Statement
Jane Fawkes was born August 24th 1936 at Kingston upon Hull, England. Working in textiles, painting, illustration, print making and installations, she has spent more than four decades making art.
At the age of 21 the artist came to work as an Occupational Therapist in Vancouver, where she met her future husband while skiing, and subsequently settled and raised three boys.
After training for three years as a Textile artist, Fawkes attended Emily Carr College of Art & Design, where she majored in painting. Since graduation the artist has shown extensively in Vancouver and on Vancouver Island.
Now Fawkes lives on Denman Island, where she combines work in her studio with growing vegetables, being a grandmother and enjoying life as part of an island community.
At the age of 21 the artist came to work as an Occupational Therapist in Vancouver, where she met her future husband while skiing, and subsequently settled and raised three boys.
After training for three years as a Textile artist, Fawkes attended Emily Carr College of Art & Design, where she majored in painting. Since graduation the artist has shown extensively in Vancouver and on Vancouver Island.
Now Fawkes lives on Denman Island, where she combines work in her studio with growing vegetables, being a grandmother and enjoying life as part of an island community.
BIOGRAPHY
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EDUCATION
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1991 Bachelor of Fine Arts: Emily Carr College of Art
1981 Diploma with Honours: Emily Carr College of Art 1975 Diploma in Textile Arts: Northwest Handcraft House, Vancouver 1957 Diploma in Occupational Therapy: London, England |
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SOLO EXHIBITIONS
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2017 Denman Island - "Lascaux by Bicycle"
2013 Denman Island - "Mandalas" 2010 Denman Island - "Red Yellow Green" 2008 Denman Island - "Earth, Air, Fire, Water" 2006 Denman Island - "Nut in Space" 2004 Denman Island - "Buddhas and Plankton" 2002 Denman Island - "Undergrowth" 2001 Richmond Art Gallery - Installation 2000 Comox Valley Art Gallery - Installation, "Nature with a Zen Eye" 1998 Denman Island - Installation with Cynthia Minden, "Hidden Agendas" 1995 Denman Island- Installation "Full Circle" 1991 Comox Valley Art Gallery - "Survival in Cloud Cuckoo Land" 1990 West Vancouver Ferry Building - "I Ching Series" 1989 Surrey Art Gallery - Installation - "Beginnings" 1988 Richmond Art Gallery - Installation 1986 Vancouver Arts Council 1985 Hycroft University Womens' Club 1981 Architectural Institute of B.C. 1979 Architectural Institute of B.C. |
Evolution of the journey
For many years I have been conscious of my life as a journey and feel very fortunate that I have always had art to map that process : something that never fails to surprise and delight.
In the fifties, when I enrolled in night classes at the old Vancouver Art school, I felt compelled to paint - still life, landscape, figures, but didn't know how to begin to express the complexties of whatever was inside of me.
I had my epiphany with Jonina Jakobow, while studying for a three year textile diploma at Northwest Handcraft House and learned that, if I worked with my own passion, in a way that was valid for me, without being diverted by other motives, then my true path would evolve.
That journey has led me to many unexpected places - down to the bottom where dragons and wolves lurk, and up to the bright places that have no name.
I used to be dismayed by my need to work in a variety of ways - ("real artists" stick to one style), but now realize that I work in a spiral, with each revolution feeding and expanding from the last to enrich the result.
My future work? I never know. That is where both the fear and excitement lie. I no longer have the dexterity and patience for working with fabric and I like the immediacy of painting. I also enjoy experimenting with print making.
Above all, my art is about play - a dance with shape and colour, which spills over into the rest of my life - painting walls and cupboards in my house, creating a garden, making cards for my family and friends, wrapping a gift or decorating a salad with flowers.
In the fifties, when I enrolled in night classes at the old Vancouver Art school, I felt compelled to paint - still life, landscape, figures, but didn't know how to begin to express the complexties of whatever was inside of me.
I had my epiphany with Jonina Jakobow, while studying for a three year textile diploma at Northwest Handcraft House and learned that, if I worked with my own passion, in a way that was valid for me, without being diverted by other motives, then my true path would evolve.
That journey has led me to many unexpected places - down to the bottom where dragons and wolves lurk, and up to the bright places that have no name.
I used to be dismayed by my need to work in a variety of ways - ("real artists" stick to one style), but now realize that I work in a spiral, with each revolution feeding and expanding from the last to enrich the result.
My future work? I never know. That is where both the fear and excitement lie. I no longer have the dexterity and patience for working with fabric and I like the immediacy of painting. I also enjoy experimenting with print making.
Above all, my art is about play - a dance with shape and colour, which spills over into the rest of my life - painting walls and cupboards in my house, creating a garden, making cards for my family and friends, wrapping a gift or decorating a salad with flowers.
Acknowledgement
The Vancouver art world was small in the 60's & 70's and it now seems astonishing that I had instruction from the following luminaries - Joan Balzar, Iain Baxter, Sam Black, Dennis Burton, Don Jarvis, Jack Shadbolt, Gordon Smith, Alan Wood and Joyce Wieland.
My life of art would not have been possible without the help and support of the following people.
The early encouragement from my mother - herself an artist, all my teachers, particularly Jonina Jakabow at Northwest Handcraft House for her tough vision, Geoff Rees at Emily Carr College of Art for his kindness, Joyce Wieland for showing me the way to be a woman artist in an art world dominated by men and the unwavering support of my family - my sons Simon, Charles and Adam and particularly my husband Patrick, who has always believed in the importance of what I do. Lastly, to all the artists who have gone before, deep felt gratitude.
My life of art would not have been possible without the help and support of the following people.
The early encouragement from my mother - herself an artist, all my teachers, particularly Jonina Jakabow at Northwest Handcraft House for her tough vision, Geoff Rees at Emily Carr College of Art for his kindness, Joyce Wieland for showing me the way to be a woman artist in an art world dominated by men and the unwavering support of my family - my sons Simon, Charles and Adam and particularly my husband Patrick, who has always believed in the importance of what I do. Lastly, to all the artists who have gone before, deep felt gratitude.