The Stepping Stones Art Gallery

EXHIBITIONS 2010!

2010-01-07T07:50:00.000-08:00

We're very excited to have the beautiful lithographs of artist Minh Nguyen in the Gallery this coming month! From January. 9th - February 10th, 2010, these unique prints, created over a period of a year will be open for guests to view.

We invite guests to join us to celebrate the opening this coming Saturday, January 9th from 2 - 7 pm, 2010 at the Stepping Stones Art Gallery. Contact us for directions to this private event.

Check back with us later this week for the full text of Minh's exhibition!

SUMMER 2008

2008-05-07T16:54:00.001-07:00

NEW WEBSITE!

2008-04-28T12:02:00.001-07:00

The Stepping Stones Art Gallery is pleased to open its new website:

HTTP://www.SteppingStonesGallery.net

Please visit us here for updated information!

FALL 2007 Schedule

2007-08-02T08:36:00.000-07:00

FALL 2007 at the SSAG!

We have lots of exciting exhibitions and workshops planned for Fally 2007! Click on the image at right for more information.

If you have an interest in Art, Culture, Cuisine, Health and more, our Exploring Culture Network mailing list will update you monthly with events in our organization.

Send a message with 'subscribe' to info[at]exploringculture.net to join our Network.

AsiaNetwork now featured in Stepping Stones Art Gallery!

2007-04-05T17:51:00.000-07:00

AsiaNetwork

http://www.asianetwork.ca/

The Stepping Stones Art Gallery at Camellia House is proud to announce that it will be carrying AsiaNetwork, the National Capital's Asian-focused English Language Journal. This publication is result of an advisory board which works to ensure that all Asian Communities in Ottawa are well-represented.

As the Gallery and Camellia House have a special interest in all things Asian, we are pleased to work in support of this journal which represents all Asian communities in Ottawa, and publishes in English, the primary language of our visitors.

Publisher, Ms. Elizabeth Yeh, is the force behind this vision. Ms. Yeh works tirelessly in support of all Asian cultures.

ABOUT ASIANETWORK

ASIANETWORK is the only English journal dedicated to Asian Canadians in the national capital region.

Being part of the Asian Media Group of Ottawa, ASIANETWORK has an estimated readership at over 50,000 people of Asian and non-Asian descents; this in less than one year of publishing, and the numbers continue to grow.

ASIANETWORK focuses on people, food and culture, business and service, community and beyond. Readers will find everything that Asians in the capital region are looking for, be it a restaurant, a community event, or an individual being talked about in the community.

In addition to its bi-monthly 10,0000 circulation, ASIANEWORK produces an annual Asian Restaurant Guide in the capital region and runs the highly prestigious Senator Vivienne Poy Asian of the Year Award and Asian Young Writer/Artist Award.

ASIANETWORK will operate the only Asian-focused website beginning in April 2007, with more readers being able to tap into the journal on line.

February 10 Cooking Valentines

2007-02-10T20:46:00.000-08:00

Saturday, February 10, 2007
COOKING WITH MASTER CHEF David Obomsawin!

If you would like to attend another evening with Chef Obomawin, please email us at steppingstonesartgallery[at]yahoo.ca to make a request.

The Stepping Stones Art Gallery is pleased to work in partnership with Master Chef, Dave Obomsawin and his dynamic and talented partner Ms. Roberta Dillon!

EVENT REPORT FOR: Saturday, February 10th

One of the joys of life is sharing fine food and delightful company. We are even more blessed to have in our Exploring Culture Network, talented and charming friends who are willing to share what they know with our group!

We enjoyed a lovely evening of gourmet cuisine in preparation for Valentine's Evening!

Photos of this event

On Saturday, February 1oth, 2007, nearly 25 very fortunate students sat down to listen, learn and dine on fine cuisine. David prepared a delectable

We were all truly entertained and delighted by David's relaxed and welcoming style of instruction. All questions were welcomed, and students and teacher alike enjoyed the evening immensely.
The Romantic Menu for Two!
Anjou Pear and Prosciutto Salad with Toasted Walnuts.

Roasted Leg of Lamb stuffed with Goat Cheese and Wild Mushrooms.

Rosemary Garlic Cracked Pepper Sauce.Roasted Baby Red Potatoes.
Sweetheart Asparagus and Bacon Wrapped Parcels.
And for dessert... (see photo at left)
Chocolate Mousse with layers of custard and strawberries, layered with rich and light whipped cream!

Photo at left: Guests enjoy conversation over Green Tea (Sencha) and Indian Chai prepared by Gallery Curator, Ms. Rebecca Benoit.

Once the cooking demonstration was over, we all sampled the delights! Organizing a soiree like this takes the Chef (and his assistants!) quite a bit of time: researching the dishes, balancing the menu along with thinking about what can be prepared in front of guests and what needs to be done in advance behind the scenes. In all, David spends nearly an entire day in preparation for one of these events. We are very grateful for his generosity and look forward to many more classes in future!

BIO OF THE ARTIST (Cuisine)
Chef Obomsawin trained under Chef Jean Duguay at Rascal's in Quebec City. He is currently chef at Dancing Mermaid in Minto Suites Hotel where his specialty is in Mediterranean cuisine, mainly seafood and pasta dishes. His philosophy about cooking is that it should be quick and simple, gourmet meals prepared at home without slaving in the kitchen for hours.

He specializes in meals that are prepared in minimal time with a few fresh ingredients resulting in fine restaurant quality dishes for a fraction of the price. All of the meals are prepared in one hour or less.

To see a report on the January 10th Gourmet Trio Main Dishes, click here

For more information on other Cooking Classes at the Stepping Stones Art Gallery, click here

2007 cooking courses with David Obomsawin

2007-01-19T21:43:00.000-08:00

Saturday, January 13, 2007

COOKING WITH MASTER CHEF David Obomsawin!

If you would like to attend another evening with Chef Obomawin, please email us at steppingstonesartgallery[at]yahoo.ca to make a request. We look forward to hosting another soiree on the evening of Saturday, February 10th which will be a lovely evening of gourmet cuisine in preparation for Valentine's Evening! Reserve your place for this special evening by sending an email to steppingstonesartgallery[at]yahoo.ca

The Stepping Stones Art Gallery is pleased to work in partnership with Master Chef, Dave Obomsawin and his dynamic and talented partner Ms. Roberta Dillon!

Photos of this event

On Saturday, January 13th, 2007, twenty very fortunate students sat down to listen, learn and dine on fine cuisine. David walked us through some of the basics of French/Mediterranean cuisine and presented a few sparkling recipes to add to our entertaining repertoires. From learning how to stuff (and tie!) a Rainbow Trout, to the finesse required in producing a lovely Champagne-basil sauce, we were all truly entertained and delighted by David's relaxed and welcoming style of instruction. All questions were welcomed, and students and teacher alike enjoyed the evening immensely.

Photo at right: David provides personalized instruction. Here he coaches one of the students on how to tie a slipknot for stuffing or wrapping fish or roasts.

For this exclusive event, guests enjoyed preparing and eating these delicious three dishes: Pork Tenderloin with Smoked Hickory and Cranberries, served with melt-in-your-mouth mashed potatoes prepared by Ms. Roberta Dillon;

Stuffed Rainbow Trout with a Champagne Basil Sauce and a lovely rice pilaf and:

Smoked Duck Breast in a Rosemary Honey Glaze on a bed of greens.

BIO

Chef Obomsawin trained under Chef Jean Duguay at Rascal's in Quebec City. He is currently chef at Dancing Mermaid in Minto Suites Hotel where his specialty is in Mediterranean cuisine, mainly seafood and pasta dishes. His philosophy about cooking is that it should be quick and simple, gourmet meals prepared at home without slaving in the kitchen for hours.

He specializes in meals that are prepared in minimal time with a few fresh ingredients resulting in fine restaurant quality dishes for a fraction of the price. All of the meals are prepared in one hour or less.

