“effects of excess crying on the landscape is a series that explores imagined and emotive landscapes in dialogue with the existent political landscape. The gesture and lushness of the paintings correlate with a measure in time-- one can follow the drip of paint as held within its fall-- in this manner the paintings become bodily and enterable. The physicality of the paintings invites a concentrated meditation on the action inherent in the pieces, my time and emotion in the making--in the moment.
The series, effects of excess crying on the landscape, explores my unreal memories of land akin to the untouched and pristine; there is something mournful about an idyllic landscape in a modern context. Yet there remains within me an indoctrinated subconscious imbued with a history of landscape and the wilderness despite our current crisis.
The landscape is a universal subject-- of self, land and sky-- everyone has engaged in the horizon--an unattainable lived metaphor. The paintings are gestural poems; weeping landscapes. effects of excess crying on the landscape are landscapes of the soul. “
Angie Quick lives and works in London Ontario. She had a 2016 solo exhibition at Good Sport gallery and has participated in group exhibitions in London, Hamilton and Toronto. She has obtained several grants from the London Arts Council and Ontario Arts Council.
The latest vehicle for unleashing my creativity is pixels on cathode, be it 3d modeling, rendering, animation, packaging design or advertising work. Visual conveyance of thought and message continues for me to be a sacred dictum of sorts. It remains more than just a calling but rather ranks somewhere between pleasure and obsession.
Along the way, I’ve picked up a camera and been able to pursue another of my passions in photographing sporting events. Whether it’s the deliberate rhythms of baseball, the swift back-n-forth of hockey, the warp-speed contact of football or other trials of physical competition, I’ve always found sport to be the most riveting of reality shows and having the chance to cover it up close and tell its story through pictures has proven to be an exciting venture. It’s always a good feeling when you’re rewarded with the money shot after hours of being dogged and laying in the weeds, so to speak, and the moment happens just like you planned it.”
Tom captured the widely published and shared image of Bautista's bat flip in 2015. Read this interview with Tom about that experience!