Rick Janson Art Studio

Well that was exhausting. Last weekend (May 2-3) I participated as a guest artist on the Scugog Studio Tour. As a guest artist I was an invited to show alongside the host in her studio as well as with one other guest artist. The tour organizers appear to vary the media on offer at each location. In our case, I joined a weaver (Pat Neal) and a fused glass artist (Marjolyn Pritchard).

You’d think, two days, no biggie. But after months of preparing and framing canvases, the weekend was in fact a five day event for me. Thursday April 30th was set up day, which included renting a cargo van, organizing my inventory and display material for transport, unloading and unpacking it at the site, then setting up. Friday May 1st we toured most of the sites as a group and got a chance to meet each other. Ordinarily that would not be possible given we are expected to be on site during the show. That was very special, but it did mean somebody always had to shuttle ahead to open up the next location. May 2-3 we welcomed the public to the tour, and May 4 I picked up the last of my stuff and then brought it home, where I spent the better part of the day cleaning and tidying my art hut studio before putting stuff back in. As I did so I could see the canvases that were begging me to return to work.

The question is, was the event a success? I think that’s a long term answer, although yes, I did sell a major painting, copies of my book, and made contact with dozens of people who at least told me they liked what I was doing. Despite the politeness of most Canadians, you can usually tell who was genuinely interested and who was there that day for Pat or Marjolyn’s work. Some would tell you outright. I’m sure Pat and Marjolyn experienced something similar.

What sells artwork? Evidently the answer is familiarity with your work. For somebody who is encountering my work for the very first time, the likelihood of a purchase is small (but not impossible). Most of my sales on the tour were to people I already knew. But each of these events does help to build an audience, and encouragingly, many people took copies of my postcard. This art stuff is a marathon, not a sprint.

I did have concerns this would not be a stellar weekend — such fears were confirmed when I was told that at our site the numbers were down considerably from last year — fewer than 140 people came through the door over two days (compared to about 200 the year before). That, of course, prompts questions why? The obvious culprit was the weather, which was both colder than usual and at times overcast and rainy. Do you really want to spend the weekend shuttling around the countryside in grey and gloomy weather? We also had competition with numerous other festivals and art events that welcome the start of May. The Oshawa Art Association was hosting its Camp Samac sale the same weekend, which normally attracts a considerable number of regional art buyers. Then there is the economy — do people really want to drive about in the countryside when gas is selling for $1.83/litre?

Making art can be a very solitary occupation. Getting out and talking to people can be joyous and a way to view my own work through some fresh eyes. I was not shy, able to tell the stories behind much of my work (and of course reminding people that those stores were in my new Monograph, conveniently for sale). It was interesting to see what people gravitated to — this was the largest showing of my work ever. Some understood the humour behind the crowds in my Peggy’s Cove painting, or my Aunt and Uncle looking towards the viewer from Wasaga Beach in 1962. Some compared it to the gaze of figures in Alex Colville’s work. As I’ve previously encountered, it is often the kids that are the most enthusiastic, some younger ones having to be restrained from running their fingers over it. My painting of Le Dauphin (Tournon) had a self portrait reflected in the window of the cafe. That led to a lot of patrons searching the image to find it. Kind of a Where’s Waldo moment. The star of the show was my newest painting of Port Perry. I wanted a Scugog painting for the tour, and it got a lot of attention before it was sold.

I spoke with many artists on the pre-tour, including Carol Matsuyama. Her work was showing at the Scugog Arts Space on Queen Street in Port Perry, where our pre-tour stopped for lunch. I loved her brightly coloured still life paintings (acrylic) and returned at the end of Friday to buy one that is now hanging in our kitchen. This only underlines the advice I previously got — don’t rule out other artists as your potential patrons.

I also got a bad case of studio envy seeing where many of these artists worked. Some of the settings were stunning, including one where the couple had built a swimming pond on their property with its own beach. At that site artist Sarah Holtby did large-scale life-like portraits using ink spread on the canvas with her fingers. Yes, her fingers. I said to her that in the distant future there will be little doubt about provenance given her finger prints were all over the canvas. At the same site Josh Sims presented a sculptural piece that looked abstract until he showed you the picture that inspired it — a moment in the World Series when the ball lodged in the padded wall of the Rogers Centre. His scuplture was a small section of that wall, the fragments of typography on it very much abstracted. At another site in Blackstock, it felt like driving into a plantation as we proceeded up a long drive between rows of sugar maple trees. At the end of the drive we found a compound of buildings, including a barn hosting an exhibition of artist Karen Doran’s work. The first site of the day we had to park our car and walk up a trail to see a massive barn that had been relocated and built by the Mennonites on site. A large selection of Joanna Malcolm’s work was spread out through the first floor, including some very interesting abstract work. I took the steps up to the second level to see her amazing loft work space too.

My spouse and I were also enthusiastic about our host’s work and bought a sample. Pat Neal has an amazing second floor studio with generous light pouring in. Unlike some of the barn studios, which were too cold to work from year-round, this one was a comfortable all-season facility. Pat has been on the tour on and off for 26 years. She was there when it started. I was told in advance of the sandwiches Pat’s partner made for us on home-made bread. That was a major treat. The Greeter would welcome each visitor, some surprised to learn that Pat’s weaving studio is called The Naked Lamb. There was a brief moment of hesitation by one who had to be reassured she could keep her clothes on. The greeter also introduced all three of us.

At this point I don’t yet know if I’ll be back for 2027. Among other things, there is a jury that decides who participates and I wouldn’t prejudge that. Could I build on this?

This week is going to be hectic, but I am hoping to get back to the Robert McLaughlin Gallery to take a better look at the Oshawa Art Association show. I was fortunate to get one of my paintings into that large exhibition of work by about 100 regional artists. On opening night it was very crowded and warm, so I didn’t get a chance to fully appreciate the work. I suspect this afternoon will be ideal for such purposes. Its still grey and gloomy out. The show is on only until May 10th. After that… there are plenty of Call for Entries coming up, but I have nothing for sure on the calendar. I might just enjoy that for a little bit and get myself back into my own studio.

I would be remiss to point out that my book, Somehow This All Pertains To Me, is now available. It is 144 pages long, has more than 90 colour images, and fits comfortably in the glove compartment of your car. If you are not in the local area, you can send me your mailing address and e-transfer $30 (to rickjanson460@gmail.com) and I will mail it to you. Minus the postage and handling, the book is $25 if you plan to pick one up in person.