Meghan Hildebrand
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Biography
I left my hometown of Whitehorse, Yukon, following my mom's footsteps
to the Kootenay School of the Arts, in Nelson BC. There was a year
in Halifax at NSCAD, and in 2004, I staked claim in Powell River,
historical mill town on BC's Sunshine Coast.
My paintings have dealt with the world of the industrial borrowing
colour from the natural world. It has been an examination of space
and place, and what the shapes we leave behind will say about us.
Lately, nature has crept into the narrative of my landscapes. Structures
are overtaken by trees and rare birds watch traffic.
Inspiration in Powell River comes in the form of the ocean and forest
landscapes, local and world events, radio, music and music making.
My painting practice is "intuitive" - paintings have no set design,
instead I take my cues from the first random strokes, washes and
collage items.
My paintings can now be found for sale in Kelowna, Winnipeg, Edmonton,
Sidney, Whitehorse and Kaslo, and is collected throughout Canada
and internationally. Visit www.meghanhildebrand.com for more information.
"Manitou"
May 3rd to May 15th
Learning Tools & Fun Riddles for Identifying & Enjoying the Inhabitants
of our Spirit Cultures.
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I loved all games SOLD
Oil, Collage and Acrylic on Panel
31 x 32 inches
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Another Pass
Oil, Collage and Acrylic on Panel
31 x 32 inches
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Overlooking Elderberry
Oil, Collage and Acrylic on Panel
31 x 32 inches
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Simply No
Oil, Collage and Acrylic on Panel
31 x 32 inches
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Melisma
Oil, Collage and Acrylic on Panel
31 x 32 inches
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RSVP
Oil and Acrylic on Panel
48 x 24 inches
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Cluegivers
Oil and Acrylic on Panel
27 x 14 inches
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Heat Wave Negotiations
Oil and Acrylic on Panel
41 x 27 inches |
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Rapacious Royals I
Oil, Collage and Acrylic on Panel
32 x 16 inches
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Rapacious Royals
II
Oil, Collage and Acrylic on Panel
32 x 16 inches |
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Go Leaves I
Oil, Collage and Acrylic on Panel
36 x 12 inches
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Go Leaves II
Oil, Collage and Acrylic on Panel
36 x 12 inches |
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Fool's Gold
Oil and Acrylic on Panel
36 x 36 inches
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Playground for the Unwilling
Oil and Acrylic on Panel
36 x 36 inches
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The Room Outside
Oil and Acrylic on Panel
36 x 36 inches
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Charm Management
Oil, Charcoal and Acrylic on Panel
36 x 36 inches
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Disembark
Oil, Charcoal and Acrylic on Panel
36 x 36 inches
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My motivation to create this body of work, in part, is an interest
in what defines us as human, what shapes we will leave behind, and
what those shapes will say about us. I find the industrial landscape,
in contrast with the natural world, a striking image in life that
provides visual tension as a painting subject, while presenting
many issues. How have we treated our planet? What are we leaving
for future generations? How do our actions and choices affect others
around the world? These are the explorations that motivate me in
my work.
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Dashboard Epiphany
Oil, Charcoal and Acrylic on Panel
24 x 48 inches
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A Treasure Beyond
Oil, Charcoal and Acrylic on Panel
30 x 26 inches
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Evergreen is Back
Oil, Charcoal and Acrylic on Panel
30 x 48 inches
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Thunder Felt
Oil, Charcoal and Acrylic on Panel
20 x 16 inches
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Night Deposit
Oil, Charcoal and Acrylic on Panel
24 x 12 inches |
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Tactical Compromise
Oil, Charcoal and Acrylic on Panel
20 x 16 inches
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Provocative Distance
Oil, Charcoal and Acrylic on Panel
36 x 18 inches |
Mega-Subgropolis
"Mega - Subgropolis" is an invented word, 'Mega' meaning huge, endowed
with commercial strength, (and Meghan), while 'Subgropolis' could
be an underground metropolis; the bustling, mechanical world that
lives beneath us.
This landscape is modeled after the real thing deriving inspiration
from the constantly accelerating urban machine, fed with natural
resources and fueled by greed, that chugs, radiates, and pollutes
as it lays out its complex, all encompassing pattern of earth, machine
and sky. The pieces that lead into the subgropolis are, in a developmental
sense, the work that has led to the creation of such a series. In
another sense this progression symbolizes the grand passage of time,
the evolution of geology that has become the Mega-Subgropolis.
Artist Statement
Upon examination of the need in art to strive for profound declarations,
or biting current or historical context, I have found the struggle
altogether unnecessary. We are constantly imposed upon by information:
shopping for groceries, studying store flyers, hearing the latest
on biotechnology, driving through heavy traffic and another new
suburb and the smelter-on-the-lake, or appreciating the splendour
my mountain surroundings.
This blaring cacophony of data is driving me to accept it; to reject
originality and true richness, to shop constantly and to accept
decisions made on my behalf. Instead of joining it, my decision
is to gently mock it, by combining with it an element that is inherently
splendid, and can not be commercialized or streamlined. Colour,
pure colour that remains genuine whether it's nostalgic mint green
auto paint, the green-gold tips of moss or the steaming mustard-yellow
of a sulphur sludge pool.
Link to Meghan Hildebrand's page of sold paintings HERE
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