Visions from the studios of esteemed contemporary and historical artists grace our walls. With the renewal of Spring at our doorstep we look forward to your next visit and sharing in beauty and experience at the gallery.

In our newest installment of In Conversation we join Judith Scherer Burke in discussion regarding the works of her late and revered partner, Brian Burke (1952-2017). A member of the Royal Canadian Academy of Arts and one of the country’s most celebrated figurative artists, Brian Burke’s paintings are often prescient, sometimes sidesplitting, always unflinching and filled with artistic insight.

Further on, we look at updates from the energetic studios of revered contemporary artists Jane Everett and Travis Shilling before providing an update on E.B. Cox’s Garden of the Greek Gods.

BRIAN BURKE, R.C.A. (1952-2017)
Deep Space #9 (Unplugged), 2007 - oil on canvas, 48 x 48 inches
Series: Deep Space
BRIAN BURKE | In Conversation
The following are excerpts from a conversation shared with artist Judith Scherer Burke about the paintings of Brian Burke, R.C.A. (1952-2017).

I imagine Brian Burke was working all the time.

Judith Scherer Burke: He was non-stop preoccupied with his painting…

Whatever he did, he was always somehow in a dialogue with his work. Be it something he encountered, or would be reading, a film he saw, or if he would travel somewhere. Experiences he came across would enter his thought process, and then suddenly something would jump out and create a still in his film of life. And this still could become source material for his paintings.

He would carry these images with him and some would form into a painting, others would just pass…

How would he begin a painting?

JSB: In earlier times… he would place a blank canvas on the easel and then live with this white void for a couple of days, a week… Then he would outline a composition in charcoal and wait again…

Then suddenly he would get up one morning and have to paint right away. It was like a rush. It would happen very fast… Nobody was allowed to go in or disturb him... He wouldn't answer the phone or anything… This act of painting was like an intense performance.

Most of the paintings happened in one sitting – maybe after an hour or so the painting was done, but the tension could lead up (sometimes two weeks) to that moment of painting.

And he said that in his best moments, it is like watching himself painting, like a musician following his performance.

The kingdom of the blind, 2013 - oil on canvas, 36 x 36 inches
If the drive is there...

JSB: Yes – He felt he couldn't lose that momentum.

Over the next days he would sometimes just add a couple of adjustments to the painting, but not a lot.

On occasion, the pictures would not be resolved and they would be longer on the easel, or he would revisit them years later and alter, or even over paint them with another painting.

Did Burke plan out the works for a series or did he explore as he was painting?

JSB: Both happened.

The series evolved much like the described painting process of singular works… He painted his carefully thought-out compositions, which had formed in his imagination, one leading to the next, until he felt he had exhausted a train of thought, a series of works, or found a conclusion. And sometimes he had a group of works like a choreography in his mind.

He did not know exactly how the series would turn out or how long he would explore subject matter…  His work evolved out of his previous work...

He was pushing himself in every piece?

JSB: Exactly – he didn’t want to just explore one thing for the rest of his life. It was like life itself – unpredictable what would come next.

There’s an interesting influence in his work from theatre…

JSB: Very much... Some works were brought into a theatricality… Comedy, farce, irony, satire, tragedy... Various genres from theatre are appearing in his paintings.

Especially some of his later work has a strong theatricality… He himself can be found in some of the paintings, as persona, cameo, acting as interlocutor between his subject matter and the viewer of the painting.
Moments Before The Incident, 2011 - oil on canvas, 40 x 40 inches
Series: Incidentals
The series Higgs Field is coming to mind.

JSB: Yes, very strongly.

Burke’s titles are captivating… Would he have them in mind before painting or add them after?

JSB: Both happened... In a box I came across notes on a piece of paper: “Possible titles".

At the same time, he would do something and first he didn’t have a title yet... And for some paintings, no title came up that worked with the painting and it remained untitled.

So it was fluid…

JSB: Very fluid. But the title is very important, completing the painting – as part of it.

In the catalogue from the Retrospective, art historian Heinz Stahlhut writes "the titles often contrast with what is represented, pointing in a different direction. Through this paradoxical pictorial strategy... meaning has to be constantly renegotiated..."
Higgs Field #20, 2016 - oil on canvas, 30 x 40 inches
Series: Higgs Field
Artist Brian Burke in his own words:
“I don’t like to talk about art very much because I’m a painter. 
They’re open to interpretation; I like the work to be ambiguous.”
- Brian Burke, R.C.A. (1952-2017)

Jane Everett has been producing magnificent oils while working in her seasonal studio in southern California. Everett’s lucid work continually expands and will see the addition of her Pond Series and further exploration of the lauded Flight of the Kingfisher. The artful and large-scale works are bustling with life and illustrate Everett’s eloquent approach to challenging the boundaries of the canvas.
Epiphany Tomorrow II - oil on canvas, 48 x 72 inches

Buffalo Planet, 2008 - oil on canvas, 48 x 48 inches

Travis Shilling has delivered a collection of striking new small-scale oils along with a recently rediscovered early work (above). Continuing a string of artistic accomplishments, Shilling’s newest canvases are available at the gallery and can also be seen on our website.

Six Feet Apart, Always Together - oil on canvas, 12 x 12 inches
Check Point - oil on canvas, 12 x 12 inches

Appreciators of E.B. Cox, R.C.A. (1914-2003) and his monumental sculptures that form the Garden of the Greek Gods are thrilled the collection will soon be in their new and public home. The treasured limestone sculptures will be relocated to the fitting environment of the Rose Garden on Exhibition Place grounds. An opening celebration will be scheduled to take place this summer among the newly freed Gods. Stay tuned to Ingram Art News for updates regarding the anticipated celebration and installation – it will surely be breathtaking.

E. B. COX, R.C.A. (1914-2003)
Floating Male Torso - alabaster, 3.25 x 6.25 x 3 inches + stone base

From All of Us | At Ingram

Founded in 1988, Ingram Gallery is an active participant in the neighbourhood of Yorkville and the art world more broadly. The gallery’s historic, 5000 square foot brownstone is located at 24 Hazelton Avenue and is open from Tuesday to Saturday from 10am to 5pm.

Please contact us for details on artists and their works or for a catalogue of available pieces.

We look forward to the season and year ahead as well as hearing from you and welcoming you at the gallery.

With bright wishes,

Tarah Aylward, Director   
Ingram Gallery
For the Love of Art | #AtTheGallery