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Visual arts | by C a r o l e Badgely And Now for Somethir 3 Completely Different The choice of wood as a medium is the result of familiarity with the material and power tools. This familiarity goes back to the summers my brother and I had to help in the renovation of the summer cottage. Every morning until lunchtime we had to work before we could play. This is probably also a partial source of my work ethic that currently has me working fifty hours a week when I'm slacking off. Peter Kiss 2001 Peter Kiss's creative parents always provided him w i t h the opportunity to experience a variety of m e d i u m s w i t h w h i c h to create art. "It w a s like h a v i n g your o w n art school at h o m e t h o u g h only to be d o n e in your spare time. Kind of a reward or dessert." However, this W e s t Coast artist felt that a career involved w i t h the environment a n d fish seemed more appropriate a n d w e n t about earning a degree in zoology. Three years later, after finding t h e job provided fabulous scenery but n o t h i n g else for him, Kiss returned t o university a n d earned a degree in architecture. He w o r k e d at this profession for five years. Then, during a yearlong hiatus w h e n Kiss traveled a n d c o n t e m p l a t e d his future, he f o u n d s o m e t h i n g that really clicked for him - w o o d carving. He carved from m o r n i n g t o late at night a n d soon h a d a b a s e m e n t full o f f i n i s h e d pieces. The opportunity for a n e x h i b i t i o n c a m e in 1 9 9 0 a n d t h e o p e n i n g night s a w three quarters of the pieces sold. His n e w career b e g a n . The m a n y hours he h a d , as a child, p l a y i n g w i t h a g a m e called 'Tinkertoys' w e r e a b o u t t o pay off. Kiss is enigmatic a n d thus adheres t o t h e notion that artists are difficult subjects o n w h i c h to attach a label. Artist Robert G e n n p e n n e d the f o l l o w i n g : "Peter is a funny kind of guy, a jokester, apparently w i t h o u t angst in his attitude, his art a n d his life. But in m a n y of his objects, there is a n underlying seriousness. In other w o r d s , Peter Kiss has t h e ability t o c o m m e n t . A n d in this commentary, as in the actions of a c l o w n , there is often t h e hint of tragedy." W h e n asked w h a t w o u l d Peter Kiss be s h o w i n g at t h e Seymour A r t Gallery, t h e a n s w e r was, " O h , there w i l l be s o m e t w o d i m e n s i o n w o r k s , three d i m e n s i o n a l works, a n d two-and-a-half d i m e n s i o n a l p a i n t i n g s . " Some parts of his paintings are three dimensions hence, two-and-a-half d i m e n s i o n a l . In reply to t h e q u e s t i o n as to those w h o have been a n artistic influence o n his w o r k , Peter says, "I can't say there is anyone in particular w h o has h a d a b i g impact. Rather I guess I'm of t h e eclectic school, t h o u g h I w i l l often be s w a y e d temporarily by o n e image or idea until this t o o is a b s o r b e d a n d m e l d e d into t h e s o u p that is m y m i n d . A l s o required, is a n overactive i m a g i n a t i o n . " Peter tries t o remain open t o all forms of expression by t a k i n g night school courses in different fields. So far some of these have included w e l d i n g , paper casting, felting a n d jewellery courses. Basically, w h a t e v e r m i g h t push his m i n d in another direction. His skill at rock climbing proves invaluable as he currently works o n a c o m m i s s i o n that requires him t o dangle from ropes to assemble the piece. The challenge of creating structural w o r k s reflects his joy of solving problems. There will be a slide/talk presentation offering insights by Peter Kiss as to why he decided he wanted "to eat dessert full time" at the Seymour Art Gallery during the exhibition. Please call the gallery for more information, 924-1378. And Now for Something Completely Different Runs from 24 May to 24 ON THE WINGS OF SLEEP, 6' LONG. June 2001. The opening reception is on Tuesday May 29 from 7 to 9 pm. 6 May | June