2007 January: Walls of Gold and Silk

2007-01-19T08:52:00.001-08:00

Walls of Gold and Silk

Stepping Stones
Art Gallery
January 2007

The Beauty
of Japanese Tapestry: The OBI

Photos at right: Over two dozen of the Camellia Teas of Ottawa Private Collection are on display during January 2007. Special Thanks to Ms. Seifu Ogawa who donated two kimono calendars for this exhibition.

To view the Exhibition Catalogue, click here: Walls of Gold and Silk

Curator’s Introduction (Rebecca Benoit)
Why the fascination with the Obi?

In 1998, I first was introduced to the marvelous world of Japanese textiles through the obi.
The gorgeous patterns and brocades of gold and silk soon became a passion and before I knew it, my collection had grown to dozens of these incredible treasures.

It wasn’t until 2004 when I began my formal study of Kimono dressing with the Sodo School and competed nationally in the Ms. Universe Kimono Contest that I finally learned to tie them on myself. By then, I had fallen in love with the obi and was determined to share this incredible treasure with Canadians.

The main function of this exhibition is to help visitors gain an understanding of the art of kimono dressing, an appreciation for the beauty, functionality and artistry of obi-tying and to situate the kimono’s place within the Japanese Tea Ceremony.

It is a great pleasure to present to visitors this modest collection of the Stepping Stones Art Gallery’s Permanent Collection.

***********

Brief History of the Obi1963. Minnich, Helen Benton and Nomura, Shojiro. Japanese Costume and the Makers of its elegant tradition. Tokyo: Tuttle Press. Excerpted from Appendix Five “The Evolution of the Obi”, pp 351-353.

The evolution of the obi, the most important and often most costly accessory of Japanese dress, especially that of women, deserves a chronological review. In the early periods, although there were many scarves and sashes and streamers, the “belt” was more or less a part of the top fastening of the hakama. Although there is frequent mention of its elaborate decoration, it must have been almost hidden by the many layers of kimono worn above it.Since the early 13th century, however, its evolution is fairly easy to trace through literary and pictorial references. In the late 13th Century, some wore obis of linen, two or three inches wide, tied in front with short hanging ends. This was probably the prevailing fashion of the time, and it is seen in paintings as late as the end of the 16th century.

Did you know?
The Obi in its current form is a result of the Great Meireki Furisode Fire in Tokyo in 1657 and another in 1661.. During the fires, the shorter, thinner obis of the time came open and fell off as people were running. After that time, the obis were thicker, longer and wider: and much more secure!

The evolution of the Obi
From 1334 to 1572 (Muromachi Era), silk was the more commonly-used material.
From 1573 – 1602 (Azuchi-Momoyama Era), obi were still ribbon-like, although a trifle wider. They were most frequently of silk woven in conventional patterns such as plaids and checks. Those of court ladies, however, were often of heavy silk woven in gold floral designs against a black background and were about two inches wide.

Stiffened with a paper lining, these were not tied, but had the ends simply tucked in at one side. Such were the obi that legend says so easily came untied in flight from the great fires in 1657 (in which 100,000 died in 2-3 days and decimated 60% of Tokyo at the time) and again 1661.

Did you know?
…Of the 1,500 estimated Japanese here in Ottawa, to my knowledge, only one is capable of tying the obi in a variety of advanced, highly complicated knots! Ms. Yuki Kurimoto studied kimono dressing for only one year, and advanced quickly! For those interested in Kimono study, we hold workshops from time to time. Contact R. Benoit for more details.

Among courtesans of Hideyoshi’s time there was a fashion that copied the rope belts worn by Chinese artisans working in the vicinity of Nagoya in Kyushu Province. Popularized as the Nagoya obi, it was simply a cord tied three or four times around the waist with long ends hanging down in front. But the fashion was never copied by gentlewomen of the Samurai or Aristocracy.In the early Edo period (1603 to1868), possibly as a result of the great fires, obi were more securely put on and became increasingly intricate in their tying and elaborate in their material, until in the mid-17th C, and subsequently, the variations were virtually unlimited.

Did you know?
…The Great Fires in Tokyo in 1657 and 1661 also placed huge pressure on the Kimono market in Kyoto! Thousands had lost their clothing and needed instant replacement. Thus, a simpler form and design of kimono and obi came onto the market to meet this huge demand.

Even before the fires, courtesans tied their still narrow obi in front, and the fashion was widely copied in Kyoto then and later, except by Samurai ladies. After the fires nearly all obi were tied on one side in a butterfly knot, and soon they were made of much wider material. An ordinary width was cut in two, then doubled lengthwise to about seven, and later eight, inches.

Did you know?
…The average obi is over 10-12 feet long (3-4 m) and often costs several thousand dollars…

Throughout most of the Edo period, the obi enjoyed the widest possible fashion latitude in material, size, and manner of tying, until it became virtually standardized in the two styles we have known in the 20th century. Brides and young girls may wear a big butterfly bow set either at an angle or straight across the back, but married women always tie theirs in a very complicated flat drum knot behind.
To the uninitiated, the tying of the obi is so complicated that many young girls now use clip-on types.

Great expense and beauty of design are still lavished on the materials, however; stiff brocade for dress occasions and a softer patterned silk for more informal wear. The piece is woven about a foot wide and about 12 feet long.

Did you know?…
Inside the obi, a small cushion is hidden to give it volume and at least 1 – 3 cords are used to keep it in place. The central narrow cord (called the obi-jime), is also hand-woven of silk.

Tying the Obi
The obi is folded in half lengthwise as it is wound firmly around the waist, the two selvages are turned up to afford a convenient pocket for a small purse, a handkerchief, or cosmetics. One end left over at the back is about two feet long, the other more than twice that length. These two are tied into an intricate and, to most of us, incomprehensible knot which is bolstered out with a small pillow (called the ‘obi-makura’). Knot and pillow are each held in place by its own narrow silk cord (obi-jime). This cord that passes through the knot is fastened in front and occasionally a delicate brooch called the obi-dome (brooch) is attached.

Did you know?…
There are literally thousands of ways for a woman to tie her obi! As part of graduation, each kimono student must develop a completely new and unique knot and name it.

A man’s obi is much simpler. For everyday wear it is made of wide soft silk, about four inches wide and simply tied in a double knot behind and is comparatively easy to tie and comfortable to wear. Compared to women, men have only 3 or 4 ways of tying their obis.

Remember! Left over right!
Two stories:
For the living, the kimono is always closed left over right. Only the dead are clothed in kimono right over left.
Another reason is that the Samurai, who had to wear their katana (sword) on their left side. When pulled with their right therefore, it never got caught in the kimono folds.

******************
Frequently Asked Questions about Kimono and obi
An interview with R. Benoit and M. Mizuno
Ms. Michiko Mizuno studied the Sagami School of Kimono Dressing in Japan for two years and continues her practice in Ottawa today. Rebecca Benoit studied the Sogo School of Kimono dressing and competed nationally in 2005.

R: How many Japanese women today can dress themselves in kimono (on average)?
M: It’s difficult to get a precise estimate, but likely less than 1% of the population as there are few opportunities to wear kimono today.

R: How often would the average woman wear a kimono then?
M: Likely only once, for very special occasions, a few times in their lives.

R: Can you give me an example of these events?
M: Certainly, for example young girls might visit a Shinto Shrine when they are three and seven years old at a November Festival for children. Later, when they turn 20, if their parents can afford the several thousand dollars needed to buy a long-sleeved kimono and all the necessary accessories, they would wear that at Coming of Age day in mid-January. Finally, many young Japanese women today no longer even wear a kimono on their wedding day, because they prefer the white western dress instead. Thus, the chances for the average woman to wear a kimono today are very, very few.

R: Thank you, Michiko. Given that there are so few chances to wear a kimono, I imagine that very few people are capable of dressing themselves. What do they do?
M: Well, they have two options. First, they can study once a week, for six months to one year to be able to dress themselves, investing a few thousand dollars in their training. For those who continue their kimono studies, they would specialize in being able to dress others and more advanced techniques of obi-tying. Alternatively, for those unwilling to spend this time, they can pay about $200CAD to be dressed on single occasions.

