Newfoundland Impressions

The East Coast Groove: Impressions on Returning to Newfoundland

On Monday, I set out on a red-eye flight from Canada’s west coast to its far east—Newfoundland. It’s a mere 7,486 km journey, or roughly 10 hours of travel if you’re flying, as I was. This marks my second time travelling to Newfoundland for an artist residency at the Pouch Cove Foundation—another chance to translate the rugged charm of this place to canvas. These are my first impressions on my return to Newfoundland.

Driving into the Cove, it felt like I was returning to an old friend. There’s a familiar comfort here—like slipping into your favourite sweater—and I’m grateful for that. I was greeted by the quintessential East Coast weather: rain, drizzle, and fog (or “RDF,” as the locals call it). But I was happy not to see snow. Having just left full-blown spring in Victoria—cherry blossoms in bloom and fields of daffodils waving in the breeze—it’s as if I’ve stepped back in time. Not just by season, but by pace and place.

The first couple of days were a blur of jet lag. With Newfoundland 4.5 hours ahead of Victoria, and having travelled through the night, it took a day to reset my internal clock. There was a jittery, underwater feeling at first—a nervous energy that had me rearranging furniture in my studio and hanging the prepped canvasses I brought with me. After a few naps and a solid night’s sleep, I’ve settled into my rhythm: painting during the day, punctuated by long walks and visual note-taking.

Newfoundland Impressions

My early walks began along the coastline, where the sea air is thick with salt and the waves slam against jagged rocks with a force that’s both energizing and humbling. The Atlantic here glows in deep jewel tones—Ultramarine, Payne’s Gray, even flashes of turquoise. It’s a ruggedly beautiful place, where the wind is always working and the soundtrack is nature in surround sound.

Wandering into the heart of Pouch Cove, I’m reminded that three things are always in ready supply here: graveyards, churches, and hockey nets. In one short hour-long walk, I passed three churches, four graveyards, and four hockey nets—tucked into driveways, backyards, and even beside the shoreline pond. In a town of just over 2,000 people, hockey is clearly part of the heartbeat. Pouch Cove is known for being the first place in Canada to see the sun rise—fitting, considering it’s a half-hour ahead of St. John’s, which is only a 30-minute drive away.

It’s been nearly two years since I was last here, and not much has changed—except the small convenience store is now closed, which makes the place feel even more remote. But while it may lack some conveniences, it more than makes up for it in natural beauty. And really, that’s the better trade.

This morning, I woke to snow spiralling in the wind. We’re expecting four days of accumulation, and I’m glad I packed my Canada Goose coat, toque, and gloves. My daily walk is on hold for now—waiting for a break in the snowfall when I can bring my camera out. It’s surreal to be back in this monochromatic world after leaving spring behind—cherry blossoms, double-digit temps, and emerald green lawns.

Inside the studio, though, it’s all vivid colour. The contrast between the snowy landscape outside and the saturated pigments on my canvas couldn’t be sharper—and I like it that way. Time to crank the music and dip my brush into some Naphthol Red. The East Coast groove is setting in.

Brandy Saturley Studio I at Pouch Cove Foundation

April 4, 2025

Solo Show in Newfoundland

Art Show, Artist Residency

A Solo Show and A Residency in Newfoundland

In the fall of 2023, the wilds of Newfoundland were calling my name. It was October, and I was preparing for a month in Pouch Cove, a rugged, breathtaking place on the Eastern tip of Canada. That time in Newfoundland filled my artist’s vessel with the sights, sounds, and culture of a uniquely Canadian province, one with a swagger all its own. Now, as 2025 unfolds, I am preparing for a solo show in Newfoundland and another month at the Pouch Cove Foundation residency. The paintings for this upcoming exhibition were created both during my time in Newfoundland and upon my return home to my Vancouver Island studio.

Pouch Cove, Newfoundland 2023 – Brandy Saturley

Preparing for a solo exhibition is no small feat — it takes years of experiences where ideas are born, months of painting to produce enough work to command a gallery space, and a great deal of planning. Once the art is ready, there’s the task of packing and shipping everything for installation. To add another layer, I decided to create an art book to accompany the show — a celebration not only of this body of work but of the art I’ve made over the past 15 years. In less than two years, I painted the paintings, published the book, and now I’m preparing to exhibit this collection in Newfoundland.

Brandy Saturley in her Victoria, BC studio with Newfoundland paintings

Balancing the creative and business sides of being a full-time professional artist is always a juggling act. The work doesn’t stop simply because a solo show is on the horizon. Between October 2023 and now, I’ve had countless adventures and created numerous paintings beyond the Newfoundland series. I’ve traveled for art to Santa Fe, New Mexico, and Boston, Massachusetts. I’ve produced over 30 new paintings, with a particular flurry of interest in my Polar Bear King series — now more than 25 paintings strong. Alongside these, I’ve worked on brand collaborations, commissions, and kept my art flowing to galleries, including partnering with a new dealer in Alberta.

