Sharon Hogg

2015 Beneath the Long Grass: The Constructed Canvas
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil, Encaustic and Cotton, Jute, Wool Tapestry on Cherry wodd Panel
Beneath the Long Grass - detail, Fairly Odd Landscapes Series
2014
Oil, Encaustic and Cotton, Jute, Wool Tapestry on Cherry wodd Panel
48x60 inches

Leighton Arts Centre Exhibition
June 20 to Aug 1, 2015
BENEATH THE LONG GRASS: THE CONSTRUCTED CANVAS: presents an acute awareness of something that lies beneath. My work is supported by strong underlying structures and constructed canvases; I am interested in a clearly evident means of construction. The works contemplate energy and environment using layers, transparencies, and a depth of materials. Encaustic waxes combine with transparent oil paints over an underlying support of specifically woven tapestry or interwoven canvas, burlap, or linen. Layers move on and off the surface, in search of a connection between the way that I sense, and the way that I come to understand the natural energies at play in our environments.

Beneath the Long Grass: The Constructed Canvas examines what lies beneath my conscious awareness of the land and moreover, what lies beneath a whole romantic conception of nature. Here is the mindset of a realist, existing in a world filled with energies, both physical and contemplative. Human and natural forces meet with both challenge and synergy and are planted firmly together in the enduring prairie landscape.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil, Encaustic and Cotton, Jute, Wool Tapestry on Cherry wodd Panel
Beneath the Long Grass - Fairly Odd Landscapes Series
2014
Oil, Encaustic and Cotton, Jute, Wool Tapestry on Cherry wodd Panel
48x60 inches

Beneath the Long Grass
The mass and the meaning of the land
in a material laden artifact.
Accumulated interwoven layers
secured to the cherry panel with
encaustic medium and oil paint.

A mindset of a realist in
a world filled with energies,
both physical and contemplative.

Where human and natural forces meet
there shall be challenge and synergy
all planted firmly together
in the enduring prairie landscape,


“There was nothing but land: not a country at all, but the material out of which countries are made.” Willa Cather, My Antonia, 1918.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil, Encaustic and Raw Canvas on Mahogany Panel
Sold DotOpen Invitation - Detail, ExKathedra Series
2015
Oil, Encaustic and Raw Canvas on Mahogany Panel
14x44 inches

Contemplating energy and environment

Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil, Encaustic and Raw Canvas on Mahogany Panel
Sold DotOpen Invitation, ExKathedra Series
2015
Oil, Encaustic and Raw Canvas on Mahogany Panel
14x44 inches

Contemplating energy and environment

Layers, transparencies, and a depth of materials.
Encaustic waxes combine with transparent oil paints.
An underlying support of canvas, burlap, and linen interwoven through the work.
Gradually layers move on and off the surface,

In search of a connection between
the way that I sense, and
the way that I come to understand
the natural energies at play in our environments
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Cardboard on Found Lumber
Rainview, ExKathedra Series
2011
Oil and Encaustic on Cardboard on Found Lumber
12x12 inches

Do we view everything through a lens
of physical constraint and psychological obfuscation?
How many layers must we look through
to see through this glass darkly?


Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Burlap in encaustic, oil paint, lumber stamp exposure, painted encaustic texture on found lumber
Treewrap Mountain, ExKathedra Series
2011
Burlap in encaustic, oil paint, lumber stamp exposure, painted encaustic texture on found lumber
12x11 inches
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Linen, Canvas and Burlap
Sold DotBeiseker FenceLines, One Warm Line Series, detail
2012
Oil and Encaustic on Linen, Canvas and Burlap
48x60x2 inches

Colour contrast heightens awareness of a single element.
Yet even in the washed out winter light, the colours are still there.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Linen, Canvas and Burlap
Sold DotBeiseker FenceLines, One Warm Line Series
2012
Oil and Encaustic on Linen, Canvas and Burlap
48x60x2 inches

One Warm Line
is rooted in
the barely-realized, sublime landscapes
of the mid-19th century.

