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The works of Montreal artist Alicia Surveyer. To purchase an artwork, email Alicia: alicia @ aliciasurveyer.com Biography: Alicia Surveyer was born in Lachine, Quebec in 1980. Although she may be young in age, Alicia is mature in her artistic achievement and has been showing her work for over ten years. She holds a Bachelor of Fine Arts degree from Concordia University, and has extensive experience in the many aspects of her field: teaching art, showing her work, publishing projects, modeling for artists, gallery work and representation including exhibits at 9 different galleries, as well as extensive travel to art-historical centers. She was also invited to display her art online by The Saatchi Gallery, London , in 2006. She has developed an innovative and exciting visual style in her painting, all the while dealing with modern-day issues about nature and her stance towards it. Alicia believes her role as a creative person is a vital one because of an artist’s capability to make statements that express ideas to the public. Her work is currently archived in the collection of the Library and Archives of the National Gallery of Canada, and Alicia has sold dozens of pieces to private collectors. Artist Statement: "My interest in art has been a part of my life as far back as I can remember. I first started painting on canvas at age 12 with a private studio. I studied there for several years. I discovered an intense talent for art and creativity within myself, and I invite you to share my passion by viewing my work in the gallery. I hold a Bachelor’s of Fine Arts degree in Studio Art from Concordia University, and also did my DEC in Fine Arts. My main artistic concerns have been progressively concentrating on developing an individual style grounded on the various combinations of color schemes, light, figuration, abstraction and mood, while still maintaining diversity in my artistic modes and themes. As an image-maker in modern society, an artist has certain responsibilities. I choose to create art that shows things that are important to me, and that I want to transmit to others in my own deeply expressive way. At times I have found myself having to choose who my art is directed to: the general public, my family and friends, or those with an extensive background knowledge in the arts? An artwork is engaging to the viewer, no matter what their experience or perspective. But as an artist I feel I must continue consistently to "think outside the box", even if that box is the contemporary thought on art and philosophies in general. This inspires me to keep creating, and put aside praise or criticism of my works, that could hinder the production. A piece of art can be as unique as the individual who interprets it - containing ideas, concepts, reactions, feelings - and a change within this framework with each sensory cognition of it. As long as there is an interaction, or even my own interaction with life through which I create, the artistic production is valid." See Alicia's art also at: Elisa Tucci Contemporary Art, New York City Galerie Michel-Ange, Old Port of Montreal Precious Eklektik Gallery Boutique, Toronto Newspaper Article written by alicia, "an artist's life" Concordia Magazine - Spring Edition 2009 Art Studio 54 Favorite Artists Please note: Framed works are presented in a high quality black floating frame. Canvases are presented with clean unstapled black edges. Works are signed and dated in the back in marker, and in the front with the artist’s name and logo. © COPYRIGHT ALICIA SURVEYER 2009. ALL RIGHTS RESERVED. Reproduction or use of images is prohibited. Last changed on 07/02/2009. This album contains 35 items. | |||||||||||||||
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Alicia's etchings. Limited editions of up to 5 prints. Making an etching: Many people are not familiar with the process involved to make etchings. They may think they are drawings, or watercolors. They are actually “prints”, falling in the category of printmaking, like lithographs or silkscreen. There are many variations in ways of making etchings. My work was done mostly using copper plates. The technique involves etching an image into a copper plate, or several copper plates. To do this, I cut a piece of copper sheeting to the size I want to make my image. Again, there are many techniques, but for these I would then cover the plate in a tar-like substance called hardground. I then use a needle to scratch a drawing into the hardground, exposing the copper underneath. The bottom of the plate is protected with regular kitchen shelf liner. After that I put the copper plate into an acid bath, which eats away at the metal. Depending on how thick of a line I want to etch, I leave the plate soak for long periods of time. I then remove the plate, wash the acid off, and remove the hardground with solvent. Printing the plate - or plates, depending on the image - is the next step that is also very elaborate. I use oil-based ink, similar to oil paint, and smear it all over the plate, concentrating on making it enter the grooves of my drawing. Then I use cheese cloth to begin wiping away the excess ink on the surface of the plate, changing cloths as the plate gets cleaner and cleaner. The ink is left only in the grooves, in the lines of my drawing. If I were making a black and white image with one plate, I would use black ink and then print it on white paper. Some of my images involve using up to three plates that are printed on top of each other, and four colors. I use a different plate for each color in the line drawing, or two colors on one plate in different areas, but this is more difficult to do. The images that have a solid background - of colors blending into each other - were created using a giant roller. Ink was applied into the lines of the drawing as explained, but then different colors were rolled onto the surface of the plate. The process is very time consuming, and it is very easy to make a mistake, after which you have to start over from the beginning. When printing many plates on top of each other, I had to think of the order to make my finished image, and I had to make sure the plates were perfectly lined up to print over each other. This is called registering. Also, the image I etch into the plate will be printed backwards, like when you look at text in a mirror! The printing itself is done in a giant printing press. I soak a good rag paper in water. A rag paper is made from cotton instead of wood. I place my plate on the glass table of the printing press, and align my paper over it, centering the image. I then turn the wheel of the press, sliding my paper and plate under a metal cylinder that applies extremely high pressure. The ink is then printed onto the paper. If I am printing with several plates, I restart the process on the same paper with my next plate. Finally, I lay the print to dry in between sheets of newsprint and wood boards. When I print my etchings, I make a series of the same print. Sometimes I print only one, or an edition of three, and the maximum I print is an edition of five. Each print is numbered, signed, all done by hand, and belongs to its respective edition. © COPYRIGHT ALICIA SURVEYER 2009. ALL RIGHTS RESERVED. Reproduction or use of images is prohibited. Last changed on 06/14/2009. This album contains 14 items. | |||||||||||||||
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Alicia can use your favorite nature photo, and work with your preferences as to size, color, and other specifications, to make a painting in her unique style that interprets your photo into a beautiful work of art. In the gallery you can see two examples of photos of real landscapes, one taken by Alicia on an artistic expedition and another by a U.S. artist, that she then used to create her original paintings. Most of Alicia's work is based on real places as seen in these examples! The creative magic happens when the landscape is reimagined through her artistic vision. Pricing will vary according to the project and the size of the painting. Contact Alicia for commissions: © COPYRIGHT ALICIA SURVEYER 2009. ALL RIGHTS RESERVED. Reproduction or use of images is prohibited. Last changed on 06/18/2009. This album contains 4 items. | |||||||||||||||
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