Brandy Saturley studio – January 2024

There have been charity auctions, interviews, and steady sales — all while keeping my artistic lens firmly focused on Canada, a perspective I’ve maintained for nearly two decades. This focus feels more timely than ever, as the current political climate has heightened the importance of supporting Canadian artists and local industries.

Brandy Saturley with her art book, Painting Canada, 2025

Now, I’m readying my work for shipment to James Baird Gallery in Newfoundland and booking my flight for another stay at the edge of the Atlantic. I’m eager for this next adventure on The Rock — to see how the landscape, culture, and community will once again influence my art. What will emerge from my second residency at the Pouch Cove Foundation? I can’t wait to find out.

Brandy Saturley in her studio at Pouch Cove Foundation, Newfoundland

A preview of the solo show is now available on ARTSY — a glimpse into the journey so far and what’s to come.

February 24, 2025

Artist On The Road

Art Business, Artist Residency, Georgia O'Keeffe

In The Steps of O’Keeffe – Artist on The Road to Santa Fe

If you have been reading this blog and following my work you know my obsession with Georgia O’Keeffe. It began in youth, intensified when I saw a retrospective of her works at the Vancouver Art Gallery. It then deepened with seeing her work at the Metropolitan Museum of Art in New York City. Now, after many years and more paintings, I am on my way to Santa Fe, do you know the way? Beginning in Victoria, Canada and ending in Santa Fe, New Mexico, we are headed out on the next journey. This trip will take us to the heart of the southwest art world, and one of the largest art markets in the USA, after New York City and Los Angeles. I’m an artist on the road, once again.

Cow’s Skull: Red, White & Blue – Georgia O’Keeffe, 1931

Over the years I have painted homage works to many of the greats, beginning with Goalie’s Mask; red, white and Dryden. Known as the ‘Goalie’s Mask Painting’, it is a composition and comment inspired by a famous work by O’Keeffe. When I first saw, Cow’s Skull: Red, White and Blue at the Metropolitan Museum of Art in NYC, I was surprised at how small it is, as with many famous works, grand in their infamy yet not in their size. Painted in 1931, this beautiful oil painting is visceral and moving, especially when you are close enough to see the scratches of the artists’ brush.

Goalie’s Mask: Red, White & Dryden, Brandy Saturley, 2011

Tired of the hustle and bustle of city life, O’Keeffe sought solace in the tranquil landscapes of Lake George, New York, and later, New Mexico. It was during her initial visit to the Southwest in 1929 that her artistic focus shifted from urban architecture to the natural wonders of New Mexico. In this particular piece, O’Keeffe captures the essence of a single skull, accentuating its rugged contours, weathered textures, and pale hue. To her, these bones symbolized the enduring allure of the desert and the resilience of the American ethos, hinted at by the striped backdrop. In 1949, O’Keeffe made New Mexico her permanent home, where she resided until her passing in 1986.

Georgia O’Keeffe, Ghost Ranch, New Mexico, 1968 – Arnold Newman

Georgia O’Keeffe in Maui – Artist on The Road

While Santa Fe is the homeland and final resting place, Maui was another favourite place the artist painted. I discovered a book written by Maria Ausherman from interviews with Patricia Jennings, about world famous painter, and one of my favorites, Georgia O’Keeffe. The book, Georgia O’Keeffe’s Hawaii , focuses on three month’s in 1939 when O’Keeffe visited Hawaii including Maui, as guest of the Dole Pineapple company as they had commissioned her to paint an image for their advertising campaign. I retraced the steps of O’Keeffe and also came home with sketches and photos that would become a painting, a visual story, of my time soaking up Maui.

IAO, acrylic on canvas painting, 2018, Brandy Saturley

Connections with Lawren Harris

After this trip I began to dream about and see connections between the work of O’Keeffe and Canada’s luminary of the landscapes, Lawren Harris. While I have yet to find evidence of their world’s connecting, they certainly knew of one another. I found a paper online by Sara Angel, that explored the possibility of a connection between the two modernist painters. In the spring of 1938 Harris drove more than 3000km to relocate to Santa Fe, which is not surprising as the area is celebrated for it’s stunning landscapes.

Natural Affinities – O’Keeffe and Ansel Adams

This exhibition and the companion text, examine the connections and friendship between the iconic painter and landscape photographer Ansel Adams. Produced by The Smithsonian, Natural Affinities examines the friendship of two artists who were attracted to the distinct landscape of the American southwest and were committed to depicting its essence with modernist sensibilities.

