artist

champs-de-tournesols

 

 

 

 

 

 

Artist’s Statement
Biography
Curriculum Vitae
Working Methods

 

 

 

Artist’s Statement

The most important aspect of painting, for me, is the paint itself, and the way it is applied to the two-dimensional picture plane. Working from life, every brushstroke and knife-mark I make must be fresh, honest and alive, as this is the way I connect with the essence of my subject. I achieve this by following the painters’ mantra: “Shapes, not Things”, and painting rapidly, thus capitalising on the slow drying-time of oils, my medium of choice.

From my former career as a goldsmith, I liken working with oils to working with high-karat gold; while other media are as lovely as silver, oils, like gold, are unique in their generous, forgiving characteristics, and their seductive malleability.

 

Biography

R.M. Dupuy, AFCA, was born in 1950, in Southampton, England, and emigrated to British Columbia on Canada’s west coast in 1957. A move to Salt Spring Island in 1973 followed, where the artist has lived since, with several years spend travelling and working in France.

Path to the Scetching Spot - R.M. Dupuy

In 1988, Dupuy began to study painting with B. L. Woodward, from whom a basic knowledge of materials and methods was learned. Since this beginning, she has been basically self-taught, attending occasional workshops, regular life-drawing and portrait-painting sessions, and studying the great paintings of the past and present.

Winner of several awards, and with work in numerous private and corporate collections in Europe and North America, Dupuy is a full-time painter and Signature member of the Federation of Canadian Artists. Her work is currently represented on Salt Spring Island by Gallery Eight, and, by appointment, at Mt. Tuam Studio, by Federation Gallery, Granville Island, Vancouver, BC, and the Art Gallery of Greater Victoria, in their Art Rental and Sales Programme. Click here to view the on-line portfolio.

Rosamonde offers private lessons in her Mt. Tuam Studio, which is located in an idyllic setting, next to a park and an ecological reserve, on the south end of Salt Spring Island (one of the Gulf Islands in the Pacific Ocean, off the south-west coast of British Columbia). Please contact the artist for more information.

Looking for a place to stay on salt Spring? Visit this site for a range of great options:
www.saltspring-accommodations.com

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Curriculum Vitae

Education

1990 – present Self-taught
1988 – 1989 Private lessons with B.L. Woodward

Selected Solo Exhibitions

2013 Elemental – Gallery Eight, Salt Spring Island, BC
2010 Island Landscapes – ArtSpring, Salt Spring Island, B.C.
2008 Portraits of Islanders, drawings and oils – ArtSpring, Salt Spring Island, BC
2004 Twenty-one Recent Works – Ganges, BC
1990 Pegasus Gallery – Salt Spring Island, BC

Alba Spina - R.M.Dupuy

Selected Group Exhibitions

2010 – 2013 New Eight – Gallery 8, Salt Spring Island, B.C.
2009 Small Works Show & Sale – Art Gallery of Greater Victoria, Victoria, B.C.
2008 Semi-Abstract – Federation Gallery, Vancouver, BC
2007 Eye for Colour – ArtSpring Gallery, Salt Spring Island, BC
2006 e-motion Exhibition – ArtSpring Gallery, Salt Spring Island, BC
2005 Chapters Only Juried Show – Federation Gallery
Still Life Juried Show – Federation Gallery, Vancouver, BC
2004 Images of Western Canada – Federation Gallery, Vancouver, BC
Parallel to B. – ArtSpring; Salt Spring Island, BC
Continuum Show – ArtSpring; Salt Spring Island BC
2003 Fine Arts ‘03 – Sooke, BC
Alliance of Salt Spring Artists Show – Salt Spring Island, BC
2002 Fine Arts ‘02 – Sooke, BC
1997 Alliance Show – Salt Spring Island, BC
Eros ‘97 – Salt Spring Island, BC
1996 Four Artists Show – Salt Spring Island, BC
Fine Arts ‘96 – Sooke, BC
1995 Fine Arts ‘95 – Sooke, BC
Look ‘95 – Victoria, BC
1991 Fine Arts ‘91 – Sooke, BC
Peninsula Studio Show – Saanich, BC
Super Showcase ‘91 – Salt Spring Island, BC
Look ‘91 – Regional Show, Victoria, BC
1990 Images & Objects – Provincial Exhibition, Victoria, BC
Showcase ‘90 – Salt Spring Island, BC

Close Call - R.M. Dupuy

Awards

2005 Tinyan Chan, SFCA Award
Award of Excellence, Still Life Juried Show, Federation of Canadian Artists
2004 Award of Excellence, Images of Western Canada, Federation of Canadian Artists
1997 Jurors’ Choice, Sooke Fine Arts ‘97 – Sooke, BC
1996 Jurors’ Choice, Sooke Fine Arts ‘96 – Sooke, BC
1991 Jurors’ Choice, Super Showcase – Salt Spring Island, BC
Award, Look ‘91 – Victoria, BC
1990 Jurors’ First Choice, Showcase ‘90 – Salt Spring Island, BC

Donations of Work

2010 Cystic Fibrosis Foundation Fundraiser
2008 Federation of Canadian Artists
2004 Salt Spring Conservancy
2001 Salt Spring Conservancy
1997 Waterbird Watch Collective – Salt Spring Island, BC
1996 Core Inn Youth Project – Salt Spring Island, BC
1995 Core Inn Youth Project – Salt Spring Island, BC
1994 ArtSpring Fundraiser, Centre for the Arts – Salt Spring Island, BC
1991 ArtSpring Art Auction – Salt Spring Island, BC
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Working Methods

To ensure the integrity and longevity of my work, I use only professional materials and methods, and prepare my own canvas and birch panel supports, as I find they are more responsive than manufactured ones. They are sized or sealed, then primed with two coats of gesso, providing an archivally sound support, with a nice “tooth” to the working surface.

Lilas IV - R.M. Dupuy

Once dry, these are thinly toned with a small amount of pigment and Gamblin’s “Gamsol”. This tone, or imprimatura, is usually a bright red-orange or yellow-ochre for landscapes, and for portraits, a warm mid-tone gray. Glimpses of this coloured ground, as well as of each succeeding step, are left untouched. This gives a fresh, lively quality to the finished work.

Either painting from life, or in my studio from plein air sketches, I now lightly block in the composition with gestural lines and value-masses, then, setting out a limited palette with a generous amount of paint, I begin to work rapidly over the whole surface, focusing on the essentials, leaving details for later.

I never over-mix my paints, as this compounding of the pigments muddies them, causing them to loose their pure hues. Rather, they are very lightly mixed on the palette as I pick them up with my brush or painting knife, then lightly again on my support as I work, allowing the colours to mix mainly “in the eye” of the viewer.

To my mind, viewing art is an active, rather than a passive process. I don’t spell everything out for the viewer; they, also, need to make an effort, to be involved.

It is essential to my style that the work is painted “alla prima”, or “at the first stroke”, and completed wet-in-wet within hours or days. (Plus the 18 years it took me to learn how to paint like this!)

A great source of high-quality professional oil painting materials, from a North American company concerned with safeguarding artists’ health and the environment. Excellent and friendly advice on-line or by phone: www.gamblincolors.com

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