C l i v e P o w s e y
I was born in Ashford, Kent, U.K., 1958, and trained in drawing, painting and printmaking in Fine Arts at The Ontario College of Art, spending the fourth and final year in an off-campus program in Florence, Italy.
I exhibited regularly in public and commercial galleries beginning in 1981. Group exhibitions included International Waters (1991) with members of the Canadian Society of Painters in Watercolour, the American Watercolour Society, and The Royal Watercolour Society. The show travelled to Toronto, New York and London. My watercolours won awards, including the D.L. Stevenson Award for Excellence (2009) at the CSPWC annual Open Waters exhibition, and Best Watercolour (1999) at the Toronto Outdoor Art Exhibition.
I worked in animated film and television for large companies such as Nelvana Ltd. and Walt Disney Animation Canada and also freelance for small studios such as Chuck Gammage Animation, The Animation House, and Red Rover Studios.
In 2014 I made printmaking my primary interest and in 2016 did my last animation job.
I have often worked part time as an art instructor for courses and workshops. I taught courses in drawing and painting at the Ontario College of Art (1988-92), and background painting and design at Max the Mutt Animation School (1999-2003) in Toronto. In recent years I taught courses in drawing and rendering and design fundamentals in the Metal Jewelry Design Certificate Program at North Island College in Campbell River BC and various courses in painting at Lupine Studio in Courtenay BC.
I attended art college at a time when deciding to become a visual artist was a path less traveled and required irrational passion, perversity, stupidity, and a recklessness for avoiding more favorable outcomes in life. I nevertheless received from an art college 'training' the significant first, of many, installments of what turned out to be a commodity currency of applicable skills which seemed distinct from the fiat currency of credentials that an 'education' might have provided. Art college felt comfortable with my working class background and I had the good fortune to enjoy a vocational life as an artist for several decades before technology, ideology and institutional academia irrevocably altered the visual arts. During my art training the describing of form through drawing was held in high esteem and still a lingua franca for the visual arts. Vast tracts of a student's time at school were devoted to the task of becoming a delineators of rare skill. I still hold the ability to draw as a paramount skill for the fullest comprehension of the visual world, for connecting the eye, the mind and the hand, for discovering and storing inventories of visual templates that can be conjured and recognized during image making.
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