San Francisco de Assisi , Santa Fe, Ghost Ranch New Mexico, Georgia O’Keeffe – Ansel Adams

It’s Good to Have Goals

Places I would like to live other than Vancouver Island – Maui, Santa Fe, Maui. I saw this pop up in my memories the other day, thank you Facebook, a reminder that I am on the path that I speak out loud, or at least to Facebook. While I have made my life and career as an artist on Vancouver Island as my home base, it has never stopped me from travelling for my art career. Now nearly twenty years in, I am looking at mid-career and where I would most like to see myself living and painting for the next twenty. Ideally the goal has always been split between Maui and Vancouver Island, but I have longed to spend time in the high desert of Santa Fe and on some level deep down, I know I will feel at home in this Southwestern landscape filled with vivid Indigenous cultures and colours.

Black Mesa Landscape, New Mexico / Out Back of Marie’s II, 1930 – Georgia O’Keeffe

The Time Has Come – Artist on The Road

After years of absorbing the wonderous world of O’Keeffe. Her passionate relationship with Alfred Stieglitz and her vibrating artworks, I am now only a week away from hitting the road to Santa Fe. Beginning in Victoria, BC with stops in Oregon and Moab Utah (serious photography and hiking time) I will arrive in Santa Fe in time for a few margaritas and a whole lot of art to see and create. There will definitely be some museums and a few other surprises.

On a side road somewhere in the Canadian prairies of Manitoba. Summer 2020 – self-photography Brandy Saturley

The next journey begins in May. Follow along with me on Facebook and Instagram.

Sincerely Yours,

Brandy Saturley

April 25, 2024

Welcome Home to Victoria

Artist Process, Artist Residency

West to East and East to West – Welcome Home

So let’s go to the East Coast I said, and we did. I was there to make Art at the Pouch Cove Foundation residency, and he came along to see a bit of my home for a month, tour around the Avalon peninsula, enjoy time with friends and eat fish & chips next to ships made for stormy seas and hard working fisher people! One town that captured our hearts and our bellies was Petty Harbour.

Petty Harbour reflections – photo Brandy Saturley

We went with friends and celebrated the end of the first week with a lobster roll and recovery fries, yes you read that right. At Chafe’s near the harbour we ate an East Coast poutine of fries smothered with gravy, cheese curds, dressing, mushrooms, onions, peas and ground beef, filling an entire plate. After a month on the rock, there was a grand welcome home to Victoria, dipping my toes back in the Pacific Ocean of the West Coast of this beautiful and massive country we call home.

Chafes Landing in Petty Harbour, Newfoundland – photo Brandy Saturley

For an artist, Petty Harbour is a living art installation of the most fascinating kind. Dotted along the shores of the harbour sits brightly painted structures in no particular layout or order, the style is more scattered, as if no one was too concerned with developing a town one could navigate. It’s almost like no one expected to stay here for very long, in many ways it feels like a living outdoor museum of the history of the area. There are brightly painted dories, tee-pee like structures, lobster fishing traps, piles of colourful ropes and fish boats of all kinds.

Old Lobster traps in Petty Harbour, Newfoundland – photo Brandy Saturley

The first day we visited the harbour it was a proper fall day in Newfoundland. Fog was rolling and waves at the mouth of the harbour were thunderous and deafening, it was incendiary! Like a cauldron of the ocean gods, I was trying to imagine these little boats crossing through that treacherous mouth protecting the harbour from shear insanity of the seas. This place represents all the best of true Newfoundlandness, at least from this West coaster’s perspective. Upstairs at Chafe’s the music is loud and the thumping of humans feet provides a beat to eat to below. The heartbeat of this place is thunderous and unabashed.

The mouth of Petty Harbour – photo Brandy Saturley

It’s 2024 now, and we are back on the West Coast, in Victoria. We walked ourselves down from the Bard & Banker pub, to a place we call The Mac (The McPherson Playhouse). Two Paloma margaritas and a lobster roll down, we walked up the red carpeted stairs of this beautiful old playhouse to the balcony seats made for tinier ancient times. On stage amongst the guitars, piano and drum kit, there sat a Newfoundland flag, draped over a musicians travelling case. There was also what looked like an antique radio speaker of some sort, it made for some good reverberations during Adam Baldwin’s set, a musician from Nova Scotia, the quintessential maritime character. With bleached blonde hair, and black beard wearing red plaid shirt with arms torn off, and blue collar worker neon yellow t-shirt underneath, his humorous stories of everyday growing up, were painting stories in my mind.