Colour contrast
heightens awareness
of a single element:

These single warm lines of containment,
like some contemporary reenactment
of 17th century enclosures,
jealously guard a place of human presence in
the immense natural commons of the prairie.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oilpaint and Ink on Venetian Plaster and Found Lumber
Sold DotBetween the Writing and the Wall, ExKathedra Series
2014
Oilpaint and Ink on Venetian Plaster and Found Lumber
12x13 inches

the writing is somewhere
within the writing
on the wall
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil paint, Encaustic and Canvas collage on Found Lumber
Sold DotSemaphore, ExKathedra Series
2014
Oil paint, Encaustic and Canvas collage on Found Lumber
12x13 inches

we wait for the signs
but will we be able to
decipher them
should they appear?
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Pigmented Ricepaper and Cherrywood Panel
Sold DotPicnic, The Land in CloseUp Series
2014
Oil and Encaustic on Pigmented Ricepaper and Cherrywood Panel
38x40 inches

Woven layers of painted rice paper
incompletely cover a cherrywood panel;
the paper and the cherry saturated with encaustic medium.
Above these layers of “real” material lies
a painted image layer of oil paint,
a surface veneer painted onto the underlying solid foundation.
Whether “real” or “represented”,
this piece comes from a very realist mindset.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Pigmented Ricepaper and Cherrywood Panel
Sold DotPicnic, The Land in CloseUp Series
2014
Oil and Encaustic on Pigmented Ricepaper and Cherrywood Panel
38x40 inches

Instead of a detached view of a distant scene,
Picnic gets up-close, very up-close;
a communication of simple direct experience.
It is Person interacting with Land.

Woven layers of painted rice paper
incompletely cover a cherrywood panel;
the paper and the cherry saturated with encaustic medium.
Above these layers of “real” material lies
a painted image layer of oil paint,
a surface veneer painted onto the underlying solid foundation.
Whether “real” or “represented”,
this piece comes from a very realist mindset.

My work describes humans
by describing their environments;
humans in the landscape.
A landscape is not a tamed land,
but it is a land subject to human interaction.
No pretense of wilderness here,
I am actively searching for human influence.
I want to locate interconnections between
the way I sense,
the way I understand and
the way I accumulate
my firmly grounded
sense of place.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oilpaint and Eggeshells, and Encaustic on Found Lumber
Rays, ExKathedra Series
2014
Oilpaint and Eggeshells, and Encaustic on Found Lumber
12x13 inches

Rays of enlightenment
fragile as eggshells,
broken
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Ritchey-ZMax Mountain bike Tire Monoprint in Oil and City of Calgary Road Pickle in Encaustic on Pigmented Ricepaper and Cherrywood Panel
Sold DotBikeride!! - Detail, The Land in Close Up Series
2014
Ritchey-ZMax Mountain bike Tire Monoprint in Oil and City of Calgary Road Pickle in Encaustic on Pigmented Ricepaper and Cherrywood Panel
21x32x2 inches

A personal negotiation with the
not-so-solid ground and changeable weather
of April in Alberta.

Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Ritchey-ZMax Mountain bike Tire Monoprint in Oil and City of Calgary Road Pickle in Encaustic on Pigmented Ricepaper and Cherrywood Panel
Sold DotBikeride!!, The Land in Close Up Series
2014
Ritchey-ZMax Mountain bike Tire Monoprint in Oil and City of Calgary Road Pickle in Encaustic on Pigmented Ricepaper and Cherrywood Panel
21x32x2 inches

Instead of a detached view of a distant scene,
BikeRide!! gets up-close, very up-close;
a communication of simple direct experience.
It is Person interacting with Land;
A personal negotiation with the
not-so-solid ground and changeable weather
of April in Alberta.

Landscape paintings describe humans
by describing their environments.
By landscape I don’t mean a land fully tamed,
but I do mean a land that is
subject to human interaction.
No pretense of wilderness here,
I am actively searching for human influence.

I want to locate interconnections between
the way I sense,
the way I understand and
the way I accumulate
my firmly grounded sense of place.

Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Encaustic on Panel
Sold DotWinter Is Coming - Detail, Westwind Series
2015
Encaustic on Panel
30x40 inches

Yup, its coming; its that day on the Canadian landscape.

Hot wax as motion captured.
Flowing, flying, catching itself up in the features of the land.


Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Encaustic on Panel
Sold DotWinter Is Coming, Westwind Series
2015
Encaustic on Panel
30x40 inches

Yup, its coming; its that day on the Canadian landscape.

The Westwind series speaks of a prevailing wind;
and not necessarily meaning an air movement in a specific direction.