R: My goodness! That sounds like quite a business for kimono dressers!
M: It may seem like quite a bit, but if you remember that there are few chances to wear kimono today, not many professional kimono dressers are able to make their living this way. Some hairdressers study kimono dressing to supplement their income and add to their professional skill set. Most of their clients will request having their hair done for kimono and to be dressed at the same time, so it’s a practical side business.

R:. It is quite a common myth that kimono are only worn by Geisha. What are your thoughts on this?
M: Yes, it is a myth indeed. All sorts of women wear kimono.
The movie, Memoirs of a Geisha was both good and bad for the image of the kimono. In fact, this movie was not even entitled Geisha in Japan, but rather ‘Sayuri’ (the name of the main character) due to the huge outcry about this movie’s portrayal of Japan’s ‘Art-Practitioners’ or Geisha. The truth is that the women you see with white painted faces are NOT usually Geisha. These are MAIKO, apprentice Geisha and they dress in this manner only while they are studying. You can identify them easily by their cascading obi (it hangs down the back). Once they graduate and become GEISHA, they don’t always wear the white makeup, elaborate hair or fancy kimono. The reason they dress this way, when they are young, is to make up for their artistic shortcomings by at least appearing beautiful or lovely. The true GEISHA is so skilled, so talented in a wide variety of artforms that she does not need to ornament herself as the young MAIKO must.

R: I’m often asked, as the owner of a rather large kimono and obi collection, where these can be bought in Canada, and how much they cost. What can you tell us about this?
M: I’m amazed by your collection! Our Camellia Teas of Ottawa Group appreciates being able to borrow them for our monthly Tea Ceremony events. It is extremely unusual to have so many, but perhaps even more so, to share them so openly.

R: Thank you so much. They are so lovely it’s tough not to collect them! When I was in Japan, I would go to the famous Toji Antique Market Temple in Kyoto on the 1st Sunday and 21st of each month. Often I could find great deals – such as 3 kimono for $10.00 CAD! Obis were always rather expensive, but it is possible to buy antique kimono at a reasonable price.
(See http://www.kyotoguide.com/)
M: True. But most Japanese hesitate to wear used kimono. Although it’s common for kimono to be passed down from mother to daughter, we don’t tend to buy them from others. The truth is, buying a brand-new kimono costs thousands of dollars! The kimono is several thousand, rightly so, as it takes months to weave and dye the fabric and then to sew it into the proper form. The obi also costs thousands of dollars and takes months to weave. The threads used are real gold and silver, with heavy silk brocade. Then the underlayers and sashes etc. often cost hundreds of dollars. In all, the kimono costs well upwards of two or three thousand dollars CAD. A very expensive gift to request from the next person traveling to Japan!

R: Exactly! So let’s make sure that everyone knows where to find a great deal on this exquisite national costumes of Japan! We encourage you to visit Kyoto on the 1st Sunday and/or the 21st of each month and enjoy shopping at Toji Temple! Thank you Michiko-san.
M: It has been a pleasure to introduce the obi and kimono to the guests of the Stepping Stones Art Gallery. It has truly been a pleasure to work with Ms. Yuki Kurimoto to tie obis and display them here for all.

2007 Exhibitions

2007-01-08T19:55:00.000-08:00

The Stepping Stones Art Gallery
EXHIBITS OCTOBER - DECEMBER 2007

OCTOBER
POETRY OF FALL
Japanese Calligraphy and photography featuring:
Peter V. Quenter
Dr. Paul R. Benoit
Terry Ann Carter
crimsonbamboo.ca

NOVEMBER
ZEN CIRCLES
Abstract Art and large installations by:
Hans Blokpoel
Ingo Hesel
ingohessel.com
magma.ca/~blokpoel

DECEMBER
KIMONO TAPESTRY
Hand-embroidered kimono
and works by:
Karen Goetzinger
karengoetzinger.com

The Stepping Stones Art Gallery
EXHIBITS JANUARY - JUNE 2007

January
With the cooperation of Camellia Teas of Ottawa
Walls of Gold and Silk: The Beauty of the Japanese OBI
(textile exhibition with kimono dressing workshop)

Photos and Brochure: http://steppingstonesart.blogspot.com/2007/01/2007-january-walls-of-gold-and-silk_19.html

Artist: Permanent Collection of Camellia Teas of Ottawa
Website: http://camelliateasottawa.blogspot.com

February
In collaboration with The Preston Catalogue
Abstract inspirations of Asia: Yannook explores Japan
(abstract high-gloss paintings)
Artist: Yannick Fleury (Yanook Art Inc - Art with a vision TM)
Artist Website: http://yanook.wordpress.com
The Preston Catalogue Website: http://www.prestoncatalogue.com/

March-April
Permanent Collection of the Stepping Stones Art Gallery
(a variety of visual arts)
A collection of oils, lithographs, calligraphic scrolls, photography, ceramics, sculpture and abract pieces and more!)
Website: http://steppingstonesart.blogspot.com/

May
In Celebration of Asian Heritage Month
Scripts of Asia: Korea, India, China, Japan in scroll form
(Calligraphic works by Canadian and Asian artists)
Website: http://www.asianheritagemonth.net

June
In partnership with Ikebana Practitioners in the Ottawa Area
Sacred circles: abstract sculpture
(abstract sculpture and Ikebana, Japanese floral sculpture: Ikebana artists interested in participating can contact Rebecca at steppingstonesartgallery[at]yahoo.ca)
Sculptor Hans Blokpoel and 15 Ikebana Artists collaborate on the same theme and with the same containers.
Artist Website: www.magma.ca/~blokpoel

2006 November: Tracey Pitman Photography

2006-11-08T12:11:00.000-08:00

EXHIBITS from 2006

2006-11-08T12:02:00.001-08:00

Stepping Stones Art Gallery
EXHIBITS from 2006

December
Jeremie Bouchard Oils and Watercolors of Hokkaido: Coming Soon!

November
Tracey Pitman Photography

October
Hans Blokpoel: Labyrinths

Calligraphers of Miyazaki in the Stepping Stones Art Gallery

September
Benoit & Broulik Brush Paintings

July - August
Jeremie Bouchard: Oils and Watercolour of Hokkaido, Japan

June
Hans Blokpoel: Simply Sculpture

May
Tulip Festival: No Tea Ceremony or Exhibition

April
Mayumi & Jennifer Shepherd: Sogetsu Ikebana

Rebecca Benoit Lithographs

March
Shoko Shimamura Oils

February
No Tea Ceremony or Exhibition

January
Rebecca Benoit Ikebana & Brush Paintings

EXHIBITS from 2005

2006-11-08T12:02:00.000-08:00

Stepping Stones Art Gallery
EXHIBITS from 2005

December
Rebecca Benoit Ikebana & Brush Paintings

Courses at the Stepping Stones Art Gallery

2006-11-08T09:21:00.000-08:00

A variety of courses are currently being offered at the Stepping Stones Art Gallery.

Contact Curator Ms. Rebecca Benoit for more information on any of these classes at:
steppingstonesartgallery[at]yahoo.ca

COOKING CLASSES
++++++++++++++++++++

Join The Exploring Culture Network as we enjoy cooking classes from international cuisine!

UPCOMING CLASSES:
(Dates to be announced shortly)
1. Mother and Daughter Cooking class: Rana and her mom treat us to an evening of Arabian delights.

2. A Feast of Turkey! Dear friends Ozgur and Ahmet Sanli share their talents in the Stepping Stones Kitchen.

3. Professor Ming Tiampo share her expertise for Morrocan cuisine.

4. Ms. Manali Haridas of India teaches us how to make the *perfect* cup of CHAI, along with a few delightful Indian delicacies.