Alan Doyle Welcome Home Tour @ McPherson Playhouse – Victoria BC 2024

Then the Petty Harbour native himself made his fiery entrance, a proper Newfoundlander. Having just been in Petty Harbour we found ourselves getting every little thing Doyle was laying out in his stories. When he leaned into his stories of his perceptions with the East Coast, we laughed LOUD. “I was on Granville Island and someone paddled by the dock in a kayak, just for recreation!”.

Serendipity – Welcome Home to Victoria

I guess the point of me writing this blog post is my eternal belief in universal forces at work, well and how my brain works. How this journey of painting visual stories of Canada began over a decade ago during the Vancouver Olympic games and became what it is today.

Scenes of Newfoundland – painting by Brandy Saturley 2024

From The Goalie’s Mask painting, to #ICONICCANUCK and then onto painting my ‘Pop Canadianisms’ and taking myself and my art on the road across the country, from coast to coast to coast. I have eight paintings now influenced by my experiences in Newfoundland, and I plan to take the next two months to focus on painting as many more as I can, before I head out on the road once again.

Fiery sunset in Petty Harbour – photo Brandy Saturley

Thank you Alan Doyle and your wonderfully talented group of musicians, poets, singers and storytellers. This night helped to cap my journey from west to east and back again, through this wonderful evening of song, stomping and clapping until our arms hurt.

Gloves on a clothesline in Petty Harbour – photo Brandy Saturley

February 23, 2024

Painting Love on The Rock

Artist Residency, New Paintings

Capturing Newfoundland’s Essence: ‘Love on The Rock’

It was an early October morning, I rolled out of bed in my loft at the Pouch Cove Foundation, and stumbled sleepy eyed down unfinished wooden stairs in my wool socks, trying not to lose footing and slide to the bottom. Today my plan was to make it to Cape Bonavista Newfoundland, a four hour drive each way in one day, all to see an iconic east coast lighthouse and town, two peninsula’s up from my Pouch Cove studio. The gift of rising extra early on this day was a glimpse of a sunrise, in the first place to see the sun in North America. With foggy mornings and ever changing Autumn skies, thanks to constant wind gusts, the light changes rapidly in this place, which is wonderful for an artist who paints and take photographs. It also means you have to work and move quickly, and use your eyes and intuition to capture what may be delivered in any given minute.

Sunrise in Pouch Cove, Newfoundland – photo Brandy Saturley

Fast-forward to right now, the month of Love, February. I have been going over my photography and writings of the trip, and finding what speaks to me visually and in my heart. As this series of paintings about Newfoundland continues to grow and evolve, I am finding myself recalling the romance of the wind, rain, cliffs, waves and light. I am connecting to the feeling of the place, even though I am home on the west coast. Every day I walked the town and parts of the East Coast Trail, often crossing back through the cove and sitting above the Cove letting the wind rip through me, returning to my studio with crimson face, the kind where if you put your hand on your cheek it leaves a temporary white imprint of your fingers. More than a few times I got caught in a rain storm as the skies shifted quickly, but I LOVED IT. I wanted to get soaked, cold, salty and tingle. It feels like a clean slate, a new adventure, a fresh perspective, and these are all things I came to Newfoundland for, developing something new in my work.

Heart shaped blue rock – Chance Cove, Newfoundland – photo Brandy Saturley

‘Love on The Rock’: a journey of discovery, of connection, and of love

With this new painting I find I am expressing all these things, in a figurative landscape that includes floating rocks, which is something I have painted 3 times now since I began developing this series. Of all the great things that commanded my attention when I was in Pouch Cove, rocks were the number one draw for me, the variety, the colours, the shapes and how each beach I visited had distinctly different selections and colours. The Rock of The Rock is REMARKABLE.

Constructing LOVE on the beach – Bell Island, Newfoundland – Brandy Saturley

This brings me to my new painting, titled ‘Love on The Rock’. For in the heart of Newfoundland’s wild embrace, amidst the silent symphony of rocks and waves, lies a love story waiting to be told—a story of love on The Rock.

Love on The Rock, Acrylic Painting On Canvas, 18 x 36 x 1.5 in, Brandy Saturley

February 21, 2024

Newfoundland Paintings

Artist Residency, New Paintings

Adventures in Newfoundland: A Journey through Three Paintings

Embarking on an art residency in Newfoundland, I found myself immersed in a landscape and culture vastly different from my westernmost home on Vancouver Island. In the heart of Pouch Cove, Newfoundland, invited by the Pouch Cove Foundation and James Baird Gallery, I embraced the rugged beauty of this remote hamlet on the East Coast Trail. Culminating in three paintings about Newfoundland.