Sometimes landscape speaks, not of a place but a time;
of global uncertainty, questioning previously unshakeable ground
that we once thought we stood upon, when we stood upon the earth.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil, Encaustic and Natural Inclusions on Birch Panel
Sold DotAvalanche! - detail, Westwind Series
2015
Oil, Encaustic and Natural Inclusions on Birch Panel
17x38 inches

Flowing, flying, falling; taking up and hurling itself and pieces of the land beneath it.



Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil, Encaustic and Natural Inclusions on Birch Panel
Sold DotAvalanche!, Westwind Series
2015
Oil, Encaustic and Natural Inclusions on Birch Panel
17x38 inches

Hot wax as motion captured.
Flowing, flying, falling; taking up and hurling itself and pieces of the land beneath it.
Down towards a new, more settled resting place.
Destruction and renewal in its wake.

The Westwind series speaks of a prevailing wind;
and not necessarily meaning an air movement in a specific direction.
Sometimes landscape speaks, not of a place but a time;
of global uncertainty, questioning previously unshakeable ground
that we once thought we stood upon, when we stood upon the earth.




Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Plaster and Found Lumber
Sold DotMoored, ExKathedra Series
2011
Oil and Encaustic on Plaster and Found Lumber
11x11inches

Moored
Organic oil
binding, seeping,
anchoring itself
through the plastic acrylic structure
of the joint compound.


This was one of three pieces
set for the High River Evanescence Gallery's Who Art Thou show this summer. See the other two pieces here
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Board
Carved in Stone, ExKathedra Series
2011
Oil and Encaustic on Board
12x11inches

Carved in Stone
While notions of the natural orders
that underpin our existence
shift and change,
our world goes on unperturbed;
gravity works,
the sun rises, and
humans evolve and adapt.

Supporting structures
against overlying colour and form,
simultaneously reinforcing and
subverting each other
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Reclaimed Garage Floorboard
Sold DotImpression Sunrise - Detail, ExKathedra Series
2015
Oil and Encaustic on Reclaimed Garage Floorboard
12x12 inches

Impression Sunrise - how little alteration of a 2x12 piece of lumber does it take for us to read it? A pinch of cerulean pigment in beeswax and one white line. How quickly it impresses landscape into our consciousness.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Reclaimed Garage Floorboard
Sold DotImpression Sunrise, ExKathedra Series
2015
Oil and Encaustic on Reclaimed Garage Floorboard
12x12 inches

Impression Sunrise - how little alteration of a 2x12 piece of lumber does it take for us to read it? A pinch of cerulean pigment in beeswax and one white line. How quickly it impresses landscape into our consciousness.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Tapestry, Oil, Encaustic, Ink and Aniline Dye on Linen and Okumi Mahogany Panel
Sold DotHigh Noon - Detail, Texô Vitae Series
2014
Tapestry, Oil, Encaustic, Ink and Aniline Dye on Linen and Okumi Mahogany Panel
40x48x2 inches

HighNoon, is a weighty but delicate balance;
a tippingpoint with consequences.

TEXO VITAE

Texô, Texere and Texuî
To weave
To have woven
To have been woven

Each work in this series exists in all of these three conjugation simultaneously.

Life continuously building upon itself; in turn built upon and tethered to its inherited contexts.

Context...derived from the Latin con-texure...
A background, a milieu or a climate securely held together by weaving, plaiting, intertwining.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Tapestry of nylon netting, Oil Paint, Encaustic, Wax-soaked Linen on Dyed and Inked Okumi Mahogany Panel
Sold DotHigh Noon, Texô Vitae Series
2014
Tapestry of nylon netting, Oil Paint, Encaustic, Wax-soaked Linen on Dyed and Inked Okumi Mahogany Panel
40x48 inches

High Noon,

is a weighty but delicate balance;
a tipping-point with consequences.
The red canoe is woven carefully,
but not infallibly,
into a vessel for negotiating a world,
that can go from strong and serene
to capsized and soaked,
in the blink of an eye.

Texo Vitae Series - This series investigates the relationship between the way I sense, and the way that I come to understand direct experience. Whether conscious or no, there are specific things that I choose to notice in the first place and then I choose to either acknowledge or discard in the second place.
These choices are powerful representations of my own self-contained worldview. However, the way I assimilate this experience is far from self-contained; it has evolved in particular historical cultural contexts and scientific paradigms.

Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Tapestry of Wool and Cotton Kitchen String, Oil Paint, Encaustic, Reinforcing Steel on Dyed Oak Panel
Gravitas - Detail, Texô Vitae Series
2014
Tapestry of Wool and Cotton Kitchen String, Oil Paint, Encaustic, Reinforcing Steel on Dyed Oak Panel
40x48 inches

Detail - Warp strings

Usually the seine twine warp strings that bind a tapestry together are hidden by a solid weight of woolen weft.

Here, they are the thing.
They are the backbone of Gravitas: an examination of the human community’s fragile defenses against inevitable mortality.

TEXO VITAE

Texô, Texere and Texuî
To weave
To have woven
To have been woven

Each work in this series exists in all of these three conjugation simultaneously.

Life continuously building upon itself; in turn built upon and tethered to its inherited contexts.

Context...derived from the Latin con-texure...
A background, a milieu or a climate securely held together by weaving, plaiting, intertwining.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Tapestry of Wool and Cotton Kitchen String, Oil Paint, Encaustic, Reinforcing Steel on Dyed Oak Panel
Gravitas, Texô Vitae Series
2014
Tapestry of Wool and Cotton Kitchen String, Oil Paint, Encaustic, Reinforcing Steel on Dyed Oak Panel
40x48 inches

Gravitas incorporates wool on seine twine tapestry
that is stitched right through the dyed oak panel.

Each bit of the collage lends its own strong and separate voice to the chorus.
I look for each process, to add its own layer of translation, of mediation.
The chorus in Gravitas, speaks of a weighty and grounded final resting place.

Yet the textile nature of the tapestry voice floats above the solid void of dyed oak panel.
The fragile interwoven human community literally hangs by threads above the void of the oak panel grave.
The warp threads tie the humans to each other, even as they also bind them
to the plants/animals of the natural world, and the rusty reinforcing steel of human creation.


Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oilpaint, Graphite, Encaustic and Cotton/Wool Tapestry on Birch Panel
Sold DotMarco? - detail, Texô Vitae Series
2015
Oilpaint, Graphite, Encaustic and Cotton/Wool Tapestry on Birch Panel
28x49 inches

Detail - Tapestry, Encaustic and Oil Paint

Cotton twine,
sisal twine,
manila rope,
hemp rope,
and undyed wool;
these make up the underlying structural tapestry of the land.

They lend form and definition beyond the capability of flat colour.

TEXO VITAE

Texô, Texere and Texuî
To weave
To have woven
To have been woven

Each work in this series exists in all of these three conjugation simultaneously.

Life continuously building upon itself; in turn built upon and tethered to its inherited contexts.

Context...derived from the Latin con-texure...
A background, a milieu or a climate securely held together by weaving, plaiting, intertwining.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Marco? - detail, Texô Vitae Series
Sold DotMarco?, Texô Vitae Series
2015
Marco? - detail, Texô Vitae Series
28x49 inches

Stuck here, she looks to there.

Detail - flat figure
Even though I think she feels like a glued-on bit of paper,
In truth, the figure is painted directly on the raw birch panel.
She is the flattest, most embedded part of this work.


The goal of Texo Vitae is to complicate a simple representation of everyday physical experience. In doing so, I want to question the myth of the universal secular; the idea that given a world of shared mass experience, we all assimilate that experience in different ways. I want to examine the effects of tradition, culture and philosophy on the worldview that I have both constructed for myself and inherited from the world around me. I use the different materials and processes as vehicles to glimpse complex layers of context; layers that I feel I must peer through in order to at least partially examine my own life. I count on everyday imagery combined with these layers to convey the different inherited and acquired languages that I use to tell myself the everyday story of my everyday existence.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Bitumen, Encaustic Raw Canvas and Kitchen String on Mahogany Panel
Sold DotHereFordHerd - Detail, ReSourced Series
2015
Bitumen, Encaustic Raw Canvas and Kitchen String on Mahogany Panel
60x40 inches

There is a force that keeps them together...
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Bitumen, Encaustic, Raw Canvas and Kitchen String on Mahogany Panel
Sold DotHereFordHerd, ReSourced Series
2015
Bitumen, Encaustic, Raw Canvas and Kitchen String on Mahogany Panel
60x40 inches

There is a force that keeps them together
There is a force that makes them move.
The driven and the drivers
Harvesting that what they need.


