've been "GP's" (guinea pigs) as I practised the skills involved with effective portraiture.

Q- Being a mystery writer and fan, I was personally taken with the painting of the crooked street. The shadows and slightly off-kilter lines, as well as the nose of the car that is peeking at the viewer from its hiding place, give the viewer the impression of a mystery that needs to be solved. Where was this piece painted, and how did you use light and colour to accomplish the sense of impending danger?

A- I was intrigued by your perception of the crooked street, simply entitled "A Street in Gibraltar", since that photo was taken there while Ralph and I were on a holiday in Spain a few years ago. I was particularly attracted to the light and shadow, and wanted to portray a definite contrast between the narrow, shadowy alley-street and the brilliance of the sunlit main street in the background. I am a romantic at heart, and, while standing in the shadows, imagined the hundreds of men, women and children who had walked there before me, and wondered about their conversations, their lifestyle, their problems, etc. I think I was trying to portray that romanticism with the muted tones of the foreground giving way to the brilliance of the pink and yellow washes in the background.

Q- You clearly have a passion for floral images as evidenced by the Daisy Series as well as by The Rose. Your lines and colours are essentially feminine, yet strong enough to convey the beauty of the subject. These "hidden gem" pieces could easily be used in home decor. Are these paintings inspired by your own garden, or do you travel to seek new images?

A- When I was enrolled in an art class years ago while pursuing my BA, I was asked to paint a still life. I just couldn't get excited about a vase of flowers or a bowl of fruit, no matter how hard I tried. I couldn't "feel" anything. "The Rose" is a photo taken by my sister, who had received the floral sentiment from her husband, "just because". The romance of the occasion, coupled with the effect of the shadow, appealed to me.

While I have done work in years past, it's been about 2 1/2 years that I've been taking this career seriously. That's because my 30 year teaching career is now finished, so my focus can be on the other love of my life ... art. Perhaps you might also like to know that I believe strongly that God is guiding my hand. I lost my Mom just over 2 years ago, and feel her presence with me, too, since she was so very supportive of anything I ever did and always told me that I could do or be anything I wanted to do or be. Maybe I'm trying not to disappoint her.