Pouch Cove, Newfoundland panorama by Brandy Saturley

Exploring Newfoundland’s Unique Landscape: Three Paintings

Throughout October 2023, my days were filled with hikes, encounters with cod, and the creation of art inspired by the unique character of ‘The Rock.’ The resulting paintings, born from acrylic paint and gouache, reflect the island’s towering geography, the iconic Sou’Wester hats of cod fishermen, the Cape Bonavista lighthouse, vibrantly colored fishermen sheds, the dynamic ocean, seagulls, and the ever-changing light of the expansive skies.

Pouch Cove Foundation, studio G, Brandy Saturley

Contrasts with Vancouver Island:

As a West Coast Canadian Artist staying on the Easternmost edge of Canada, I couldn’t help but draw comparisons with my home on Vancouver Island. While both islands exist as distinct biospheres, Newfoundland’s wild, wind-swept expanses contrast sharply with the mild, beach-strewn beauty of Vancouver Island. The differences in size, climate, and flora contribute to their individual charms, each offering a unique experience.

Tinkers Point Path, East Coast Trail, Newfoundland – Brandy Saturley

Natural Wonders of Newfoundland:

The windiest points in North America reside in Newfoundland, contributing to a fierce winter. The landscape, reminiscent of Canada’s prairies, reveals vast flat expanses with stubby trees and thick forests. The rugged cliffsides, golden junipers, and vibrant hues of the ocean near the shoreline create a visual feast. The beaches, adorned with rocks in every conceivable color and texture, provide a unique canvas for exploration.

Rocks in Newfoundland – Brandy Saturley

Cultural Identities:

Despite their shared insularity, Newfoundland and Vancouver Island fiercely guard their distinct identities. While Newfoundland is deeply Irish, Vancouver Island leans towards its British roots. Indigenous culture thrives on Vancouver Island, whereas Newfoundland, tragically, saw its Indigenous heritage wiped out.

Culinary Contrasts:

From the culinary perspective, Newfoundland’s traditional fare revolves around cod and potatoes, with dressing, gravy, and chips forming their unique take on poutine. Vancouver Island, on the other hand, boasts Fanny Bay oysters, locally grown greens, and a rich variety of vegetarian and vegan options, reflecting a diverse and health-conscious culinary scene.

Architectural Character:

Homes in Newfoundland, square or rectangular with vivid colors, reflect a sense of time standing still. In contrast, Vancouver Island’s residences showcase diverse styles, influenced by natural elements such as cedar, moss, rock, and beach aesthetics.

The Battery, St. John’s Newfoundland – Brandy Saturley

A Love Letter to Newfoundland through three paintings

In the paintings born of my Newfoundland adventures, I aimed to capture the vivid palettes and dreamlike ambiance of this timeless place. The rhythms of traditional Newfoundland music, from jigs and reels to artists like Alan Doyle and Great Big Sea, infused my studio, creating what I affectionately call my ‘love letter to Newfoundland.

The ROCK and ROLL

The Rock and Roll, 56×36, acrylic and gouache on canvas, 2023 – Brandy Saturley

Of Whiskey Jigs and Floating Floors

Of Whiskey Jigs and Floating Floors, 48×36, acrylic on canvas, 2023 – Brandy Saturley

I Lost my Sou’Wester in Pouch Cove

I Lost my Sou’Wester in Pouch Cove, 64×28, acrylic on canvas, 2023 – Brandy Saturley

As my residency in Newfoundland concludes, I carry with me not only three new paintings but a deep appreciation for the distinct beauty, culture, and identity that define ‘The Rock.’ It’s an experience that has enriched my artistic perspective and left an indelible mark on my creative journey.

Brandy Saturley Studio – Victoria BC Canada

December 13, 2023

Artist Residency in Pouch Cove

Art Career, Artist Residency

Painting in Rural Newfoundland – Artist in Residence at the Pouch Cove Foundation

If you follow me on Instagram, you’ll know that I spent the month of October in Pouch Cove Newfoundland, as one of the artists in residence at this unique invitation only residency. I spent my month in the stellar company of Leah Frances, Iia Madsen, Yvonne DuBourdieu, Robyn Asquini, Julio Alan Lepez, Marianne Barcellona, Katie Morley & Steve York (Grey Swans). Hailing from Easton PA, Skogan Denmark, Edmonton, AB, Toronto ON, Buenos Aires Argentina, New York City and Victoria BC. All of this is made possible by the generosity of James Baird of the James Baird Gallery – An October Artist Residency in Pouch (POOCH) Cove.

Pouch Cove Foundation Residence and James Baird Art Gallery, in Newfoundland, Canada.

