hannahreimartistca: Square Life

hannahreimartistca: Square Life: Acrylic/Mixed Media On Canvas 30"x30"- Ready to hang wired- unframed            $1025 Canadian. Shipping and taxes extra. Co...

Square Life

Acrylic/Mixed MediaOn Canvas

30"x30"- Ready to hang wired- unframed

           $1025 Canadian. Shipping and taxes extra. Contact : hannah.reim@ hotmail.com

No words, just glorious colour and texture to grace your post- contemporary style.

hannahreimartistca: Marks, Water and Mystery

hannahreimartistca: Marks, Water and Mystery: LIQUID LADDER- Watercolour on paper by Hannah Reim-Artist There are times that inspiration for a painting is buried so deeply in the unconscious

Marks, Water and Mystery

LIQUID LADDER- Watercolour on paper by Hannah Reim-Artist

There are times that inspiration for a painting is buried  deeply in the unconscious creative mind. I look at the sheet of paper before me. Nothing. I wait. And wait.

Then I release the images floating around and decide to free the beast. My hands have a life of their own and I throw down. Literally it is a battle royale  between the mind and the spirit. And voila. The brush moves itself in the most mysterious directions without any conscious  input. A construct of pure movement and a tango  between the hands and the brush. And the paper. And the paint. And water flowing, flying, splashing the walls. You are jealous, right? 

My ability to zone out intellectually is my gift to myself. And sometimes to you.

The resulting image is a mystery, a collision. And ultimately, the exact feeling I was looking for all along.

hannahreimartistca: Ramblings from a SketchbookAfter posting blog ent...

hannahreimartistca: Ramblings from a Sketchbook
After posting blog ent...: Ramblings from a Sketchbook After posting blog entries with the "finished" product, I thought it was a good opportunity to...

Ramblings from a Sketchbook

Ramblings from a Sketchbook

After posting blog entries with the "finished" product, I thought it was a good opportunity to go back in time. I am not a fan of process as I have mentioned on many occasions. Rarely, do I lose myself in the actual task at hand. Yes, that's right. My art is a task, and I am a reluctant taskmaster. In other words... fearful of the final outcome of my hand and heart.

When I thought about the actual pleasure derived from decades of producing art, I reverted to looking through my many sketchbooks. A tribute to the real freedom and outpouring of the artistic construct -without hesitation. Without thought of opinion, judgement and critique of  anyone other than myself (and sometimes my art teacher).

Shockingly good, I thought after turning pages. The earlier the sketch, the more I liked the piece. Does that mean that the less trepidation I was feeling about laying down an image, the better the work? All the knowledge I have gained has coloured (excuse me) my ability to really paint or pot with reckless abandon. Is that a good thing? Who knows. Early work is rarely superior to a mature eye and hand. But tell me. Are not these sketches powerful, emotive and meaningful?

But it's too late. You can't go home. Or back to your initial instinct in art. My head is filled with unabashed fodder- educated and cemented in years of lectures and published how to's. The drive to be free is still there but tempered somewhat. Art education is critical- I always say that deconstruction can only be achieved when the parameters of formality of technique are firmly in place.

Happily, my sketchbooks make me feel successful, talented and confident- momentarily,but I can always go there with these overstuffed, private and dog-eared journals of my travels in art.

Paint What You Know

Watercoloured Water- Watercolour on Paper - Unframed. 22.5"x 15"


When I first began my writing career, the cliche of "write what you know" was my mantra.
So if the subject was foreign to me, I did as much reading and research as the subject dictated. I worked for a financial newspaper initially so the subject was complicated and diverse and not fascinating. But I understood that I could only convey to the reader the information which was integrated in my body of general knowledge.

Needless to say,I became conversant about RRSPs and Stocks- neither of which I had at that time.

Clearly, that has translated into my subject matter when I take out my paper and watercolour paints. I only paint what I understand, what I have touched, smelled, tasted and viewed. Unless I am deconstructing an image, the core of my subject has to feel familiar and comfortable. Not adventurous. I have never painted an airplane, a boat, or a location which I have not seen in person. Is this common to painters? Of course, landscape painters who create en plein air know this precept all too well. The eyes have it. Right?

This painting is the result of a photo I snapped on the crater-filled,un-beach-like shore of Barbados. And yes, it is water and rocks; two aspects of nature which I have inhaled through all my years. I know this scene, visually and in my gut. And now you know it too.