{"id":16767,"date":"2017-10-10T12:47:00","date_gmt":"2017-10-10T16:47:00","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=16767"},"modified":"2017-10-10T13:49:36","modified_gmt":"2017-10-10T17:49:36","slug":"artscopeto-04-interview-with-abstract-painter-chris-marin","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=16767","title":{"rendered":"ArtScopeTO 04: Interview with Abstract Painter Chris Marin"},"content":{"rendered":"

In the prior edition of ArtScopeTO<\/a>, I spoke with Hamilton-based painter-photographer Hanna Kostanski, and this month’s featured artist at The Urban Gallery is abstract painter Chris Marin, and her series Passages.
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Passages, the titular work of Chris Marin’s striking abstract series at The Urban Gallery (200 Queen St. East). The exhibit runs until Sat. Oct. 28, 2017.<\/p><\/div>\n

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Marin’s large canvases beg careful attention because each spawns subjective impressions, but for the observer it’s less about finding meaning within the image; at least for myself, an abstract image elicits curiosity, often from repeated glances, vantages, and examinations close and far; the cluster of colours, lines, brush strokes, and layers which collectively convey a mood that’s unique to each individual.<\/p>\n

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Painting from Passages, an exhibition of Chris Marin’s striking abstract series at The Urban Gallery (200 Queen St. East). The exhibit runs until Sat. Oct. 28, 2017.<\/p><\/div>\n

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There’s no wrong or right impression, no precise message; but when a particular work clicks with an individual, there’s state of fascination; the eyes playfully scan and rescan contents, refocus on colours and tones; what may linger isn’t a stark whole portrait, but a flash of colour, a quirk within its smooth content, a peculiar object or fleeting pattern.<\/p>\n

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Painting from Passages, an exhibition of Chris Marin’s striking abstract series at The Urban Gallery (200 Queen St. East). The exhibit runs until Sat. Oct. 28, 2017.<\/p><\/div>\n

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In my conversation with Marin at the exhibition’s launch, we discuss her travels, influences, her organic relationship with abstract painting and use of watercolours, acrylic, and walnut oil paints, and finding a space to create, which doesn’t necessarily require a big room or a world of absolute silence.<\/p>\n

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Artist Chris Marin, whose striking abstract series runs at The Urban Gallery (200 Queen St. East) until Sat. Oct. 28, 2017.<\/p><\/div>\n

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\"\"My podcast with Chris Marin is available on Google Play<\/a>, iTunes<\/a>, Libsyn<\/a>, and YouTube<\/a>, and her work can be seen October 5 – 28 at The Urban Gallery<\/a>, 400 Queen Street East. Special thanks to Glenda Fordham at Fordham P.R.<\/a> for facilitating the interview. See Fordham’s blog<\/a> for additional photos and a video tour with Marin.<\/p>\n

As detailed at the end of our conversation, my next podcast for KQEK.com will feature the second half of the in-store conversation & audience Q&A between I Lost It at the Video Store<\/strong><\/a> author Tom Roston and NOW Magazine’s Senior Film Writer Norm Wilner at Toronto’s Bay Street Video.<\/p>\n

This is part of a lead-up to Video Store Day, and when the podcast is live this coming Sunday Oct. 15th, I’ll make available for free streaming my experimental documentary BSV 1172: Your Friendly Neighbourhood<\/strong><\/a> for about a week. It’s a film that offers a different, less tradition take on the daily activities within a classic bricks & mortar video store using vintage 1980s video gear.<\/p>\n

Coming next: <\/em>reviews of two Wonder Woman films – the hit 2017 feature film starring Gal Gadot, and, uhm, the stillborn 1974 TV pilot starring Cathy Lee Crosby.<\/p>\n

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Mark R. Hasan<\/strong>, Editor
\nKQEK.com<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Just posted: a new ArtScopeTO podcast interview featuring abstract painter Chris Marin, whose series Passages can be seen at Toronto’s Urban Gallery, Oct. 5-28, 2017.<\/p>\n","protected":false},"author":1,"featured_media":16773,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6,11,1557],"tags":[5342,4716,5341,2562,2563,5283,1085,4717],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2017\/10\/IMG_0888_d_Featured.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-4mr","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/16767"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16767"}],"version-history":[{"count":12,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/16767\/revisions"}],"predecessor-version":[{"id":16789,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/16767\/revisions\/16789"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/16773"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16767"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=16767"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=16767"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}