WINTER IN DORSET: Elizabeth’s speech delivered at her art exhibition on March 18, 2023 at her art gallery in Dorset.

WELCOME. 

When I introduce myself, I say, “Hello, I am Elizabeth Johnson from Dorset.”  Well, I wasn’t born here, but I have lived here since 1981 when my brand new husband brought me to his family cottage on Shoe Lake.  It was  a mouse-infested, uninsulated cabin,   no winter neighbours within 3 miles and  no winter plumbing.  This was to be our first home together.  He assured me that it was  the most wonderful place in the world.   What did I think?  

43 years later, Dorset is as much a part of me as my own name. “Do you know where Dorset is?” I ask after my introduction.  Surprisingly. often, people do –   like the woman from Vancouver who was washing her hands in the sink beside me in the public bathroom in Niagara on the Lake.  Or the man from Burlington sitting next to me at Toronto’s Koerner Hall.  With emotion, they share fond memories of Dorset -.  A relative’s summer cottage on Lake of Bays, a kid’s camp on Kawagama, the famous Robinson’s General Store, the lookout tower.  Once, I was even told that there is a really good pizzeria in Dorset.  Did I know it?

This quaint, historic village on the fringes of Algonquin Park is well-known and loved in the summer.

But the Dorset of wintertime is not. 

Winter in Dorset needed to be painted and celebrated.

But there are two other reasons why I felt the need to paint winter in Dorset.

An American company, Strada, that makes a super slick, super expensive, lightweight, portable easel – the envy of all outdoor painters – launched a global challenge to do a painting a day for the month of January. The names of those who complete the challenge are put into a draw.   Five lucky painters get a free easel. 

On January 1, I  painted the first scene only 10ft away from my studio door on Shoe Lake.  On January 2, I moved further 1 km away, to paint the Shoe Lake Road.  Day 3 found me right in the village itself painting on a bigger canvas.  I hung around town for every day till Day 12, then started branching out.  To Kawagama Lake, Paint Lake, Rabbit’s Bay. Frost Centre, Lake St Nora.   On Day 13, I woke up sick.  I set my easel and painted the view from my bathroom window.

While January was relatively mild, it snowed most days.  Even just a bit of snow can turn oil paint into tiny ball bearings that fall off the canvas. I looked for overhangs and dense evergreens, wide enough to shelter me.  I painted under the eaves at the Haliburton Trails office, under the roof of the Navigation Company, under the overhang outside Caldwell Banker”s office, inside the little gazebo in front of Johnson’s. 

I could stand the cold for 3 hour stretches.  Then I would warm up in the car, sip my tea, and go out for another hour or two.  I really struggled with cold feet.  I tried all different things – wool socks, foot warmers,  sheepskin insoles, my husband’s  big boots, stuffed.  Nothing really worked.  (I am open to more suggestions.)

At the end of the day 8, I ran into Robinson’s to get permission to paint the village from Robinson’s roof.  One hour later, Robinson’s General Store closed its doors. 

That is when painting Dorset became a serious mission for me.  Over the years, Dorset has suffered from so much loss:  the lands and mines office, the school, the Frost Centre, the community centre, our churches and now, the hub of our community – Robinson’s.  I placed myself on the street in the middle of the town to paint it from every possible angle for everyone to see that how beautiful Dorset is. – even the important places that are not generally considered typical landscapes painting material   – the gas station, the lumber yard, the post office. 

Something miraculous happened.  People stopped to talk and thank me.  June brought me hot chocolate.  Vanessa invited me in for a hot lunch.  A woman I didn’t know invited me in to warm up.  It generated a sense of community to see a painter in the street. Every day, I posted the painting of the day on my Facebook and instagram. Cottagers sent me messages thanking me for connecting them to their beloved town.  Several recalled the huge round of cheddar cheese at Robinson’s, the high school trips to the Frost Centre.  Others sent love messages to Lance who I painted into the garage scene.  Some even said the paintings made them cry from the memories they evoked – others expressed curiosity to see Dorset in the wintertime.  One viewer couldn’t wait to open up her Instagram page in the morning to see what I had painted the day before.  The response was overwhelming.  It was those comments that gave me determination and vision.  Without them, I don’t know if I could have finished the project on my own steam.  So thank you.   

Despite the frozen feet, I love painting winter.  Now, I am going to give you a little art lesson.  The first thing I do when I am in front of a landscape is squint in order to to break down the scene into big, simple shapes and get rid of all detail.  Then I break down those blocky shapes into chunks of light, medium and  dark. I rough them in with a big bristle brush and rag in one colour, usually a warm earth colour.  A well composed painting has an interesting arrangement of darks, mediums and lights.  This is my map where I have worked out the design.  Then, I do the painting on top of that monochromatic layer.  My map gives me direction and makes me confident to be freer with colour and brushstroke.   Winter is so particularly wonderful to paint, because the snow eliminates a lot of unnecessary detail for me and it gives me a readymade, clean, light shape and easily defined mid-tone shadows and dark contrasts.  In fact, even if you were to turn a painting upside down, it still works from a design perspective. It still can strike a resonate chord in the viewer, without having to know what it is.

