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I have always attempted to express my mood in my landscape paintings. The details of the landscapes are much less important than the feeling itself.
I started to learn lithography at the Open Studio in Toronto in 1984. Since then, I have fallen in love with this medium and pursue the same goal with it as I do in my paintings.
My art is created with the feelings and sentiment I hold for the world around me. The image of mountains and water has always moved me and lies close to my heart. My art does not chase after realism or any current art trends. It is the result of the process of my dialogue with nature; an expression of my innermost peace of mind.
Lorraine Simms, Shadow
In shadow media images of crowds are embedded like memory shadows in painted landscapes.
Countless media representations of crowds permeate the virtual landscape, blurring into a seamless portrait of contemporary experience. I am fascinated and estranged by these images of people demonstrating, mourning, celebrating, or being relocated. Fixed in political and historical time, the individuals who make up these throngs momentarily shed personal histories and become as silent actors in a highly charged drama. To what extent do these portrayals infiltrate our imaginations and shape our perceptions of identity and place?
I explore these questions in shadow, a series of collaged and painted works on paper. In these works, semi-transparent landscapes are painted directly over fragments of images clipped from the newspapers or photographed directly from the television screen. The unusual pairings that are formed generate reflections on the nature of time, memory and the transitory nature of existence. I am interested in this juxtaposition of photograph and painting, multiple and unique, ephemeral and enduring, and the contrasts in signification and value that arise.
Undeniably, a large part of my experience of the out-of-doors has been, for better or worse, from inside an automobile or, occasionally, a passenger train. With that thought in mind, and aided by a grant from the Elizabeth Greenshields Foundation, I began, in 1997, a series of oil paintings of the transportation routes of the Fraser Canyon and Thompson River regions. The paintings, views of train tunnels, rest-stops, pull-outs, and unused sections of the original roadways, are examinations of the strangely beautiful environment in which these routes lay. My present work has carried on in this direction although it is more specifically focused on the architecture of modern infrastructures: power-lines, sewers, roads and suburban development.
In order to get a sense of my environs, I sit for prolonged periods at each site, making sketches and sometimes complete paintings, in oil or watercolour. Although I am not concerned greatly with the minute details of nature or artificial constructions, I do find working on-site essential for coming to terms with the particular quantities of space and distance involved, elements which are an integral part of the outdoor experience.