Upcoming Fall 2006 Exhibits

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)

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

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

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