That is why art in the community is so important.  It has the power to resonate, to tell stories, to convey history, to connect people to a place, to delight, to make people think and see their ordinary surroundings in a new  light.

My goal is to help Dorset heal from the losses to give it hope for the future.  It might be one tiny lakeside, neglected, suffering village,  caught in the middle of two townships.  But I say,  stand up, Ontario, and take notice of the resilience, the beauty, the potential of Dorset, and the magic of winter in Dorset. 

Give me Dorset any day:   

the silence, the profusion of stars in the night sky, the haunting howl of wolves, moose tracks in my lane, the lazy smoke spirals from chimneys, the crunch of clean snow,   Shall I go on?  sunlit frozen lakes and swamps to explore,  glittering iced branches,  the invigorating nip of the clean air, What about history? the old white clapboard buildings with green roofs and trim, the ruins of a once vibrant forest industry, the home of members of the Group of Seven, the  lakes that  David Thompson canoed, For me, Dorset is  my home where Brad and I raised our 4 children and established our businesses, Dorset is my favourite place to paint. 

It is a privilege to introduce myself by saying, “Hello, I am Elizabeth Johnson from Dorset,

Thank you for coming to celebrate Dorset with me today. Please enjoy the exhibition.  This is the only time the collection will be seen together intact.  Please feel free to eat, visit, shop and reminisce.    

Paintings or Pizza?

Earlier this week, I popped into Partner’s Hall in Huntsville just to check on my solo art show Windows on the World and, fingers crossed, to see if, just maybe, there was another sale.

When I slipped into the exhibition hall, there was an elderly couple on the far side of room, carefully examining my large oil painting of Rooftops in St. John’s, NFLD.   As all the lighting is turned on the paintings, it’s hard to see anything or anyone else clearly. The two silhouettes were deep in a low-voiced discussion that I longed to overhear, but couldn’t.   I banged around self-consciously at the display table that holds my business cards and bio,  trying to look important.

It worked. The couple stopped talking, and said hello, then remarked that I looked like someone who was in charge of the show. Perfect! “Well, actually, (I hesitated modestly for a second to increase the drama), I am the artist. “

 

The effect it produced was very heady stuff: much praise, many compliments, lots of superlatives.  “Where are you from?” they enquired.   “Dorset,” I replied. “Do you know Dorset?” Yes, they had visited Dorset several years ago.   “There was a wonderful wood-fired pizzeria on highway #35 that we went to. Is it still there?” “Yes!”, I answered,  “In fact (dramatic pause again), I own that pizzeria.”

 

The leap from professional painter to owner of a pizza joint was too big a stretch to believe. I could see it in their eyes.   Had I lied to them about being the artist or about owning a pizzeria, or maybe both?  While they were sizing me up, I launched in to defend my outrageous claims. “No, really, I do own Pizza on Earth and run it with my children in the summer. It’s just a seasonal business. I paint the rest of the year. ”    Of course, I added many more details to authenticate myself as both.

That, too, worked and they promised to come to Dorset in the summer to visit the pizzeria. Or, was it a gallery?  It’s both   – your one-stop shopping!  Food for your soul and food for your body.  Is it really that strange a connection?

https://www.forbes.com/sites/ruchikatulshyan/2016/03/31/how-to-have-two-successful-careers-at-the-same-time/#b6d9225382d6

 

 

A Good Cure for Restlessness

It always happens every year, that irksome restlessness that comes after a period of too much stimulation. It seems to take me forever to calm down after all the excitement of Christmas when the house bulged with guests and rocked with music and merriment, and our bellies protruded with too much gourmet food.

The inner turmoil goes something like this.  “I really need to thoroughly clean the house now that everyone has left.  I’ve got to get working on my spring show of 101 small watercolours.  Maybe I should participate in the summer Muskoka Arts and Crafts show with my cards, after all.  That means painting at least six cards a days.  I’d like to start blogging again.  And, oh, Sarah left her cello here.  Should I take cello lessons?”

So, I end up doing nothing.  I am suspended like a hummingbird before a feeder, wildly whirling my wings but going nowhere, then, erratically sipping at this feeder and dashing off to that flower.  No matter how many firm talks I give myself about focus and self-discipline, and no matter how many noble quotes I read about success, I just can’t seem to get very far on any project.

Matters came to a climax this afternoon when I found myself rarely alone for a few hours on a Sunday. It was the perfect time to start blogging again.  A full pot of hot rooibos tea before me, and a blank Microsoft page open, I waited eagerly for the gates to creativity to swing open.   But, they didn’t.   I hadn’t a clue what to write about, just like I haven’t had a clue, since Christmas, what to paint on the enormous stack of blank canvasses in the corner of my studio.  With each passing minute, the anxiety increased.   It was time to take a walk.