5. Chef David Obomsawin returns for another incredible evening of fine dining!

**************

Visit Chef David Obomsawin's class for 'The Romantic Vanlentine's Day Dinner for Two' cooking class:

Anjou Pear and Prosciutto Salad with Toasted Walnuts.
Roasted Leg of Lamb stuffed with Goat Cheese and Wild Mushrooms.
Rosemary Garlic Cracked Pepper Sauce.
Roasted Baby Red Potatoes.
Sweetheart Asparagus and Bacon Wrapped Parcels.
And for dessert...a confection of chocolate delight!

Click below for a report on the February 10, 2007 course: http://steppingstonesart.blogspot.com/2007/02/february-10-cooking-valentines.html

Click below for a report on the January 13, 2007 course:
http://steppingstonesart.blogspot.com/2007/01/2007-cooking-courses-with-david.html

++++++++++++++++++++
JAPANESE BRUSH PAINTING WORKSHOPS
The Foundation Four, bamboo, chrysanthemum, plum and orchid are currently being offered in the Fall session. In each 2-hour session, students receive a powerpoint presentation introduction to the painting techniques, followed by individualized practice and instruction. The class ends with the production of a painting students can take home with them.
All materials are provided and a follow-up PDF review sheet with class photos is included.

All levels of students are welcome.
Contact Rebecca for more information on course fees and times.

++++++++++++++++++++

IKEBANA: SAGAGORYU FLOWER ARRANGEMENT
Starting in January 2007, students will be accepted for this introductory course to the Sagagoryu School of Ikebana.
For more information on Sagagoryu Ikebana, write: beccabenoit[at]yahoo.com
++++++++++++++++++++

TRANQUILITY RETREATS
Enjoy the relaxing guidance of Ms. Manali Haridas, yoga and relaxation instructor. In these 45-min. sessions, students will be led through very simple yoga poses and receive training in basic breathing techniques. Courses offered on Monday and Friday evenings and limited to 10 students per class. Contact Rebecca for more information.

Concert: Ana Miura November 4, 2006

2006-11-08T09:03:00.000-08:00

November 4th, 2006

Exclusive Concert with Ms. Ana Miura!

Ana Miura performed at The Stepping Stones Art Gallery on Saturday, November 4th from 7:30 - 9:30 pm.
(Photo at right: Rebecca Benoit with Ana Miura)

Award-winning singer-songwriter Ana Miura performed 2 wonderful sets, entertaining us with her stories of Tea, and how she became involved with the Camellia Teas of Ottawa for nearly 40 lucky guests.

Camellia House hosts, Rebecca & Matthew were greatly surprised and delighted by the singing of Happy Birthday by Ana and all the gallery guests. Thanks to all for such wonderful gifts!

Ana’s CDs of beautiful folk music are on sale at $10 each. Contact steppingstonesartgallery[at]yahoo.ca for more information or visit http://www.anamiura.com/ for more information on Ana!

Ana Miura Concert Photos

www.anamiura.com

2006 October 21: Debbie Danbrook

2006-11-01T10:41:00.000-08:00

October 21st, 2006

Exclusive Concert with Master Shakuhachi Performer, Ms. Debbie Danbrook!

Photo at Right: SSAG Owner Matthew Cragg, Zenterior Owner Sam Toma, Ms. Debbie Danbrook, Rebecca Benoit and Yumiko Tsunakawa, also of Zenterior.

More on this exclusive concert coming soon!

Debbie Danbrook Concert Photos

Visit Debbie Danbrook's Website:

www.healingmusic.com

2006 October 21: Hans Blokpoel's Labyrinths

2006-10-27T12:54:00.000-07:00

Hans Blokpoel Labyrinth Exhibit

On Saturday, October 21st, Hans Blokpoel provided an evening exhibit to complement the work of Master Shakuhachi performer (bamboo flute), Ms. Debbie Danbrook (http://www.healingmusic.com/)

Exhibit statement from Hans Blokpoel:

A FEW WORDS OF EXPLANATION

The works are imaginary labyrinths in imaginary landscapes. I use tiles of multi-coloured slate as metaphors for the surface of the earth (as seen from above) and I use small stones collected from riverbeds to represent big boulders that have been used in the creation of actual labyrinths in the field.

In the classic Cretan labyrinth one follows the path to its centre and then one has to retrace one's steps to get out. In another design one can enter the labyrinth at one end and eventually leave it at the other end. This type of labyrinthine path is in essence a "detour". I find these detours of greater visual interest than the classical labyrinth and my emphasis is to place these spiralling detours in appropriate locations in the landscapes.

I try show the beauty, magic, and spirituality of labyrinths and labyrinthine paths, as well as the special qualities of the "landscapes" where I installed them. The unique slate tiles have intriguing surface textures and colours, which suggest various landscapes (as seen from the air).

Solo exhibitions & invited
June 2007 - Stepping Stones Art Gallery - Walking the Line - Installation Exhibit in collaboration with the Sogetsu School of Ikebana in Ottawa.
June 2006 - Stepping Stones Art Gallery - Simply Sculpture Exhibit
Guest Sculptor 1993 - A resurrection of stones.
Foyer Gallery, Nepean 1997 -
Blokkedoos Gallery, Merrickville (guest sculptor) 2001 - Perceptions of Canada.
Gamma Ray Gallery, Ottawa (guest sculptor) 2005 - Landscapes in slate, Atrium Gallery, Ben Franklin Place, Ottawa Group exhibitions 1994 – 2005.
The annual Dimensions Shows and other shows held by the National Capital Network of Sculptors.

Memberships
The International Sculpture Center · National Capital Network of Sculptors (2005 President) Awards “Mountain” at the Dimensions 2002 Show was the winner of the “NCNS Artists Choice Award”.

Contact Hans at: blokpoel[at]magma.ca
or visit: www.magma.ca/~blokpoel

2006 October - Miyazaki Calligraphers

2006-10-27T12:21:00.000-07:00

Miyazaki Calligraphy Exhibit Catalogue

Calligraphy Workshop

Miyazaki Evening Reception

INTRODUCTION
Written by Master Seifu Ogawa,
Miyakonojo City, Miyazaki Prefecture,
JAPAN

As a small group of calligraphy artists from the south of Japan, we are thrilled that our work is being displayed at the Stepping Stones Art Gallery in Ottawa, Canada. We are very much indebted to Ms. Rebecca Benoit for giving us this opportunity to present “Japanese Calligraphy Art: A Taste from Miyakonojo”.

For all of our group members, Japanese calligraphy is more than just a hobby; it is a lifelong pursuit. We offer up our work for your enjoyment and in the hopes that our humble display may open another small window onto Japanese culture. We also look forward to any comments on the exhibit that viewers may have to offer.

Thank you very much to Ms. Rebecca Benoit, Ms. Corinne Baumgarten and many other people who have so generously given of their time to help realize this event.

Sincerely, Seifu Ogawa (Group Representative)

Kiyoko Ogawa BIO
Kiyoko Ogawa was born in Taiwan in 1941. She had a small international exchange
through calligraphy in Brisbane in
Australia in 1999, in Whangarey in New Zealand in 2001, and in Ulan Bator in Mongolia in 2002.

In 2003, she was awarded the prestigious Miyazaki Daily Newspaper Award for her outstanding and vigorous efforts in regard to international cultural exchange efforts.

As an instructor she enjoys calligraphy in life, doing large works of calligraphy on “shoji”(sliding paper doors) and “fusuma”(a framed and papered sliding door).

