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visual Prin tin akers Advance and Experiment in Unique Graduate Program by Wayne Easicott When you ihink of prinUnaking at Capilano College, do you imaginefirst-and secondyear an students working industriously at projects while a knowledgeable instructor looks on? If so, you've conjured up only a part of the printmaking experience at Cap. Not everyone knows that Capilano College, which offers a large number of one- and two-year undergraduate programs, also runs a selection of graduate-level programs. They feature intensified learning experiences for people who have already established themselves in their field. One such program is the Art Institute. Now in its 1 1 Mh year, this unique program offers advanced studios to artists who have several years experience and/or a Bachelor of Fine Arts degree (or the equivalent). The printmaking area is open not only to practising printmakers, but also painters, sculptors, photographers and others with suitable artistic backgrounds. Art Institute membersreapthe benefits of studios, where they can experiment and advance in their work, and of specialized faculty. The courses take an open approach, with a collaborative and may include critiques, discussions of works-in-progress or exposure to new materials. This mix of aesthetics and processes has encouraged members to develop their individuality. member won a place in the Photographers Forum of Santa Barbara, California, a competition with over 40,000 entries: and several members have been selected for juried international exhibitions in Spain, Slovenia and Japan. Most Institute members stay at the college a year or so and then go on to teach or travel to international studios. This adds (o the expanding network of artists in the I painted the next 25 cards while on sabbatical in the U.S. The change of environment and consciousness stimulated my creative processes as well as my philosophical approach I found my colours in the Southwestern hues of New Mexico; Arizona gave me a sense of simplicity; Southern California's overabundant population made me question humanity'* plight; and the Hawaiian Islands got me in ' touch with the Aloha's spirit of love and sharing. By the time I hit the 40th card. I realized I was barely halfway through this mammoth undertaking! This was proving to be a veritable exercise in stamina-building, but when 1 began to despair, all I had to do was look at how far I had come. The cards bad indeed begun to take shape, and each was sufficiently different from the other. Some kind of order was emerging, one that matched my original intention ofreinterpretingthe The Institute's artistic energy also filters down to thefirst-and second-year students. From lime to time. Institute members give talks on their work, aesthetics or philosophy or demonstrate some new technique. This generates a tremendous response from the undergraduates. For the undergrads. it is like having 10 guest artists all thetime.In return, the Institute members get to try out their ideas in a formal teaching situation and absorb the undergrads' excitement of discovery. Undergraduatc-lcvcl students and An Institute members arc having a joint exhibit at the Seymour An Gallery. The show runs until July 4th. Wayne is the head of the Printmaking Department at Capilano College. He has been exhibiting his work internationally since ¡971. I had wanted to update the tarot deck, because I felt that its bleakness (the tarot was a product of the Dark Ages) did not reflect contemporary consciousness. Holistic approaches and positive thinking are. to me. more characteristic of what the 21st century will be like. The cards speak of the new age where humanity finds peace through simplicity. The style is appropriately primitive and child-like, wilh simple concepts and sometimes comic themes. Learning to Paint at 38 by Dickie Motherwell It all started in January of 1991, when I decided to learn how to paint at theripeold age of 38. I had studied voice for many years and after all was said and done, felt that I had spontaneity can be lost when so much energy is directed towards technique and form as opposed to the free flow of musicality and experimentation. I decided to approach art differently, by leaching Institute members have come from as near as the Emily Can- College of An and Design. UBC and Queen's University, and as far away as Peru and Japan. The mix of cultures, ideas and philosophies has engendered a network that aids the Institute in exhibiting members' work. There are two exhibitions currently travelling through several universities in Western Canada and Japan. Also, the Institute now has a show on at the Canadian Consul in Nagoya, Japan. Pern recently hosted an exhibition called "Made in Canada." This solo show by a past member of the Art Institute was a homage to Canada and its art. I've found I am most productive when focussed on a goal, so I decided to undertake a concrete project: painting a deck of tarot cards. The deck would serve as die focus, and the experience of painting would be the teacher. For the first 25 cards, I was faced wilh the simple task of developing dexterity with a paintbrush. My intuitive sense around colour, shape, dimension gradually opened up. As there were no inhibitions wilhin the flow of expression. 1 allowed myself to go with whatever came through. It was magic! I found that I was painting from my heart. I did complete the deck in the end. but there is still quite a long road ahead, as I have yet to complete the book which will discuss the cards and their meanings. Then my energy will be spent on attempting to have the book published. In the meantime, however, I welcome one and all to come and share my adventure of learning how to painl. The Park Royal South Mall will be displaying these cards July 5-11.