Having spent November 2022 as an artist in residence at the Banff Centre for Arts & Creativity, this opportunity had me trading snowy Rocky Mountains for sharp cliffs, a vigorous Atlantic Ocean, sea salt laced air and some of the windiest hiking in North America. In my practice I find that it is important to leave your usual routine and studio behind and seek out new locations to create work in new environments and in new ways. Coming to Pouch Cove, it was my first time on the Atlantic coast of Canada, offering experiences that would fill gaps in my artworks about Canada, now a decade in the making.

Pouch Cove Newfoundland, Canada

My goal for this residency was to paint three large pieces and make full use of the ceiling height, light and expanse of the wall in my studio. My way of making art begins with capturing the experience of a place through the mediums of photography, video, and writing. I then take all these things and lay out the blueprint for the paintings I will create while in residence. Aided by music, I find the mood of the piece and begin laying down paint on the canvas. All influenced by my time in a place and my journey of getting to the place. My paintings are about the journey and the things I see, hear, feel, taste and touch along the way and in the place where I am making the art. In this case I arrived on a beautiful sunny Autumn day, walking through a grassy field of gold, the sky cobalt and the wind swiftly lifting my strands of auburn hair. I could hear ocean waves crashing against cliffsides. Crow, Starling and Blue Jays outside the tall sliding glass doors of my loft studio. On the second day of my residency the light broke through and the skylights began to beam golden streams onto my studio walls.

While my first week was spent exploring the massive island and some key locations, including Cape Spear and Cape Bonavista lighthouses, the second week began swiftly with loose and un-primed raw duck canvas being stapled to my studio walls. My medium of paint and specifically acrylic paint (fluid, heavy body and gouache), is the most versatile painting medium on the planet. Acrylic paint of today can be applied and reapplied, it can be layered and blended like oils and can be fluid, feathered and stain the canvas like watercolours. It can be laid out to dry on my glass palette and left to dry, and then peeled off like plastic wrap and then adhered to the canvas. I mix my acrylics with retarder if I am looking for it to dry more slowly like an oil, but I like that the medium dries more quickly than oil which allows me to move on at a pace that suits my personality. On this trip I planned to experiment with painting directly on the raw canvas and allowing the fluid acrylics to ‘stain’ the canvas, producing a very soft and feathered effect much like watercolour, with the durability and workability of acrylic.

My time in Pouch Cove and Newfoundland at large was, invigorating, challenging, isolating, uplifting and prolific. It was a regenerative experience that was welcomed after a vigorous year in and outside of the studio. I focused on creating in place, letting the experience direct the work. I like to challenge myself with every new painting, sometimes that means going in without a concrete plan, which is what I did in this case. It can be daunting to arrive in a new place, and create purely on site, but thankfully I am experienced and prepared and brought everything I would need to rely on my daily schedule and practice, so that I could put all my faith in the experience of the place. I focused on creating three large paintings on canvas. I also focused on gathering imagery and information to fuel an entire series of paintings based on my time in Newfoundland. I will also produce a timelapse video of the creation of the painting, as well as a video of the entire experience of my journey. Another goal of my time in Newfoundland was to access local art community and have work now presented by James Baird Gallery on ARTSY, because of my time at the Pouch Cove residency. Perhaps a future showing of the entire body of work and films with James Baird Gallery and The Rooms.

What’s next for you on your artistic journey after this program? Continued development of a painting series informed by my time in Newfoundland, I am teaching an emerging artist mentorship group with Mastrius in November 2023, and I will be performing my duties as juror of the 2023 Canada International Art Competition. My work is now available through James Baird Gallery on ARTSY, as a result of this residency in Pouch Cove. My work continues to be available through my website as well as my dealer in Banff, Canada – Willock & Sax. I have my eye on a residency at Landfall Trust (where Rockwell Kent lived and painted his famous landscapes and met Lawren Harris) in Brigus, Newfoundland and hope to be back in Newfoundland in Summer 2024. These are all opportunities on my mind right now.

There will also be a continuation of my Polar Bear King paintings as the polar bear icon continues to permeate my visual stories of my travels in Canada. There may even be a collaboration with a revolutionary new clothing brand based in Vancouver, but that’s all I can tell you right now.

Right this very moment, my paintings made in Newfoundland are being stretched and I will be putting the finishing touches on them soon. Always more to come!

Brandy Saturley studio – North Saanich, BC Canada

Update: April 26, 2024

There are now 15 paintings in the Newfoundland Impressions series, have a look at see what my time in Newfoundland inspired!

Brandy Saturley in her studio on Vancouver Island, April 2024

Sincerely Yours,

Brandy

November 7, 2023

What is an Artist Residency?