EXHIBITING CALLIGRAPHERS
Seifu Ogawa
Corinne Baumgarten (Canada), Amy Walker(England)
Minato Nagayama, Gyokusenn Shii
Noriko Takahashi, Yuki Shimizu, Eiko Goto, Toshiko Nobe, Souka Kakoi, Reiko Zenge
Chiyako Horinouchi, Fusa Yoshida, Sayoko Nagasako, Tamiko Yoshihara, Hama Kishira
Kyoko Kiyotake, Hiroko Inohae, Aiko Fukui, Kazuki Goto, Michiko Terao
Ryoko Todoroki, Yukiko Kakehashi, Yoko Maruyama, Kazuyo Matsumura
Keiko Oritsu, Teruko Watanabe, Fujiko Matsumoto, Takeko Shinmori

Artists: Kiyoshi Kikuchi and Michiko Kikuchi
Ceramic Artist: Issei Sonoda
Art: Sukenori Miroku

EXHIBIT AND TOUR SPONSORS
Miyazaki Prefecture and Miyakonojo City Calligraphy Association;
Miyazaki-ken International Association;
Miyakonojo-City;
Miyakonojo International Association;
Miyazakinichinichi Newspaper
Callygraphy shop Chosinsai

**********

EXHIBIT REPORT
Over 30 scrolls of calligraphy, along with arts and crafts and several ceramic pieces were on display in:
the Stepping Stones Art Gallery (http://steppingstonesart.blogspot.com/) from Oct. 14 – 31. Pieces were made available for sale at a price of $100 CAD per item, with all sale proceeds to the artists in Japan.
Brochures were given to guests and a guest book will be sent to the artists in Japan when the exhibit closes.

Miyazaki Calligraphy Exhibit Catalogue

CALLIGRAPHY WORKSHOP

Nearly 90 Exhibit visitors were invited to participate in a free calligraphy exhibit. Ms. Seifu Ogawa and her team of calligraphers provided all materials to workshop participants: brushes, ink, paper, fans, and ‘shikishi’ boards.
Participants could choose a word of their choice (a Chinese character) and shown how to write the character with the help of translators and calligraphers who instructed them.

Calligraphy Workshop

EVENING RECEPTION
60 Guests provided food for this potluck reception in honour of the Miyazaki Calligraphers. Minister Tarahara and his wife from the Embassy of Japan hosted the event and made a brief opening speech to welcome the group. Guests enjoyed dinner in 3 private dining rooms and in the main gallery hall.

Second in Mission at the Embassy of Japan, Minister Tarahara, performed two French chansons (sung in English). Both were warmly received by the audience.

The Miyazaki Calligraphy Chorus performed two favourite Japanese folk songs, including the well-loved ‘Sakura’.

Song sheets in Japanese and English (Romanized Japanese) were passed to the audience who sang along.

Ms. Rebecca Benoit, Stepping Stones Art Gallery Curator welcomed Master Calligrapher, Ms. Seifu Ogawa and received several lovely gifts, including a scroll for the Camellia Tea Rooms, a hand-made Tea Ceremony summer bowl, and lamp, all made by this master calligrapher.

Ms. Corinne Baumgarten, who coordinated the entire event from Japan, also gave a speech. In addition, a wonderful tribute(in both English and Japanese) from the Mayor of Miyakonojo City, Mr. Makoto Nagamine was read aloud to the audience, expressing gratitude for holding this event.

Ms. Corinne Baumgarten and the Benoit Family performed a few impromptu pieces for the entertainment of the waiting audience.

An incredible performance of dance left the audience speechless. During the final presentation of dance, Master Seifu Ogawa performed a calligraphic work as dictation, while her colleague chanted. This final performance moved many in the audience to tears. The work was presented to Mr. Farshid Nayyer, Camellia Member and will be treasured for many years to come.

A Bon-Odori group dance followed as a last performance. Miyazaki Calligraphers invited members of the audience to join in their dance, wearing colourful ‘happi’ (Japanese coats). Everyone in the audience eventually joined the dance for this amazing finale to an absolutely delightful evening.

Beyond all expectations, the Miyazaki Calligraphers had brought handmade gifts with them from Japan to share with the reception guests. Canadian and Japanese guests alike were truly touched by the warmth and hospitality of the Calligraphers.

On Sunday, Otober 15th, former Museum of Civilization guide, Ms. Rebecca Benoit provided a Japanese tour of the Grand Hall and History Hall to the Miyazaki Calligraphers. The group showed keen interest in Canadian history and culture and it was a beautiful way to complete this incredible international exchange.

Miyazaki Evening Reception

2006 September: Benoit - Ink Paintings

2006-09-07T13:45:00.000-07:00

Classics of Japanese Brush Painting
By Rebecca Benoit
& Majka Broulik
September 9-10, 2006

Brush dances, Ink sings.
Chinese Proverb

Introduction to Sumi-e or Sui-boku-ga

SUMI-E Defined: Sumi-e (ink picture) or Sui-boku-ga (ink-water art) is a traditional art form dating back thousands of years from Asia (primarily China and Japan).

Materials

Black Ink used in brush painting is made of black pine soot, bonded with a gelatin and molded into a stick and then ground on a hard, fine-textured stone called “suzuri” with a small amount of water.

Brushes are usually made with bamboo handles and animal hair. With proper care, they can last for years.

Rice paper is lovely, but unforgiving. As the material of choice for painters, it gives no second chances like watercolour paper. Rice paper allows no mistakes or touchups: artists have only one chance to do a painting – or begin again on new paper.
Felt is used under the delicate rice paper and protects the desk from any ink or water as well as ensuring the delicate painting does not stick to any surface.

Calligraphy is at the foundation of all brush painting. For example, the bamboo joint is painted using the character ‘one’.
Painters adjust the tone (or colour) of the ink by adding water and add texture with different brush strokes (dry or very wet).

Space is vital, in Sumi-e, embracing the balance between white and black, and inviting the viewer to ‘complete’ the painting.

Sumi-e does not seek to copy, but rather to find the essence of the item. Expressing the chosen object through dynamic, vital and elegant strokes, the artist depicts the spirit of the subject.

The Four Gentlemen): plum tree, wild orchid, bamboo, and chrysanthemum, represent each of the four seasons and form the core curriculum of Sumi-e.

“Be forceful with Summer’s bamboo, but delicate and sparing with Spring’s Chinese orchid.”
Hirayama 1979, Tuttle Press
Basic mastery of these forms gives the artist the techniques required to paint virtually all other subjects.

“Strength and vigor in each stroke contribute to the overall force of a painting.. strong strokes make a vibrant painting, and indecisive strokes make a weak one. “
(Frame, 2002, Sterling).

ARTIST STATEMENT: BENOIT

In 1998 when I began my brush painting studies in Japan, I lived in a concrete neighborhood. Suffocating under wires and within concrete, I sought out nature, and concentrated on the Foundation Four. Over the seven years I studied in Japan, my eye gradually began to drift towards the lyrical willows, perfect rows of pines, or temples and shrines with their ancient staircases of stone.

My favourite here is that of Horaiwa, a rugged water-worn stone, with a few tiny pine trees clinging to life, sculpted by the wind and waves. The image itself, of one of my favourite walks along the ocean, pleased me to paint. But it was the partnership with Yoko Tamaki, Haiku poet in Japan, that elevates this piece from mere painting, to delightful marriage of image and words. Together we worked on over 60 paintings to be exhibited in 2007.

I so enjoyed working with another artist that I called upon calligraphers of everyday for the Sayonara Project. In the hours before my return to Canada, friends, family and colleagues poured into my studio from morning to night. In 45 days, I worked feverishly on over 300 paintings, producing only 2 prints of each: one for me, and the other a gift to the calligrapher. In exchange for a one-of-a-kind painting, they gave me the gift of a message. Thus, this treasured collection represents a unique and rare combination of artistry, enhanced with a calligraphic message, all on beautiful rare hand-made paper imported from Thailand. It is my hope that this fusion of visual art, poetry and the medium itself delight both eye and soul.

ARTIST BIO

Rebecca Benoit studied under Master Hiroshi Tamaki in Japan for 7 years. Her intensive curriculum of study involved over 2,000 hours of private instruction in Suibokuga.

