Here are a number of installation "snap" shots from "Home is Where the Art is" - a collaborative exhibition with Mark Sinnett at 276 Wellington St., Kingston, Ontario, Canada. Please join me for the reception on Saturday, November 22, 2014 - 2 to 4 pm.

"Orange Chair Construct", 2014 - acrylic on canvas - 48 x 60 inches

Owen installing "Drawing Parallels 1" with "Manet's Moose" through seen in the dining room.

"Manet's Moose", 2014 - acrylic on canvas - 60 x 48 inches

Installation view of living room.

"Deft" 2014, acrylic on canvas - 36 x 48 inches

"New Words", 2014 - acrylic on canvas - 24 x 36 inches

"Lego", 2014 - acrylic on canvas - 6.5 x 6.5 inches

Upstairs bedroom view of "Cy's Protest" and "Clouds and Fields"

"Glimpse" 2014 - acrylic on canvas - 39 x 47 inches

"Obvious" 2014 - acrylic on canvas - 24 x 36 inches

installation 1 with wall sculptures - at first glance these works seem quite distinct from my paintings, but I think they are mining the same formal and political territories.

"Tumble" 2014 - wood painted with acrylic - 7.5 x 21 x 3 inches

"Green View" 2014 - wood painted with acrylic - 19 x 41 x 3 inches

Installation 2 of wall sculptures

"Moment" 2014 - wood painted with acrylic - 37.5 x 14 x 3.5 inches

"Trophy" 2014 - wood painted with acrylic - 54 x 16 x 10 inches

Please contact me if you would like more information about any of these works.

Money

I am a relatively successful artist. I have an exhibition record as long as my arm and am regularly invited to participate in exhibitions, to mentor emerging artists, and to donate my work in support of various worthy causes. I think, as a result of kicking around long enough and making work that is clearly identifiable as a "Ben Darrah" there is some perception that my inclusion has some caché. Now and then I even sell a work - and I am incredibly grateful to the small handful of people who have supported me by putting their money on the table to actually buy my work. I do not take it for granted, especially when the money is as hard won for the purchaser as it is for me. I try to make my paintings the most relevant, honest works possible, free from the cynicism and money-worrying anxiety that plagues (my) daily life. I am thrilled when someone else recognizes this and doubly thrilled when they compensate me for my labour - even if it is with a handful of post-dated cheques. 

I am not alone in this predicament. I was at an opening last night at the Modern Fuel Artist-Run Centre and spoke with several artists who also seemed worn down by how hard the slog is just to make ends meet. One incredibly accomplished and established artist mentioned how his goal is just to be able to pay his studio rent each month (under $300). Elizabeth Renzetti explores this issue in her column in this Saturday's Globe - highlighting for me how this is a broader issue and that even seemingly successful international-scale artists are struggling to get by. Some comfort - perhaps.

So, it is against this backdrop that I am wrestling with a dilemma. I have been asked to donate a work to the ICU ward at the Kingston General Hospital. I am flattered to be asked and think the idea of having my work bring some comfort to people during their worst, most trying moments is the right thing to do. However-also, I may not be able to make my studio rent this month and I really don't know what to do about this. I will probably get a tax receipt for the donation, but it won't pay the rent. Of course, it would be useful to someone who actually has an above-the-poverty-line income. It seems to me that there is an opportunity here for civic minded people to get involved (not necessarily in my case, but it a broader, more structured way) - is it possible for groups of professionals to get together and pool their money and purchase art works to be donated to various worthy causes in exchange for tax receipts (and a warm feeling that they have both supported a worthy cause and enabled local artists to continue to maintain their practice)? It seems very doable to me. In fact, there are precedents in gallery associations and the Art Fund in the UK (maybe others?). I look forward to your ideas on how we can make this work. Cheers!

P.S. My work can be seen at 276 Wellington - Mark Sinnett suggested this collaborative idea in one of the houses he has listed for sale. If you would like to see the work let me know and we will set something up. Here is Mark's blog review of the show: http://www.machinesforlivingin.com/featured-fiction/ben-darrah-thoughts-his-art

 

More from the last couple of days of my residency. Here is a photo of participating artist Alina Gavrielatos, who represented Greece/England, and happened to grow up in Canada. It has been amazing how many Canadian connections I've stumbled across.

Here is a photo of  Ceren Selmanpakoglu, who represented Turkey. She is standing in front of her installation.


Some installation shots and opening shots.

Before the opening I walked up to the castle to help Cyryl Zakrzewski (Poland) install his sculpture. The vista from the castle was wonderful.

The audience for my artist talk.

View from my space into the Anarchist Cookie Shope and outside to where Owen was providing the entertainment. He did an hour long set of originals and covers.

Bunch of photos from finishing up work in Ptuj, in the home stretch now; opening tonight! Many thanks to everybody who's come in and helped or even just looked at the work in progress.

Anyway, we're cleaning up the studio now and there should be more pics tonight/tomorrow from the opening (again, you can go to the Art Stays facebook profile - link in the last blog post - and check for pictures from every opening of the week).

Thought the photo from the boxing club was interesting.

Shendra Stucki (Switzerland) working on her figurative wire sculptures with Alina Gavrielatos.

I don't know what the sign with the car signifies, but I liked it.

I tried to do a rubbing of the irregular coblestones in the square in front of the Ptuj Tower.

Posing in front of the view from the entrance to the Ptuj castle.

Owen putting in grommets on my work with Ceren Selmanpakoglu watching Anka Kolaric, who was helping me by sewing the edge of a canvas. Anka came by the studio often and even made her own stencil. She was very generous and gave me a couple of very interesting books on Ptuj.

Postcards pretty well finished.

The main Art Stays stage - minutes before Alina's artist talk. Alina is talking with the amazing Sanja Selinšek, who interviewed Alina during her talk. In the foreground are Ceren and Owen.