Doug Biden painted this chalk pastel during a visit to Taxco, Mexico in 1975. An early work, it shows his classical beginnings in composition and interest in texture. He contrasts the European Baroque architecture of the church with the simple regional construction. There's a clever creation of perspective with the white building in the forefront overlapping the church behind it. A warm sense of the Mexican sunshine is created with earth colours of yellow ochre and red oxide pigments.
Artist Name
Doug Biden
Biography
Doug Biden was born on October 29, 1956. He attended the Vancouver School of Art, earned a master's degree at Concordia University and taught at the Emily Carr Institute of Art and Design, the University of the Fraser Valley, Capilano College and UBC Okanagan. He was a member of the Malaspina Printmakers Society. His work is represented in numerous collections including Vancouver Art Gallery, Art Gallery of Greater Victoria, Burnaby Art Gallery, Surrey Art Gallery and Contemporary Art Gallery, Vancouver. An accomplished and respected printmaker, he exhibited his art nationally and internationally. Biden was diagnosed with pancreatic cancer in 2005 and after a courageous 2 year battle with the disease, died peacefully at his home in Gibsons, BC on March 26, 2007.
Dimensions (HxWxD)
Image size is 19.25x12" on 19.25x12" paper. Image size is 49.5x30 cm.
Framed?
No
Essays
While visceral imagery was a mainstay for printmaker Doug Biden, he was also interested in contemporary issues and the use of political, pop culture and mass media references in his work. His earlier prints and mixed-media works show an interest in process and gestural abstraction. Later works combined appropriated photos and medical illustrations with spontaneous marks and blots of ink and pigment. At times, photo-based images dominated, expressively washed in both brilliant colour and shadowy darkness. Some prints featured images of war or critiqued the cult of celebrity, while others drew attention to the human body (skeletal, muscular and organ systems) and misogyny. He often combined different non-traditional techniques and enjoyed collaborating with other artists.
“I would describe my art making as primal imaging. In my art analogies between the conceptualization of landscape and the human body have emerged as important subjects with parallels in both materials and the way I make art. Primal imaging helps to reinforce the philosophy that all living components are co-dependent. At the same time, they belong to a sacred common ground that is part of a sensual, transitional, larger whole.” “The Hand’s Mind” exh. folder, Simon Fraser Gallery, 1993, “Second Artist’s Statement” by D.B. The CC Art Bank Cat. 1972-92, CCAB, Ott., 1992.