Rebecca teaches the basic foundation four in her home evenings and weekends to both groups and individuals. Classes are a maximum of 5 students and private lessons are also available. Contact her directly for more details on class times and cost. Contact her at: beccabenoit[at]yahoo.com

Upcoming Fall 2006 Exhibits

2006-08-10T09:08:00.000-07:00

September 2006: (Saturday and Sunday, September 9th - 10th).
Japanese Brush Paintings by Rebecca Benoit and Majka Broulik will feature the classics of brush paintings. Over 20 works will be on display and available for sale.
Painting Demonstration: Majka (pronounced 'My-ka') will be demonstrating techniques in brush paintings in the exhibit on both days.

October 2006: (Saturday, October 14th)
Japanese Calligraphy Scrolls by a Group of 15 visiting artists from Miyazaki, Japan.
Free Calligraphy Workshop: The group will also give a free workshop on calligraphy, and their 30 scrolls will also be available for sale at $100 CAD each. Contact Rebecca Benoit early to reserve your place at this exciting workshop!

November 2006: (Saturday, Sunday, November 4th-5th)
Classic Photography Portraits by Tracey Pitman of Snapkat Photography. (www.snapkatphotography.com)
Musical Concert: Stepping Stones is pleased to present Ms. Ana Miura (www.anamiura.com) in the Gallery for a private concert on Saturday, November 4th from 7:00. This exclusive concert is limited to a maxiumum of 40, so book your tickets early. Contact Rebecca Benoit at beccabenoit[at]yahoo.com for details.

December 2006: (Saturday, Sunday, December 2nd-3rd)
Oils and Watercolour Paintings by Jeremie Bouchard (www.jeremiebouchard.com)
Ceramic Tea bowls by Carrie Lynn Leavoy and Rebecca Lyn Benoit (mudpiespottery.ca/) will be on display and for sale.

OPENING HOURS: The Gallery is open from 2:00 - 6:00 pm on the days listed below, or by reservation at 613-739-4649

ADMISSION: For the Gallery only, $2 per person for adults, senior and children. A combined rate of $5 gives guests access to the gallery in addition to a session of the Japanese Tea Ceremony (reservations required).

LOCATION: We are a private gallery located in Mooney's Bay, Ottawa, Ontario CANADA. Contact Rebecca or Matthew to arrange your visit.

Artists interested in exhibiting in the Stepping Stones Art Gallery or Tea Ceremony are welcome to contact Rebecca Benoit at: beccabenoit[at]yahoo.com

2006 April: Rebecca Benoit (Lithographs)

2006-08-04T11:49:00.000-07:00

EXILE
Stepping Stones Art Gallery:
April 22- 30, 2006

14 lithographs by Rebecca Benoit in 1995

Choosing Exile:
Exhibit Statement

Photos of EXILE lithographs

San Miguel de Allende (SMA) has been a haven for North American artists since the 1950s. This UNESCO World Heritage town in the high Mexican desert supports a population of 100,000 (of which over 5,000 are expatriates). I joined this community over the winter of 1995 in order to explore art and culture. Over the 6 months that I lived in San Miguel, I worked on the series of 14 lithographs presented in this exhibit.

My days in San Miguel were truly magical: I awoke in the early morning and spent hours boiling water for the day’s tea (the high altitude affected everything from my appetite to the time it took to boil water).

Walking down the cobble-stoned roads, I would arrive at the Bellas Artes School around 9:00 in order to secure the best piano room. There, I’d practice for 2 – 3 hours before returning home for siesta in the afternoon. During siesta, the whole town relaxed and ate before preparing for the evening while I wrote in my journal and sketched.

Lithography discovered
In the evenings, there were art openings, concerts, play-readings and dinners to attend, in addition to a myriad of art courses offered at many schools. Most of San Miguel’s residents sample month-long classes before settling on a style that suits them. Long-interested in drawing, another artist recommended that I explore lithographic printmaking.

Bellas Artes
I was very fortunate that the Bellas Artes offered a lithography class with Profesora Margarita Orozxo Ramirez, niece of the famous Mexican Muralist, Jose Orozco. Margarita was a patient teacher, insisting that we speak only Spanish in class and do numerous sketches before drawing directly on the stone.

Over the months I worked in Margarita’s studio, a theme of exile began to emerge in my drawings. My Mexican, Greek and French classmates wondered what my art was trying to communicate; why this Canadian girl, far from home, was so concerned with her identity and nation.

Bellas Artes is an ex-convent built in over 400 years ago which attracts visitors from all over the world to study dance, music, painting and weaving. Tel: 152-0289

Three Artistic Themes
During 1995, for those who remember, there was a very close call with the Referendum in Quebec. This theme is evident in three of the lithographs (Barca, Por Favor and Single Snowflake). The feeling of being alone, and surviving the cold days (though we often think of Mexico as hot) is evidenced in my preoccupation with tea images.

Later, once I had adjusted to longing for my culture, and adapted to the climate of the one I found myself in, my artwork began to explore my new environment in the landscape (the architectural studies of the state of Guanahuato, the beach scene, the trees of the central Jardin etc.). Finally, the time came when I was ready to reflect on the emotional experience of choosing exile and the last two pieces, ‘If only you could hear me from here’ and ‘SMA compilation’.

From Stone to Paper
The process of creating a print from start to finish I soon learned was a very time-consuming task. There is no room for error : once you begin to draw, it is impossible to erase without grinding the stone and starting over from the beginning. Thus, after printing, I sometimes felt as though I should have spent longer on a drawing – or thought through a design a little more before committing the idea to stone.

This is the first time this collection of prints has been exhibited together. I hope you enjoy the playful spirit I’ve tried to capture on my experience of living ‘Away’.

For more information on San Miguel: http://www.sanmiguelguide.com/
or http://www.portalsanmiguel.com/

Artist Biography: Rebecca Benoit
Rebecca first studied drawing and lithography for six months in San Miguel de Allende, Mexico. She now enjoys painting something far less time-consuming: the simplicity of black and white Japanese brush paintings

Contact Rebecca at: beccabenoit[at]yahoo.com

To see more of her paintings

Interested in Lithography?
Ottawa School of Art offers courses in lithography in the fall. Contact them at: http://www.artottawa.ca/
Or call 241-7471

Lithography: What is it exactly?
Lithography was invented by Alois Senefelder in Germany in 1798 and, within twenty years, appeared in England and the United States. The basic process is for an artist to draw (using waxy, crayon-like pencils) onto a polished limestone surface, which is then chemically prepared and inked for printing.

Everything is reversed in lithography, a principle I learned the hard way with my first work ‘Tren’. I had wanted the train to move upwards to the right, indicating the struggle, but energy and excitement I felt being in a new country and facing an uncertain future.

Unfortunately, I was over-eager in my drawing and Margarita and classmates hadn’t yet explained I should draw everything backwards (mirrors later became very useful).

For the full text of Senefelder’s book explaining the invention and process of lithography see: http://fax.libs.uga.edu/NE2420xS475/1f/invention_of_lithography.txt.

The Lithographic Process: Time
Preparing, sanding the limestone (Removing about 0.5 mm of the stone): 3-5 hrs.
Designing the image: This depends on the artist – some spend minutes – others do multiple sketches on paper before committing their design to stone because once you draw on the prepared stone – you cannot erase or correct anything!

PROCESS
Drawing the image (no erasing!): 2-3 hrs.
Gum Arabic & Nitric Acid coat which creates a layer around image; seeps into stone: 2 – 3 days
Washing stone with water for printing: 2 hrs.
Preparing the Ink, stone and roller: 1 hr.
Printing (12 – 24 prints): 2 – 4 hrs.
Hanging the print to dry: 24 hrs.

TOTAL TIME (minus creative process): 1-3 weeks

2006 April: Mayumi & Jennifer Shepherd

2006-08-04T11:20:00.000-07:00

Sogetsu Ikebana
Spring Breeze Ikebana Exhibit
April 22 – 23, 2006

Ikebana Artists:
Mayumi & Jennifer Shepherd

Spring Breeze Exhibit Photos

SPRING BREEZE: Exhibit Statement
By Jennifer Shepherd

My Mother and I thought the title “Spring Breeze” would suit our exhibition very well since it has many meanings for us. First, it shows how we are looking forward to spring and it reminds people that it is just around the corner. We also want to show that a spring breeze brings with it changes in the flower materials and vases we utilize.