From the ReSourced Series - In the ReSourced Series, I was thinking of an energy, massive but contained. An energy unlocked, like a tricky puzzle. Wrangled, not fully tamed but not completely unleashed.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Bitumen, Kitchen String and Encaustic on Reclaimed Garage Floorboard
Sold DotRipples, ReSourced Series
2015
Bitumen, Kitchen String and Encaustic on Reclaimed Garage Floorboard
13x12 inches

After the Initial impulse,
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Bitumen, Kitchen String and Encaustic on Reclaimed Garage Floorboard
Sold DotRipples, ReSourced Series
2015
Bitumen, Kitchen String and Encaustic on Reclaimed Garage Floorboard
13x12 inches

After the Initial impulse,
All we can do is watch
As the waves of consequence expand and disperse

From the ReSourced Series - In the ReSourced Series, I was thinking of an energy, massive but contained. An energy unlocked, like a tricky puzzle. Wrangled, not fully tamed but not completely unleashed.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Bitumen, Canvas, Kitchen String and Encaustic on Reclaimed Garage Floorboard
Cultivated - detail, ReSourced Series
2015
Bitumen, Canvas, Kitchen String and Encaustic on Reclaimed Garage Floorboard
12x12 inches

A storm approaches,
Foreboding shadows lengthen, stretching that line
The one between needed precipitation and destruction
However, the alternative is dust.

From the ReSourced Series - In the ReSourced Series, I was thinking of an energy, massive but contained. An energy unlocked, like a tricky puzzle. Wrangled, not fully tamed but not completely unleashed.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Bitumen, Encaustic Ricepaper on Cherry Panel
Sold DotAfter The Deluge: Still Standing - Detail, ReSourced Series
2015
Bitumen, Encaustic Ricepaper on Cherry Panel
23x32 inches

A concrete wall in a powerful natural flow

From The ReSourced Series
In the ReSourced Series, I was thinking of an energy, massive but contained. An energy unlocked, like a tricky puzzle. Wrangled, not fully tamed but not completely unleashed.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Bitumen, Encaustic Ricepaper on Cherry Panel
Sold DotAfter The Deluge: Still Standing, ReSourced Series
2015
Bitumen, Encaustic Ricepaper on Cherry Panel
23x32 inches

After The Deluge: Still Standing,
A concrete wall in a powerful natural flow
Iron stained, homey, homely
Well lived-in, well used
Fragile and organic?
That would be those it protects.

From The ReSourced Series
In the ReSourced Series, I was thinking of an energy, massive but contained. An energy unlocked, like a tricky puzzle. Wrangled, not fully tamed but not completely unleashed.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Watercolour Painting Collage with Overlaid Fibre Construction
Sold DotLast Refuge - detial, Accumulated Landscape Series
2012
Oil and Watercolour Painting Collage with Overlaid Fibre Construction
48x65x1 inches

Detail of collage elements, oil paintings, watercolour paintings, embroidery and applique.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Watercolour Painting Collage with Overlaid Fibre Construction
Sold DotLast Refuge, Accumulated Landscape Series
2012
Oil and Watercolour Painting Collage with Overlaid Fibre Construction
48x65x1 inches

Identities change over time.
Materials are physically altered
by usage and re-usage.
Identity can be reinvented,
but no matter how strong and
redirected is today’s purpose,
it cannot completely obliterate
the previous lives of the object.

This accumulation of identities
leaves a patina of physical surface texture
where the layers of accumulated meanings
can be read.
So yes, some of those rocks are fun fur
from past Halloween costumes.
Those are recycled pieces of
oil and watercolour paintings
otherwise unfit for public consumption
And some coffee stained canvas test strips
dredged up from the bottom of the scrap bin

join the two subject figures
and look out from this refuge
to the great world beyond.

or hide in here
see if the two silhouettes
can peer this way
down into the
back of the cave.

Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Fleece, Roving and Single Ply Wool Tapestry (felted after weaving), Aluminum Bars and Found Wood Block
Sold DotLogan Burn - detail felted tapestry, Sunday 2PM Series
2013
Fleece, Roving and Single Ply Wool Tapestry (felted after weaving), Aluminum Bars and Found Wood Block
55x38inches

Logan Burn is a tapestry composed of a cotton warp and a fleece, roving and loosely spun woolen weft. After removal from the loom it was turned into felt in a front loading washing machine. A drum carder was used to mix the fleece colours in an ongoing dialogue with the work as the piece was built up.
The two sided tapestry was sandwiched between aluminum bar “grills” that I hoped would mediate the space between the landscape and the viewer. Make certain that this is not a representation of standing in the landscape, but one of being slightly separated from it.
In that mind-space, I hope that Sunday 2PM; Logan Burn suggests a turn-around time; time to start in on the “back” part of an out-and-back journey. As with all of the Sunday 2PM pieces, I want the series to suggest a private or personal metaphor for a time of any day, a time of any year, a time of any life.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Fleece, Roving and Single Ply Wool Tapestry (felted after weaving), Aluminum Bars and Found Wood Block
Sold DotLogan Burn - Installed, Sunday 2PM Series
2013
Fleece, Roving and Single Ply Wool Tapestry (felted after weaving), Aluminum Bars and Found Wood Block
55x38inches

This piece had a working title of
Pooch Ruski (ski trails of Russia) or Logan Burn.

It is a tapestry composed of
a cotton seine twine warp and
a weft of fleece, roving and loosely spun wool.
After removal from the loom some needle felting
was applied and then the completed composition
was felted in a front loading washing machine.
A drum carder was used to mix fleece colours
in an ongoing dialogue with the work
as the piece was built up.
The two sided tapestry was sandwiched
between aluminum bar “grills” that I hoped would
mediate the space between
the landscape and the viewer;
make certain that this is not
a representation of standing in the landscape,
but one of being slightly separated from it.

The piece was suspended in
a floor to ceiling arrangement of wires.
Securely and obviously connected
to both the floor and the ceiling,
I wanted to create
a purely two dimensional plane in space;
wanted there to be
a definite sense of the solidity of the plane,
but without any physical depth.
In this way,
I wanted to create
a sort of mind-space,
rather than a physical space.

In that mind-space,
I hope that Sunday 2PM; Logan Burn
suggests a turn-around time;
time to start in on the “back” part
of an out-and-back journey.

Oh and that woodblock? Originally came from a Calgary BMO branch bank counter.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Oil and Encaustic on Burlap and Board
Vaulted Red Grid - ExKathedra Series
2011
Oil and Encaustic on Burlap and Board
12x11 inches

Paint is flat, canvas is flat, so is this board.
So why now, am I thinking
of vaulted cathedrals?
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Transparent Tapestry of Bleached Linen and Wool
Filter For A World Made Of Steel - detail all sided hem (no warp,no weft), Sunday 2PM Series
2014
Transparent Tapestry of Bleached Linen and Wool
70x27 inches - three panel Installation

Filters For a World Made of Steel

And the edging of
reverse-woven threads all around
makes warp indistinguishable from weft.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Transparent Tapestry of Bleached Linen and Wool
Filter For A World Made Of Steel - Installed, Sunday 2PM Series
2014
Transparent Tapestry of Bleached Linen and Wool
70x27 inches - three panel Installation

Intended to be almost a hand-made window screen;
the bleached linen has been severely stiffened
into panels of exact dimensions.
Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Wool felt and Oil paint on Raw Canvas
Sold DotReflected Koi - detail, Land in CloseUp Series
2010
Wool felt and Oil paint on Raw Canvas
28x44 inches

A layer of reflection highlights the impassible barrier
between creatures such as they
and creatures such as I.

Sharon Hogg 2015 Beneath the Long Grass: The Constructed Canvas Wool felt and Oil paint on Raw Canvas
Sold DotReflected Koi - detail, Land in CloseUp Series
2010
Wool felt and Oil paint on Raw Canvas
28x44 inches

Instead of a detached view of a distant scene,
Reflected Koi gets up-close, as close as I can.
Not quite a communication of simple direct experience.
A layer of reflection highlights the impassible barrier
between creatures such as they
and creatures such as I.

Landscape paintings describe humans
by describing their environments.
By landscape I don’t mean a land fully tamed,
but I do mean a land that is
subject to human interaction.
No pretense of wilderness here,
I am actively searching for human influence.

I want to locate interconnections between
the way I sense,
the way I understand and
the way I accumulate
my firmly grounded sense of place.