Artist Residency

Making Art in a Different Place; What is an Artist Residency?

An artist residency is a unique program or opportunity that grants artists dedicated time and space to immerse themselves in their creative work. Often set in an environment distinct from their usual surroundings, these programs come in various shapes and sizes, differing in terms of duration, location, and the level of support provided. However, they all share a common objective: to foster artistic growth, stimulate experimentation, and offer artists a supportive community of kindred spirits.

Pouch Cove Foundation, Newfoundland, Canada

Artist residencies prove to be invaluable experiences for artists at different stages of their careers, affording them the time and resources essential for exploring their creativity, embarking on new projects, and connecting with like-minded individuals within the art world. The specific benefits and experiences encountered during an artist residency can vary considerably, contingent on the program’s structure and the artist’s individual goals.

Royal College of Art, London UK

For me, an artist residency is an invitation to engage in experimentation, exploration, and a deeper dive into my creative realm. The ideal residency provides me with a space where my art is my constant companion, 24/7, making it impossible to escape its allure except by venturing out to explore. Regardless of the residency’s level of structure, I arrive with ambitious objectives, intensifying my focus. I don’t predetermine what I’ll create upon my arrival, but I do set goals, which include acquainting myself with the city and the local community, grasping the culture, customs, and history of my temporary home for a month. I make it a point to visit all the galleries and museums in the area and endeavor to establish connections with art collectors. Having nurtured a pan-Canadian identity through collaborations with the people, brands, and artists I’ve encountered in my Canadian travels, I’m always accompanied by invitations to connect, and it feels crucial to honor these relationships.

The Stacks at Pouch Cove Foundation

I also come well-prepared. There’s a saying that luck favors the prepared, and I adhere to it. I ensure I have all the necessary supplies, book transportation in advance, and stock up on healthy food to sustain me throughout my residency. Over nearly two decades in the art world, I’ve learned the value of preparedness. I relish the process of making my own discoveries, forging my own connections, and expanding my network organically. Moreover, I revel in the challenge of troubleshooting on my own when faced with issues or the need for specific equipment or supplies. I thrive on solving problems independently.

When it comes to collaborations, I prefer for them to arise organically. My work, patrons, fans, and collectors demand a significant portion of my attention and energy, so a residency is a time dedicated to me and my art. It’s an opportunity for tranquil reflection, writing, exploration, hiking, and simply breathing. I delight in leaving my formal wear behind and embracing a month of living in my jeans, hiking gear, and painting shoes.

Banff Centre of Arts and Creativity – Banff, Alberta

Interestingly, every time I leave my hometown, art sales seem to flourish. While the reasons remain somewhat mysterious to me, it’s undoubtedly a boost to the interest in my work, and my creations tend to fly off the shelves more swiftly when I’m on the road. Although the structure and requirements of residencies may differ, each one is a chance to rejuvenate the artist’s perspective, heart, and soul.

Artist residencies offer a unique and transformative experience for artists like me, fostering growth and pushing creative boundaries. They provide a haven where artists can delve into their work, discover new horizons, and forge connections that enrich their artistic journey. Whether it’s the serene solitude or the organic collaborations that thrive in these settings, residencies breathe new life into our creative spirits. So, every time I embark on one of these journeys, I come back to my hometown with not just art but a reinvigorated passion for the art of creation.

October 25, 2023

Journey of Art Newfoundland

Artist Process, Artist Residency

Day 24: Pouch Cove Artist Residency

As the third week drew to a close, my journey of Art through Newfoundland’s landscape continued to be a profoundly enlightening exploration of the Canadian spirit. The eastern expanse of Canada, known as “The Rock,” feels like a world apart. With three oversized paintings in progress, their loose canvases affixed to my studio wall, I find myself on the brink of a final contemplative phase, from the comfort of a new chair, yes b’y.

Like the lyrics of that famous song suggest, I’ve roamed far and wide. I’ve traversed the highs and lows of the East Coast trails, wandered through neighborhoods, and stood mesmerized by the beauty and the relentless power of the ocean as it carves into cliffs adorned with hues of red, ochre, plum, Payne’s grey, and aquamarine blue. I’ve been drenched by Atlantic saltwater, soaking my waterproof hiking boots all the way through to my skin, even tumbling to my knees once to save my trusty Nikon from the brink of demise. (Always protect the camera, they say.)

Every day, I’m accompanied by a chorus of crows, sparrows, and, of course, the notorious east coast wind. This wind is as mighty as the sea, capable of leveling all in its path and humbling every form of life. Summer and fall seem to blend here, with some scorching days of sunshine followed by RDF (rain, drizzle, and fog), not too different from my hometown on Vancouver Island during winter.