We are transitioning from the sombre mood of winter to the cheerful, bright colours of spring, with some cool colours to represent the breeze. Finally, we want to project a whole new frame of mind. While winter was here, no flowers were growing. Now, everything is starting to wake-up and come alive again.

I am using a modern technique to convey my perception of spring. My mother, Mayumi Shepherd, is expressing her thoughts through a more typical Ikebana-style arrangement. Through our arrangements, we hope you will capture our feeling of “Spring Breeze”.

At this time, my Mother and I would like to express our appreciation to Ms. Rebecca Benoit for inviting us to display this Ikebana exhibition. We are very delighted and honoured to take part on this occasion. This is our first Mother & Daughter exhibit and at the same time we are celebrating Sogetsu’s 80th Anniversary this year! Once again, we would like to thank Ms. Benoit for this wonderful opportunity.

Sogetsu History and Iemotos

Since the Sogetsu School was founded in 1927 by Sofu Teshigahara, a new age of ikebana was established under the leadership of brilliant and intelligent Iemotos. Sofu Teshigahara was called “Japan’s Picasso of Flowers”, he arranged dynamic and strikingly original works. Kasume Teshigahara created her own world of ikebana by delicate and also gorgeous flowers. Hiroshi Teshigahara pursued avant-garde expression through movies, installations and pottery.

The fourth Iemoto Akane Teshigahara who succeeds to the innovative spirit of successive Iemotos created many installations such as the open-air exhibition “Sogetsu Hana Avenue” in Omotesando, Tokyo, and brilliant installation on Noh stages. Her dynamic ikebana demonstrations are highly regarded by audiences both in Japan and overseas. At the same time she puts emphasis on teaching, and on the joy and wonder of creation. She continues challenging to create new possibilities of ikebana.

Sogetsu Ikebana

The Sogetsu ikebana has prepared four textbooks, both in Japanese and English, which are used throughout the world. According to the textbooks, students learn the basic arranging techniques for entering the creative world of ikebana.

As students improve, they can express their creativity using plant materials as they like. Sogetsu ikebana brings beauty of expression by plant materials and peace of mind in all of the spaces, in contemporary living; architectural spaces also shop windows, streets and stages.

The headquarters of Sogetsu Foundation are located in Tokyo and Osaka.
Sogetsu School has 49 branches in Japan and about 120 overseas branches/study groups in the world. Branches and study groups regularly hold workshops, demonstrations and exhibitions to enhance local cultural activities.

SOGETSU FOUNDATION
7-2-21 Akasaka, Minato-ku, Tokyo,
107-8505, Japan
Tel: 81-3-3408-1151
Fax: 81-3-3405-4947

http://www.sogetsu.or.jp

email: members[at]sogetsu.or.jp

Artist Biography: Jennifer Shepherd

Jennifer Shepherd is 14 years old. She commenced her Ikebana studies, when she was only 5 years old, with the current Iemoto Akane Teshigahara at Sogetsu HQ in Tokyo. She still travels to Japan each summer to continue her studies and participates in lessons with Sogetsu Master Teachers.

She participated twice in the Sogetsu H.Q. Exhibition at Nihonbashi Takashimaya Department store and also received an invitation to participate in an Exhibition at the Kaigakan organized by Ms. Suisen Takagi, Sogetsu H.Q. Master Teacher.

TV Asahi, a major TV company broadcast nationally a 30-minute program about Jennifer Shepherd, a young Ikebanist. Ottawa Centennial Chapter No. 120 of Ikebana International invited Jennifer to participate in the 2003 Annual Exhibition, both as an exhibitor and as an assistant in family workshops.

Jennifer is currently the youngest member of Sogetsu Ottawa Branch and has participated each year in the Sogetsu Ottawa Branch Annual Exhibition at the Embassy of Japan. She created a special, large stage arrangement for the 17th Annual Japanese Speech Contest at the Embassy of Japan.

Artist Biography: Mayumi Shepherd

Mayumi Shepherd earned her Ikebana licenses at Sogetsu Headquarters in Tokyo. While in Tokyo, she studied under a number of Headquarters Master Teachers including Senso Onaka, Suisen Takagi, Koka Fukushima and Bisen Sumide. She was also privileged to study under the current Sogetsu Iemoto, Akane Teshigahara. She still travels regularly to Tokyo to continue her studies and participate in teachers’ courses and seminars at Sogetsu H.Q.

After moving to Ottawa in August, 2002, Mayumi joined Sogetsu Ottawa Branch. Since April, 2003, she has been a Board member of Sogetsu Ottawa Branch and currently holds the title of Director.

Mayumi is also an active member of Ottawa Centennial Chapter No. 120 Ikebana International. In 2004-2005, she was a Board member, serving as Demonstration Chairperson and Co-Chairperson of Fundraising.

As an active member of the local Ikebana community, Mayumi has participated in over 30 Workshops, Exhibitions and Presentations in the Ottawa area and right across North America.

Mayumi also teaches privately and has been conducting lectures and workshops in Ottawa since 2002.
If you are interested in learning more about Ikebana, please contact Mayumi for information regarding presentations or lessons.

Mayumi "Suishin" Shepherd
Email: mayumi[at]shepherd.name

2006 August: Jeremie Bouchard

2006-08-04T07:35:00.000-07:00

August 2006
Jeremie Bouchard:
Seeking Convergence in Landscape (first shown with Rebecca Benoit, Wakayama City, Japan in January 2005).
Oils and Watercolour Paintings of Hokkaido, Japan

Solitude and Hokkaido

When we spend some free time visiting galleries or museums, we do so with a sense of freedom from our daily obligations. The experience might bring us to new understanding, or might simply reaffirm previous convictions. But in all cases, time stands still. Words become fewer. Heartbeats grow more regular. This is what I feel when I am buried deep within the Hokkaido landscape.

I come from the Northern part of Quebec, Canada: an agricultural zone, a very old geological environment characterized by its disturbing flatness. Tens of thousands of years ago, the North American landscape was reshaped by massive melting glaciers receding North. Since then, not much has changed, except perhaps a farm here and there, straight roads with few curves, and timid towns. I grew up under immense skies, but there was little for me to find in the horizon. The Northern flatness of my homeland is pregnant with solitude.

When I first arrived in Hokkaido, my first impulse was to see if there were any connections between my native homeland and my adoptive country. I managed to find some similarities between Northern Canadian and Northern Japanese landscapes. Yet common sense soon told me that my emotional response to my new home was different. Whenever I peered through the window of the moving train, my eyes caught new and interesting natural features. I became convinced of this fundamental difference when I reached the seashore near Otaru. That is when I realized I was no longer living on a dry and stable continent, but rather a humid and ever-changing island (my first earthquake experience confirmed this even further). As a painter, it was only a matter of time before I realized how important the Hokkaido landscape was to me and how much it was to change my way of looking at nature. Now, wherever I look, I find something new, something that holds my attention.

I hope these few paintings convey this sense of change, of new discovery, of a solitary mind in a new and fresh world. They are not challenging pictures to look at, for they translate objective reality rather faithfully. Moreover, all of them contain a certain peace which any visitors to Hokkaido can experience firsthand. If I have tried to keep humans out of my landscapes (although some man-made features do appear at time), it is because nature, like art, speaks for itself. It is unique and strong enough to convey a wide range of emotions. It was only recently that I have discovered my preference for cloudy skies, as you can notice in most of these paintings. This simple awareness made me realize that the process of painting reveals more than mere colors and shapes, but also an emotional palette which is only detectable after extended observation.

Solitude is innate. Emotions are not. We can always train our senses to feel new things, and our heart learns to follow. Hokkaido has forced me to expect something in the horizon. In return, it has filled my memory with countless new and intriguing images.

