Eliza Hemingway

Author & Artist

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My Art

Bright Lights and Bubble Machine
Early Morning Bird Fight
The Conversation
Woman escaping without a stitch
Self Portrait
Woman With a Cat

ART EXHIBITIONS:

Solo:  

1995 Port Albernie Art Centre: Oil Paintings and paper Sculptures

1995 Vanity Fair Art Gallery: Oil paintings and paper sculptures

1993 Bon Ton Gallery, Oak Bay: Oil paintings and paper sculptures

1992 Vanity Fair Art Gallery, Victoria:  Oil paintings

1991 Moss Cottage Gallery, Victoria: Oil paintings and mixed media sculptures

1989 Rollin Gallery, Maple Ridge

Group shows:

2001 Fat Cat Gallery, Victoria

1993 Cordova Bay Art Gallery: Oil paintings

1990 Backroom Gallery, Oak Bay: Oil paintings and paper sculptures

Winchester Galleries, Victoria

1986 BC Festival of the Arts, Prince George

Fran Willis Gallery, Victoria;

Other exhibitions:

Victoria City Hall; Victoria's Macpherson Theatre; Oak Bay Municipal Hall; Madrona Art Centre, Nanaimo; Gavin House Gallery; Belle Vue Art Museum. Washington DC, USA

Eliza's work has also been displayed and sold through

Yonge at Art, Toronto; Virginia Brier Gallery, San Francisco, USA: Perceptions Gallery, Boston, Mass, USA; Vancouver Art Gallery: Penticton Art Auction, BC; Art Gallery of Greater Victoria; The Port Hardy Museum and Burnaby Art Gallery, BC. Eliza's paintings have also been displayed in Beijing, China and The People's Hall, Russia.

Awards:  

The HABERDASHER'S GARDEN, fiber art won Honorable Mention, Fiber Art at the Sooke Art Show, 2011 (sold)

IRIS' AND POPPIES, fiber art won Best in Show, Fiber Art at the Sooke Fine Art Show 2010 (sold)

1993 Sooke Fine Arts Bruce and Sydney Ranney purchase award, oil paintings

1987 Poland International Competition: Diploma of Honour, mixed media sculpture

1985 Honorary Citizen of Victoria for her work as an artist        

Winner, the British government sponsored Road Safety Poster Competition for all England, at age fifteen.

Collections:

Eliza's art is in the following known collections:

Pierre Elliott Trudeau (Past Prime Minister of Canada)

Bruce and Sydney Ranney, Seattle, Washington, USA

Appraisal Consortium, New York, USA

Betty and Sam, Eisenstein, Pasadena, California

Trinity Communications, Vancouver BC

Moonlight Farms, Vancouver BC

John Brockington (retired), Head of the theatre department, UBC, Vancouver

The Museum of Women in the Arts, Washington DC, USA

The Women's Gallery, Scotland

Winchester Galleries, Victoria, BC

Artist's Statement: My art has my brush strokes, my colors  and my spirit and is from the heart. Each one is worked with truth. Each painting is spontaneous. I approach a canvas the same way a child with crayons might attack a blank sheet of paper. Ask a child to draw a tiger and they will delight you with the results. Ask them what the tiger is doing and they will, instantly and from the heart tell you the most wonderful story. Young children create in the only honest way. That is, until an adult decides these innocents should be taught how to paint properly. In the process of helping, the grown-ups totally kill all originality. But then, after all the philosophical words have been spoken and all the paintings are completed the only remaining aspects of any importance are the brush strokes and the colors.

I achieved my staunch ability to work hard and my unyielding application to purpose on the hockey fields of a girl's private school in Yorkshire, England. The school's battle cry was the same hurrah of the American marines; it's unwritten motto was if a girl could survive a private school she could survive anything the world threw at her. I am proving this to be true; I survived the school and I am in the process of surviving the world. I worked with artists, writers and debaters in London and Paris because painting to me is a philosophy. These two cities were home to many creators who were ready to work in a whole array of new ways to paint and write. They pushed their thoughts to places I had, at that time, yet to comprehend.

Painting should move past the safe realism most people are familiar with. I want viewers to see beyond their own already adopted and settled concepts that a painted tree should look like a real tree. If you want a 'real' tree then take a photograph. My paintings are not wall decorations. I am not of the twigs and flowers school of art. The work is not 'realistic' paint by number copying from photographs. You have to ask the question how did the painter manage to have the tiger stand still long enough to paint its image. I never reproduce my work as poster prints. If a person wants one of my paintings I want that painting to be an original one-of-a-kind.