As I enter my final week here, my mind brims with the tasks I wish to accomplish before heading home. First and foremost, I’m determined to finish all three paintings and prepare them for their journey home. Once there, I’ll hang them in my studio and meticulously complete the stretching and varnishing process, one of which will be sent back to Pouch Cove. Three visual narratives on canvas, recounting the stories of my adventures on the Avalon Peninsula and along the coast.

I’ll return home with a belly full of cod and a heart overflowing with affection for this place. In many ways, Newfoundland feels like a step back in time, reminiscent of the 1980s, where the world seems to have frozen in place. From this point on, I’ll affectionately refer to it as “Planet Newfoundland,” a place that seems to float in the sky while the rest of Canada races forward. Despite its size, I see this island as an amalgamation of small towns and communities, each living life on their own terms, tucked away from the rest of the world.

The week rushed by with its studio visits, heartfelt farewells, and visits to art galleries in St. John’s. I even caught a Newfoundland Growlers hockey game and shared the warmth of a family gathering with true Newfoundlanders. I instantly felt at ease here; there’s no pretension, just people coming together to share their passions and treasures, all laced with a biting sense of humor.

The residency hosts a diverse array of artists, from painters to illustrators, photographers to musicians. As I immerse myself in my work, I can sense the harmonious energy and bustling creativity that flows through the walls of my studio. There’s an unmistakable synergy in the air.

Entering my final week here, a profound sense of gratitude washes over me. This experience will resonate within my very being for a long time to come.

October 24, 2023

Pouch Cove Residency Update

Artist Process, Artist Residency

Day 13: Pouch Cove Foundation Residency

The air is thick with quietude here—profoundly quiet—until I unleash my Mac’s playlist, filling the studio with a symphony of tunes. It’s Friday the 13th, a misty day enveloping the cove. The week has been a tapestry of fog and humidity, woven with strokes of painting and seaside strolls to inhale the invigorating ocean air. The ocean, the pulse of this place, beats and roars, drowning out even the strongest vocal protests from neighbours. A Pouch Cove Residency Update as I write the chapters of my first two weeks here.

A curious encounter with a discontented neighbor unfolds. Her abode, perched atop a cliff called Gruchy’s, is a refuge from St. John’s, chosen for love. Yet, for her, the crashing waves are too much, a relentless auditory assault on her single-pane windows. To her, the coastal serenade is deafening. Contrarily, I find the locale eerily silent, akin to a ghost town, save for sporadic traffic and mail deliveries, especially lively around the post office—a communal nexus.

As I tap away on my laptop, the keys serve as my proclamation to fellow resident artists—I’m alive. My immersion into my creative cocoon and the narratives unfurling on canvas is profound. My mission here: to paint three expansive canvases, a saga to be concluded before my departure. I’ve already decided to transport them rolled up, adding final touches, varnish, stretch, and wire at home—my deliberate and meditative concluding act.

Two weeks have flitted by, weaving a tapestry of exploration. Pouch Cove, St. John’s, Mount Pearl, The Battery, Quidi Vidi, and Petty Harbour—all dot my creative map. Cape Spear and Cape Bonavista’s lighthouses, with their iconic red-white-red stripes, tell tales of maritime resilience and revival. Cupid’s, birthplace of colonialism, and Brigus, a town adorned with vibrant homes, beckon with stories.

Trinity unfolds as a living museum, offering refuge from the hustle of St. John’s. Pizza in Dildo—a fishing hamlet with a Hollywood-style sign—and a drive through towns like Hearts, Content, and Desire add quirky notes to my Newfoundland journey. Old Pelican awaits my exploration, promising more layers of history in Canada’s European mirror.

Newfoundland, in my ‘come from away’ eyes, is more than rocks, pounding waves, and cod. It’s a symphony of homes, often uninspired and cookie-cutter, resonating with an Irish accent. The landscape, with its jellybean colors, harbors a distinctive charm. A place where the proud use of ‘fuck’ is a linguistic tradition. I’ve indulged in comfort meals like fish and Brewis and sampled variations of fish and chips, including the intriguing ‘Newfie poutine.’ Sour beers abound, a testament to local taste.

The landscape is strewn with dories, abandoned fish boats, and roadside oddities, offering a glimpse into the island’s soul. Clotheslines dot the scenery, tempting my curatorial instincts for a touch of the unexpected.

Spring promises puffins, whales, and icebergs—an encore for my next journey. And then, there are the Mummers, a tale for another post.

Cheers from Newfoundland! Week three beckons.

Come From Away,

Brandy Saturley

October 15, 2023