Critically Acclaimed Artists Program

Supported through funding from private donors, the Critically Acclaimed Artists Program (CAP) is designed to attract high calibre national and international practicing artists to Sunbury Shores as instructors.

Sunbury Shores is dedicated to exposing practising artists and arts enthusiasts to the teachings and works of acclaimed Canadian and international contemporary artists in order to support the development of the arts in New Brunswick and plant new creative seeds in our communities.

In 2018 we hosted Lisa Lebofsky, Michael Flaherty, and Sarah Alford.  2019 sees the return of Maggie Rose, along with Alyssa Monks, and David Kaarsemaker.  Scroll down for more information.  For registration please call us, email, or follow the links on the Adult Courses page.

2019: Maggie Rose, Painter

Maggie Rose is Teaching:

Beginner to Intermediate
August 12-16, 2019

CAP Course Description

If you have never used oil paint, or if you have been painting for some time and want to take your work to the next level, this class is for you!This course places strong emphasis on a complete understanding of colour and light as it relates to creating the illusion of three-dimensional space on a two-dimensional surface. It explores oil painting techniques such as direct and indirect methods, open and closed grisailles, and the best tactics for building a sound painting.

There are daily demonstrations on colour mixing and painting techniques. The information on colour is extensive; it explores all aspects of hue, value, temperature, chroma and clearly explains how to maintain control of each element.

Students will work on exercises and small paintings to ensure they have a solid grasp of the information.

About Maggie Rose

Maggie Rose is a Canadian artist currently living in Toronto. After graduating cum laude from the New York Academy of Art in 2001, Maggie continued her training at the Michael Aviano Atelier and studied drawing with Michael Grimaldi. She now paints full time and is passionate about teaching and passing on the training she feels blessed to have received. Maggie’s work is primarily figurative. She prefers to work from life and often sculpts small figurines when working on subjects that require photo reference. Her primary focus is the continued exploration of the human body, of the color and translucency of flesh, and in objects which we identify with the body such as clothing and dressmaker forms.

View Maggie’s Works

Intermediate to Advanced

August 19-23, 2019

This workshop is for those who have oil painting experience, or who have taken a previous course with Maggie. Artists are encouraged to step out of their comfort zones and execute work with more complexity.

Techniques and methods to broaden the understanding of representational painting will be explored through daily introductions to contemporary painters. Emphasis will be placed on exploration and the “big picture” aspects of creating a complete whole, no matter the chosen technique.

Subject matter is up to each individual. Working from life and/or photographs are equally encouraged. The option to develop one piece or several are up to the individual. Participants are encouraged to arrive with a variety of possible ideas to explore.

Discussions on all aspects of oil painting will develop in the moment based on the work being created.

2019: Alyssa Monks, Painter

Alyssa Monks is Teaching:

Transcending the Photo Reference in Painting
June 20,21,22  2019

This workshop is designed to guide students toward creating a painting from a photo reference, using both indirect and direct traditional painting techniques. It aims to instruct painters on how to use the photograph to create a painting that surpasses the look of the photograph, not simply imitates a photograph.

The process will begin with preparations such as choosing a composition through quick sketches from a variety of reference photos, progressive oil sketches with limited use of the photograph, and then laying in the composition with an imprimatura wash. When that is dry, the students will learn to create color relationships that portray the space and volume, creating the illusion.

Download Full Course Description

About Alyssa Monks

“I strive to create a moment in a painting where the viewer can see or feel themselves, identify with the subject, even be the subject, connect with it as though it is about them, personally.”

Alyssa Monks is an American painter blurring the line between abstraction and realism by layering different spaces and moments in her paintings. She flipped background and foreground using semi-transparent filters of glass, vinyl, steam, and water over shallow spaces in her 10-year long water series. Today, she is imposing a transparent landscape of infinite space over evocative subjects.

The tension in her paintings is sustained by the composition and also by the surface quality itself. Each brushstroke is thickly applied oil paint, like a fossil recording every gesture and decision, expressing the energetic and empathic experience of the handmade object.

Alyssa’s work is represented by Forum Gallery in New York City. She lives and paints in Williamsburg, Brooklyn. Her latest solo exhibition “Resolution” was in March and April of 2016 at Forum Gallery. Monks’s paintings have been the subject of numerous solo and group exhibitions including “Intimacy” at the Kunst Museum in Ahlen, Germany and “Reconfiguring the Body in American Art, 1820–2009” at the National Academy Museum of Fine Arts, New York. Her work is represented in public and private collections. Alyssa has been awarded the Elizabeth Greenshields Foundation Grant for Painting three times and serves as a member of the New York Academy of Art’s Board of Trustees.

View Alyssa’s Website

2019: David Kaarsemaker, Painter

Kaarsemaker is Teaching:

This workshop will combine art history with art making, exploring how landscape painting in Western art reflects the complicated relationship between humans and the environment. This course will focus in particular on changes in the conception of depth in painting and how this corresponds with the increasing separation between subject and object in Western thought more generally.

We will explore ways of extending and flattening illusory space, working in a range of media (acrylic paint, charcoal, ink, pastels…) and from a variety of subjects, including collage, hand-made models, and plein air observation. We will consider the mystical space of Byzantine Icons, the development of linear perspective in the Renaissance, the concept of the Sublime in Romanticism and Modernism, and the fragmentation of space throughout the 20th century.