Jeremie Bouchard Paintings

Jeremie Bouchard’s Website

Jeremie Bouchard in the Stepping Stones Art Gallery

2006 June: Hans Blokpoel "Simply Sculpture"

2006-06-16T10:06:00.000-07:00

Simply Sculpture
Abstract works in stone
by Hans Blokpoel

In the Stepping Stones Art Gallery
June 3 – 4, 2006

Simply Sculpture Exhibit

Bio

Hans Blokpoel was born and educated in the Netherlands before emigrating to Canada in 1967. He has taken courses in sculpture both in Holland (with a local sculptor in Leiden) and in Canada (at the Ottawa School of Art). Currently a retired wildlife biologist, he has had a life-long interest in the beauty that is present in nature. His works are usually fairly stylized or abstract and they occasionally contemplate the human condition.

Artist Exhibit Statement

During a 4-week trip to Japan in 2002 (Kyoto, Takamatsu, Shodoshima and Benesse Islands) I was struck by the seemingly simple use of materials and the veneration for old works of art. I felt an affinity with those works and I am still inspired by them.
The large public sculptures, from stone from local quarries on Shodoshima Island, were also inspirational.

In my works designed for patios and gardens I try to make works that add visual pleasure to the garden. I like to use biomorphic objects that complement the natural shapes and forms of garden plants.

I have always been fascinated by the virtually unlimited numbers of shapes, forms, patterns, textures and materials that are present in nature.

My works are highly abstract and they often provide a surprising presence that animates the area around them.

The garden works are designed to stay outside during the winter and thus provide visual interest year-round. The works are given special effects by hoarfrost, freezing rain and snow. My smaller sculptures are more suitable for homes or offices.

I have been making a number of different "lines of work" and for this show I exhibit some works of these different lines of work.

Works using old bricks
I use eroded bricks and chunks of concrete to design simple, free-standing sculptures that are relatively small.

I also use eroded bricks to create totemic contemplation poles.

The Fragmentation Series

Another source of inspiration and material has been natural rocks that had fragmented or that were in the process of disintegrating.

I encountered these rocks in the Ottawa area and I have tried to "freeze" their fragmentation by emphasizing the fracture faces with colour.

Aerial Landscapes on Slate

More recently, I have been using square tiles of multi-colour slate to make imaginary landscapes that are designed to be hung on walls, but that can be displayed on horizontal surfaces as well.

I use slate tiles as metaphors for landscapes, as seen from the air, and small artifacts as metaphors for human impacts
in the landscape.

The landscapes are glimpses from an aircraft window. They are imaginary and do not attempt to depict real landscapes. They are neither models nor to scale. Even so, the landscapes are inspired by my own observations from aircraft as well as by air photographs taken by others.

Slate is a fine-grained rock that has been used to make roof tiles and school boards because it splits into thin, smooth-surfaced layers.

The tiles of multi-colour slate I used for this show have a mysterious feeling because they contain unknown geological history.

I selected tiles that “spoke” to me because they suggested landscapes (as seen from the air), or just because they were beautiful or otherwise interesting.
To indicate the human impact on the landscape I used man-made materials, such as various bits of hardware. I like to reuse discarded materials that have their own history to tell.

I am also interested in labyrinths and stone circles that can be found as sturdy and intriguing remains of the past. Here I use small pebbles that I collected from a local river to simulate the enormous monoliths that were used by our prehistoric forefathers to construct burial chambers and large sacred meeting places.

Solo exhibitions & invited Guest Sculptor
1993 - A resurrection of stones. Foyer Gallery, Nepean
1997 - Blokkedoos Gallery, Merrickville (guest sculptor)
2001 - Perceptions of Canada. Gamma Ray Gallery, Ottawa (guest sculptor)
2005 - Landscapes in slate, Atrium Gallery, Ben Franklin Place, Ottawa

Group exhibitions
1994 – 2005. The annual Dimensions Shows and other shows held by the National Capital Network of Sculptors.

Memberships
· The International Sculpture Center
· National Capital Network of Sculptors (2005 President)

Awards
“Mountain” at the Dimensions 2002 Show was the winner of the “NCNS Artists Choice Award”.
Contact Hans at: blokpoel[at]magma.ca
or visit www.magma.ca/~blokpoel

2005 December - Rebecca Benoit: Japanese Brush Paintings

2006-06-15T19:24:00.000-07:00

Seeking Convergence in Landscape:
Seven years in Honshu Japanese Brush Paintings
by Rebecca Benoit

Click here for exhibit photos: coming soon!

One of the most positive ways of adapting to any new culture is to seek the similarities, not differences with our own. It is in precisely this way that we gain our bearings while discovering a new land, people and culture. A pure landscape devoid of human presence The artistic recreation of important scenes serves to stimulate our memories and quiet the mind. Compelling images, connected to personal history – namely, a view that becomes part of the soul are cemented into the mind’s eye. One of the first ‘memories’ I needed to paint for myself when I came to Japan in 1998 was the large landscape in oil which opens this exhibit.

I wanted to recreate this familiar landscape so it would transport me back to a place of comfort whenever I felt homesick. From the time I was a girl, we traveled north of Ottawa, into the Gatineau Valley where I spent every weekend and nearly two months each summer. The low, rounded hills I saw across this still lake face a solitary island. In the evening, I saw only the stars – and there was not another being within sight. All this contributed to my perception of beauty: namely a pure landscape devoid of human presence or influence. In the first four years of my Suibokuga (brush painting) studies with Tamaki-sensei、I lived in a concrete neighborhood in a city of 500,000 sixty kilometres south of Osaka. Initially, my desire to find nature consisted of floral studies: this was a way to essentialize the landscape and block out my surroundings of pavement and wires.

I was captivated by the way my teacher captured the essence of a flower with the richness of ink. But perhaps the greatest influence on my painting happened when I moved to the historical Wakaura area. I came to my twice-weekly lessons with the desire to capture the new landscape which I’ve grown so attached to. Whether it is the lyrical willows which grew on either side of Furobashi during the Edo period, or the perfect row of pines which grace Kataonami today; the picturesque temple and pavilion on Tamatsushima, or the shrines with their ancient staircases of stone, all of these signify to me an intensely beautiful and compelling landscape.

After many years of living in Japan, a nation of millions, I continued to paint landscapes devoid of people, erasing the trace of humanity, preserving the purity of the landscape. However, indisputable traces of human agency remain in the distant temples or sails on the horizon in my paintings. This is the reality of life on Honshu, an island which human occupation has placed its mark on the landscape. Of all the paintings here, the one I feel is most successful, is that of Horaiwa: a rugged water-worn stone, with a few tiny pine trees clinging to life, sculpted by the wind and waves: this is a scene that is quite similar to one on a lake in eastern Quebec where I grew up.

In the end, we come full circle: our eye seeks what is most familiar within any new landscape. We seek similarities to give ourselves comfort when we find ourselves in an environment to fundamentally different or alien. It is in these primordial stones, rocks, trees in Wakaura that create a bridge for me between Japan and Canada.

Having first studied drawing and lithography for six months in San Miguel de Allende, Mexico, Rebecca was drawn to the simplicity of black and white Japanese brush paintings. She currently paints in Ottawa, Canada.

To see more of Rebecca’s paintings:
http://pg.photos.yahoo.com/ph/waka2005art/my_photos

You can contact her at beccabenoit[at]yahoo.com

2006 March - Shoko Shimamura: Original Works in Oil

2006-06-15T12:35:00.000-07:00

Shoko Shimamura: Original Works in Oil
Stepping Stones Art Gallery, March 2006

Ms. Shimamura, a native of Wakayama Prefecture in Japan works primarily in oil. The exhibit presented in the gallery during the Camellia Teas of Ottawa Monthly Event on March 11th featured works that were surrealist, with a Japanesque feel to them.

Shoko Shimamura Exhibit