Johnathan Roy Newton studied at the Ontario College of Art and design and received his Fine Arts Diploma. He majored in Classical Realism, with a strong emphasis on the figure.
Jonathan apprenticed under Ray Simpson, a portrait painter, in the Old Master Tradition. Newton has won awards in juried exhibitions.
He has been commissioned to do portraits, landscapes, figurative work, narrative work, murals, Trompe I'oeil.
Jonathan Newton is now clearly establishing himself as one of the leading realist painters of his generation & has a growing following throughout Canada & the United States.
Nadia Lassman is an international artist with showings in Toronto, New York, Miami and Scottsdale, and has appeared in Vogue, House & Garden, House of Coco and World of Interiors magazines.
Lassman's landscapes are imbued with luminosity and warm, radiating contentment. Influenced by the Impressionists, Lassman's work reflects the happiness she feels, the beauty of nature and her joy in travelling. It is said one can feel at peace when viewing her works. She is particularly fond of water scenes, keeping her viewers fascinated by the contrasting warm and cool tones that nature generously shares. Lassman also explores the complexity of man-made structures along with the interplay of light and reflection on water.
Her contemporary take on Impressionism is created by adding depth and interest to her romantic pieces with tactile, textured effects, which she achieves through the application of layers of pigments along with sand and gels.
David Grieve has been painting with oils for most of his life. He was introduced to the medium at a young age while accompanying his mother to her studio. David attended the university of Guelph where he received the Micheal Scotchmere scholarship. He has been exhibiting his work for 16 years, and has developed a unique, distinctive style.
David often finds himself lost while trying to navigate a route towards a destination. He frequently drives through the everchanging fields in Southern Ontario. He takes photos along the way and then uses these images to produce his paintings. With a multi-layered technique, he applies thick swaths of oil paint, creating a translation of these moments.
Born in 1951, Petros Martin attended the Academy of Fine Art in Rome and Venice from 1975 to 1980 and also studied privately at Atelier George Masse in Montreal. Petros, from an International background, is a leading contemporary Canadian painter of nudes and abstracts. He is also an accomplished portraitist and sculptor. His work is known and collected for his distinctive style and reflects his love for the land and people.
After travel and exhibitions throughoutEurope, Petros settled in Toronto in 1986, where he continues to reside and work. His work is found in numerous corporate and private collections in Europe, Canada, and United States.
Doug Fox is an Ojibway painter painting on the Woodland School traditions. He cites Benjamin Chi-Chi, Richard Bedwas and Norval Morrisseau as his influences.
Fox is from the Wikwemikong Indian Reserve in the north-eastern section of Manitoulin Island in Ontario, Canada. The Woodland Style of Ojibwe native painting originated from Manitoulin Island. Its most famous member is Norval Morrisseau.
Fox became a full time commission artist for worldwide native art collectors such as Proctors and Gamble, Castle Entertainment and private individual collectors.
He had exhibited as Royal Bank of Canada BCE Place, Miami Art International and other prestigious shows.
"... Art is not the truth. Art is a lie that makes us realize the truth, at least the truth that is given us to understand." from "Picasso Speaks" The Arts (New York) May, 1923.
As Early as the 1970's, in this abstract paintings set in triangular supports, Michael Close has sought the synthesis of both the intellect and the sensual in an attempt to arrive at some universal truth. The work with triangles led him to focus on images of the human face to which we all respond, more or less intensely: some eliciting emotional sensations, others appealing directly to our intellect. Both share an essential rank as we have as much need of one as the other.
He has enjoyed great success in Macedonia and in the collections of Museum of Contemporary Art (Skopje), Academy of Fine Arts, National Gallery (Skopje), Ohrid City Museum and Struga City Museum.
The artistic world of Jacek Rudnicki has always gravitated toward the maelstrom of those countless fragments of existence where one is caught by a momentary but instantaneous loss of reason.
The artwork produced by the artist reflects his philosophy, his dialectical discourse between the profane, the weird and the familiar. The dialogue between the artist and the viewer is a two-way conversation.
The emotional aspect of Rudnicki's paintings is the first step in creating a personalized decoding device (a language) that introduces the viewer to talk about and get to a deeper level of understanding.
But it's an irrepressible understanding.
"It is my goal to charge my paintings with emotions."
The painting of Fiona Hoop are collaborative works, which combine the talent and experience of two professional artists, Michele Woodey and Mary Kennedy.
Michele Woodey B.A
Michelle Woodey graduated with donors in Fine Arts from Brighton School of Arts in England 1979. From 1981-1986 Michele was a part time tutor teaching foundation level students in conceptual development, drawing and painting while continuing to develop her own artwork. Michele Woodey has held solo exhibits of her work at the prestigious Nexus Gallery in Brighton England, at Erindale College within the University of Toronto.
Mary Kennedy
Mary Kennedy graduated from the Ontario College of Art and Design in 1989 and received OCAD's Experimental Arts Award in Painting. Since then, she has been the recipient of several Visual Arts Grants from the Ontario Arts Council, as well as from the Sheila Dick Mackay Arts Foundation.
The artistic world of Jacek Rudnicki has always gravitated toward the maelstrom of those countless fragments of existence where one is caught by a momentary but instantaneous loss of reason.
The artwork produced by the artist reflects his philosophy, his dialectical discourse between the profane, the weird and the familiar. The dialogue between the artist and the viewer is a two-way conversation.
The emotional aspect of Rudnicki's paintings is the first step in creating a personalized decoding device (a language) that introduces the viewer to talk about and get to a deeper level of understanding.
But it's an irrepressible understanding.
"It is my goal to charge my paintings with emotions."