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June 1997
vol.II, no.6
The Times Educational News: Canada's Educational Newspaper
Vancouver, BC
Transforming Energy-Exercises in Experiential Reality
by Nancy Lavin
Hermann Hesse once said that serenity is the secret of beauty and the real substance of all art. Perhaps it is because in our quietest moments, we're calm enough to see things we normally wouldn't see in a state of heightened activity. Similarly, Canadian artist James Picard is an understatement in calm. It's not to say that he's devoid of emotion; on the contrary. He simply seeks to filter his emotions through a state of objectivity. And while we continue to debate the essence of truth and the place it originates from, we can only look to art or literature or any other timeless creation and its ability to transcend its isolated significance in a specific era and time. Some refer to this transfer as experiential reality.
At 33, James Picard is still unfolding. Yet, his accomplishments to date are creating double-takes amongst those in the artistic community, and among private collectors.
For the last 15 years, Picard has made a conscious decision to keep out of mainstream "artspeak", maintaining an open-ended frame of reference for the sake of originality. "The artist, as a medium in and of itself, has an inner-bound duty to truth, even if it conflicts with the truths of any other individual or group," he says.
In fact, Picard has been criticized in certain circles for his diversity, working in various mediums including water color, acrylic and sculpture. Picard frequently deals with the theme of isolation, and the point of view of the observer, recording all he sees and feels through contorted poses, short thick brush strokes of vibrant yellow and ochre, Alizarean red or Prussian blue. He captures an essence or energy of his subject, whatever that may be, in an effort to bridge the gap between creativity and our understanding of it.
In addition to his formal art school training, he apprenticed with Cuban artist Ramon Amor and Canadian artist Harold Town, as well as Canadian sculptor Thaddeaus Szpelowitz. He has exhibited in New York, Paris and across Canada and his work can be found in numerous North American and European collections.
He is passionate about and greatly influenced by the works of Picasso, DaVinci, Monet, Van Gogh and Modigliani, as well as contemporary artists Rainer Fetting and Sue Coe, to name a few.
Picard has won a number of awards including Outstanding Achievement Award in 1987 at the International Art Competition in New York City, 1995 Top Three Finalists (U.S. $250,000) in the Los Angeles Sculpture Competition, and 1996 Outstanding Achievement Award for finishing in the top ten (of 450 entries)in the New York Sculpture Competition.
Picard devotes full time to his painting, typically working 12 or more hours per day. He says he is constantly looking for new ways to express the images that flood his mind. His art has "great therapeutic value," he adds. In fact, he is most calm when he is creating. He recalls the impact that the Picasso's exhibition had on him in Montreal, in 1982.
I realized my need to capture this array of images before they began to fade. I found myself painting with quick, bold strokes, hurried contour lines and splashes of color- capturing form, movement and light in its purest immediate state. This is what I'm continually striving for in my paintings, sketches and sculptures. It's a transformation of energy. It's magic."