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Artist Exhibitions:
EXHIBITIONS:
SOLO:
Linear Perspective,2009
Transit Gallery, Hamilton,
Ontario Canada
Carnival Pop,2007 Transit
Gallery, Hamilton, Ontario,
Canada
Gallery
1043,Calgary,Alberta,October
2005
Velvet revolution,Kensington
Gallery,Calgary,November
13th,2004
MUSTARD SEED COMMEMORATIVE
INSTALATION,Calgary,AB. 2002
"BEYOND THE PARANOIC VISION"
University of
Waterloo,ONT.1999
"INTERNSHIP EXHIBITION" ...
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Artist Galleries:
BILL LOWE GALLERY, L.A. and
Atlanta, U.S.A
ESTUDIOTRES GALLERY, Chicago,
Illinois, USA
TRACY PARK GALLERY, Santa
Monica, California, USA...
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Artist Reviews:
ARTICLES:
Calgary Herald,Celebrating
Paint, February 25th, 2006
Avenue Magazine, May issue
2005
Calgary Straight, Spring
issue 2001
Calgary Hearald, February
10th 2001
I.D Magazine, Spring issue
1999
Artichoke Magazine, Summer
issue, Volume8<2 1996
Alberta Arts Magazine,
Volume2<3 1996
Artwalk Magazine, issue<3
1992
AWARDS:
Winn Shantz ...
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Collections:
MUSTARD SEED
FOUNDATION,Calgary,Alberta
EDMONTON ART
FOUNDATION,Edmonton,Alberta
SAVILL
ARCHITECTURE,Lethbridge,Alberta
INGENIUM
DESIGN,Calgary,Alberta
SMITH & CO.,Calgary,
Alberta...
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Artist Statement for Barry Lorne
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When you are an immigrant there is a sense that you do not belong and with that there is a sense of being a fraud.My culture is not the culture where I presently reside nor is it the culture I left behind at the age of twelve, my culture is the one of memory and invented history that I apply in my paintings.Unlike words laden with meaning or language defined by context I chose to use paint to relate what I have to say.Painting as a form of comunication is capable of life beyond the author. With my current paintings there is a sense of melancholic need to belong, each figure, color and material selection defines that which does not exist. My paintings are an invented reality familiar only in the painting context, the validity of each panel is only apparent in the skill of the painter and how the paint is applied.That is not to say that I am not genuine nor that my paintings are fabricated rather it is to say that each painting is a true representation and therefore a true personal communicative device as a painting.
My current series from my British Working-Class Tribal paintings depicts my remembered memories of growing up in the Northern Milltown of Lancaster England. Each panel in the Tribal series has an iconic reference to a memory of mine as a child living in the tenement housing projects of Lancaster and the culture of my remembered tribe. Dogs were a prevalent peripheral reality in the tenement neighborhood and are depicted as such in my paintings by using them as contextual compositional devices through color, shape and tactile variants. The figures in my paintings are emblematic iconic tablets of gestured stereotyped personalities and fringe characters. Each character in the painted storyboard is given a distinct identity through the manipulation of the materials, color and placement of each form. It is my intent to construct a cultural environment I can live within and share with others.
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