Logie is a prolific, talented and professional artist, a signature member of the Federation of Canadian Artists and a founding member of the Canadian Institute of Portrait Artists. Though her subject matter varies widely, she has specialized in portraiture, often by commission, and considers her crowning achievement to be a collection of 31 paintings of aboriginal people entitled Chronicles of Pride.
The Gibson's Public Art Gallery is a little gallery, with less than a year of existence, staffed by volunteers, yet they were not daunted by this huge project. Guest curator Donna Hobbs was eager. Hobbs is new to the coast, about one year; she has minored in art, studied interior design and once ran a business making artistic custom furniture. She met Logie only recently and the two clicked. Hobbs was immediately caught up in the scope of Logie's work, the quality, the diversity and how hungry Logie was to talk about it.
"This show is a natural fit for the Coast," Hobbs says. "An artist of such quality lives here and not everyone has seen her work."
Hobbs helped Logie date and catalogue the work, and then selected the pieces from various stages of her career.
"She's chosen pieces I would never have thought to put in a show," says Logie, including work from her student days in London.
The show of 48 paintings, mostly oil on canvas, depicts a variety of scenes including rainy days spent in the studio, the canyons and scenery of B.C. under the hot Okanagan sun, local scenes, two engaging pictures of children in the choir, gypsy faces and a few of her rich and sensual nudes that capture the beauty of form and light. The paintings should stand alone, says Hobbs, and part of the mandate of the gallery is simply to show the work of local artists for all to enjoy.
One collection that is not for sale individually is the Chronicles of Pride series, portraits of aboriginal people, a project that Logie took on when she became disgusted with how native people were portrayed in textbooks and to the public. She wanted to paint the people as contributors to society, with pride in their faces. She succeeded, and has since been honoured by various aboriginal organizations for her work. Logie would like to keep the collection together and must find a home for it. Small photographic reproductions of this series will be on show at the Gallery.
Like any true artist, Logie is most excited by her latest work, something new and almost abstract. She had a stroke just before Christmas, she explains, with the attendant loss of sensation in her fingers. She can't complete the fine brushwork necessary for portraits, so she's painting big and broad now.
"I always told my students not to paint with just their fingers," she says. "Paint with your whole arm. That's what I'm doing now, broad paintings, and I'm so excited I can't wait to get back to them."
These newer, different pieces will form a series on the spirit of trees -- one of them will be on display at the gallery show and another is at Westwind Gallery.
Logie was born in Ontario and wanted to be a painter from the age of 12. In 1970, she moved to England to study at Sir John Cass College in London where she exhibited extensively. She has shown her work in Canada and other countries over 32 times and often holds an open house in her Hopkins' studio in the summer months. She will be present at the launch of Lifescapes today (July 10, 2004) from 2 to 4 p.m. at the Gibson's Public Art Gallery, 271 Gower Point Road.
What emerges, both in the portraits and in the anecdotal memoirs, is that precious phenomenon, true meeting, the artist bestows her gift -- a capacity to record in paint her experience of a specific human being -- in a form long used in European and Euro-Canadian culture to impute value. Those who have agreed to pose have become active participants in the process. The paintings are lively and colourful, fully accessible to a wide audience. The agenda here is quite outside of contemporary art criticism, and probably should be.
But the book contains more than its visual portraits, and thus provides a series of primary documents of considerable interest, including quotations and descriptions of conversations. Here, the vivid personalities of these accomplished people are documented. The Honourable Len Marchand (Okanagan), for instance, the first Native cabinet minister in Canada's federal government, filled his posing time by lecturing the artist on the subjects of Canadian politics and Louis Riel. For her part, Mildred Gottfriedson (Shuswap), Canadian Mother of the Year for 1964, provides a series of trenchant remarks on the long struggle for the rights of Aboriginal women.
Chronicles of Pride would be an excellent choice for school, church, institutional, and public libraries, both on and off reserves, as a useful educational tool, and as a chronicle of the human spirit.
The video 'Chronicles of Pride," produced and directed by Loretta Todd, highlights five of these subjects in an emphatic presentation of the lives they live.
The video portrays Gloria George, Judge Alfred Scow, Dorothy Francis, Vivian Wilson and the late Blance MacDonald with the honest insight provided by a lot of their own archival footage.
"Everyone was wonderful. They showed their great depth of experience in a dignity of sharing knowledge," said Todd.
Sponsored by the Indian and Northern Affairs Canada and the United Native Nations, the video was conceived to exemplify role models for youth and the general public. With the intention of being used with Logie's book as a resource guide, the set will be made available to friendship centres, libraries and tribal councils. Chronicles of Pride is scheduled to be aired on 'the Knowledge' Network sometime in February, 1991.