David Kaarsemaker is Toronto based painter. He holds a BFA from Concordia University and an MFA from the University of Ottawa and has taught at institutions across the country. In 2017, he was a finalist for the RBC Canadian Painting Competition and his work can be found in the collections of the City of Ottatwa and the City of St. John’s, the Department of Foreign Affairs, the Newfoundland Provincial Art Bank and the Rooms Provincial Art Gallery.

In his paintings, he searched for tension between the material presence of depicted objects and the dissolving glow of light and colour that surrounds them, creating a hinge between the perceptive indices of two  and three dimentionality. His work examines the political and environmental realities that lie benath the surface of his experiences in wilderness areas, seeking to honour its beauty, while also facing the construction of wilderness as an idea, and his own participation in this structure.

View David’s Wesite

2018: Lisa Lebofsky, Painter

Lisa Lebofsky was Teaching:

Moving Landscapes: Indoors and Outdoors; Technique and Philosophy

August  2018

In this course, students will experiment with various painting supports and implements in producing energetic paintings of nature. Students can opt to paint on toned paper, panels, canvas, aluminum, or their choice of other prepared surface; and will utilize objects from nature such as sticks, grasses and stones to add to the mark making vocabulary of a painting. Additionally, we will analyze examples of landscape painting throughout history, and take techniques learned in the studio to paintings to be produced outdoors. Students will learn: colour principles; composition; perspective; light and shadow; texture; various painting techniques; philosophical and metaphorical approaches to painting nature; and the challenges and benefits of painting outdoors. In the end, students will learn how to paint a beautiful and meaningful landscape.

About Lisa Lebofsky

Lisa Lebofsky paints the susceptibility of nature, correlating its restlessness with our own human vulnerabilities. Her direct participation with the landscape is vital to imbue a painting with the energy of a specific place, so that viewers can connect viscerally: to move, excite and engage them.

Lebofsky finds inspiration by traveling extensively, often to remote parts of the world, in order to immerse herself in different environment and cultures. She seeks out areas around the globe that are particularly susceptible to the impacts of climate change, and meets with local residents to discuss how their community is impacted. To a great extent, these personal interactions inform what areas and what subject matter is ultimately painted. Recent regions visited include Antarctica, Newfoundland and Labrador, Greenland and The Maldives. She currently lives and works in New York City.

Education:
2000 BFA Metals, State University of New York (SUNY) New Paltz, NY
2006 MFA Painting, New York Academy of Art, New York, NY

View Lisa’s Website

Michael Flaherty, Ceramic Artist

Michael Flaherty was Teaching:

Mud, Sun and Forest
June 2018

Participants will discover material, form, and meaning by digging clay, foraging natural objects, and using an experimental solar-powered kiln. Ideal for potters, sculptors, and creators of all types, this course aims to expand the connection between the artist and nature.

Previous experience with ceramics is not essential, but an adventurous spirit and willingness to experiment is.

More About Michael’s Solar-Powered Kiln

About Michael Flaherty

Michael Flaherty was born in Newfoundland and subsequently spent much of his childhood getting lost in the woods. As an adult he has lived alone for three months on a deserted island, crisscrossed Canada and the United States by bicycle, and inhabited abandoned communities in his home province, all as part of his artistic practice.

Flaherty studied ceramics at NSCAD University (BFA) and University of Regina (MFA) and has taught at numerous institutions across the country. His work was recognized nationally when he was a semi-finalist for the Sobey Art Award (2011) and a finalist for the RBC People’s Choice Award (2013). He won the Large Year Award from Visual Artists Newfoundland and Labrador in 2013.

Flaherty resides in Port Union, Newfoundland, where he has established Wild Cove Pottery. His studio activities are varied, including pottery, sculpture, installation, and performance.

View Michael’s Website

Sarah Alford, Installation Artist

Sarah Alford was Teaching:

Naive Botany: A Natural History Guide to Installation Practice
August  2018

In the nineteenth century, ‘botanizing’ became a craze. It was something you did on the seashore, in the meadows, or on the sidewalk. With botanizing as its framework, this course explores ways in which we might translate our daily observations and practices into another space and form such as a gallery installation.

We will spend the course in discussion over examples and theories of installation, and take advantage of the natural setting of Sunbury Shores to immerse ourselves in the creation of individual, barely begun, well-conceived, yet wildly imagined, installation proposals.

About Sarah Alford

“I am in the practice of re-imagining what it means to know the world.”

Sarah Alford is a practicing artist and perpetual student with undergraduate degrees in Jewellery/Metalsmithing and Art History from the Nova Scotia College of Art and Design University (NSCAD). She was awarded a Fulbright to attend the School of the Art Institute of Chicago where she earned an MA in Visual and Critical Studies, and an MFA in studio through the department of Fibre and Material Studies. She taught art history and studio classes at NSCAD before becoming a PhD candidate in Art History and Art Conservation at Queen’s University, Kingston. She has exhibited across Canada, Scotland, and the United States, including the Museum of Arts and Design in New York and the Museum of Contemporary Art in Chicago.

“I contextualize my work within art practices that look to community, process, and intervention as meaningful sites for uncovering lost emancipatory moments and for growing political awareness in the present. My work, however, is often undidactic, ephemeral and asks viewers to suspend their beliefs and to place themselves somewhere between citing and siting.”

View Sarah’s Website