My quiet country road weaves through the forest and traces the rugged contours of the Algonquin Highlands.   I couldn’t help noticing that a raccoon, a grouse, a mouse and a fox had, each, gone for a walk not long before me. Why, even a car had made a new tread pattern in the snow part way up the road before the driver lost his nerve and turned around. The top, wispy branches of the naked maples were gently sweeping the clouds to the side so I could enjoy glimpses of the startling blue sky.   A playful breeze pinched my cheeks and rattled the dry beech leaves clustered tenuously on saplings.  Nervous nuthatches fluttered noiselessly in the branches while a hairy woodpecker hammered relentlessly at a tree trunk until it offered up a bug.

I noticed, when I sat down again to my cold tea and computer, that the gates to creativity had mysteriously opened in my absence.  Ideas and words flowed easily and I was able to write.

For me, a brisk walk in nature is the best cure for just about anything.

Let it Snow!

The world outside my studio today is a grey, cast-iron caldron of popping popcorn and I am peeking over the rim watching the fluffy stuff jump, swirl and pile up and up.

I wish those white blobs were edible. My lunch date at my friend’s house was cancelled due to this big snowfall and I’m starving. Like her, most of us in Muskoka live isolated at the end of windy, hilly, back roads that are not plowed very often. When it snows like this, we just learn to change plans quickly and sit tight until we can budge.

Thankfully, I don’t have to budge for another hour. Tom Allan is playing Vivaldi and I am reminded just how well Vivaldi and snowy days go together. The two seem to be mimicking each other with their pristine, joyful dances.

It is a great joy just to see the snow finally return to Dorset. It certainly took its time this year and I was beginning to worry that global warming was going to deprive me of one of my favourite painting subjects. I love it when the winter snow dresses the trees like royalty in stately mantles of ermine and lays down a thick spongy carpet over the impassible, debris-strewn forest floor. Snow transforms it into a smooth, white desert that I can stride easily across on racket-shaped snowshoes into the remotest of places.

Winter Garb  by Elizabeth Johnson  24×20″ acrylic on canvas

As I watch the first big snow come down in Dorset, I think of A. Y. Jackson’s First Snow Algoma, of A. J. Casson’s big blobs in First Snow, Grenadier Pond  and of Kathleen Moir Morris’ snow-laden Montreal scenes. Many Canadian painters have even managed to sneak those beautiful snow shapes into their spring and summer paintings. Whether they were put there subconsciously or intentionally, they are there.  Just have a look at Lauren Harris’ clouds and Arthur Lismer’s blossoms in Georgian Bay, Spring. What about Tom Thompson’s Lily Pads? I bet those painters were longing for the snow to come back soon after the spring melt.

A gallery owner once advised me not to paint winter scenes. “They don’t sell,”  he said.  He might have just as well told me not to be Canadian. Snow is the trademark of so many Canadian painters.

My hour is up. I must go out into the popping, dancing whiteness and find my son for his violin lesson. He will be playing a Vivaldi concerto for his teacher this afternoon.

The Art Room

 The Art Room is an unexpected space, carved out of a back corner in the Portico timber framing shop.   You can brave the carpenters, the sawdust and the shrill screech of the shop machines to get to it, but I highly recommend you go around and approach it from outside, from the garden.   Pick up the old cobblestone and brick path that runs between the wood-fired pizzeria on your right, and the clay pot men standing guard on your left.   It will lead you right up to a cheerful, bright red shop with white wooden letters that spell out THE ART ROOM.   Please come in.

Welcome to my Dorset (Ontario) studio and art gallery.  It’s an inviting place with a pine floor and warm white walls above pine wainscoting.  A bulging antique wardrobe hides unsuccessfully in one corner, a tall splattered easel and table possessively hog the corner next to the windows, while an old Duncan Fife sags under stacks of books, flowers, cards and a full pot of tea, right smack in the middle of the room.  That’s about it.  Oh, there’s Grandma’s creaky settee, and matching chair, too.  Please, won’t you sit down?  What do you take in your tea?

It is in this simple, 18 x 14 ft rectangle that you will likely find me, these days, behind my easel.  I am a painter: middle-aged, petite with thick glasses and schizophrenic hair.  For me, the light-filled Art Room is the perfect place to work during the winter.  North-facing windows look out onto my garden, now under snow, and beyond to the community garden boxes, and beyond that, to the majestic forest. (Please ignore the ugly storage units and the chain-link fence that are also there.)  Crowning the visual feast looms old Tower Hill with its historic Lookout Tower perched on top like a maraschino cherry.

Every morning, before I paint, I inhale the beautiful scene outside my studio windows.  The French Impressionist painter, Monet, painted the hourly changes of light on the cathedral facade in Rouen.  Even those famous paintings can’t compare to the nuances of light and the staggering changes of mood that sweep across Tower Hill from day to day, hour to hour.

This winter I am devoting my time to painting. The walls of my art room are dancing with the bold, colourful acrylics, oils and monoprints of Muskoka and Haliburton landscapes, Ontario townscapes,  interiors, still-life and a few portraits.  I’m getting ready for your visit this spring or summer.  In the meantime, you can hear about what is going on in The Art Room, through this blog and my website (www.ejohnsonart.com).   I will be posting on my blog once a week on Wednesday mornings.  Tea will be steeping in the pot.  Until then, have a great week, and as my friend Wayne says on his answering machine, “Make it count!”