Workshops with Ian Griffiths
Saturday, May 12th 1 - 4 PM and Saturday May 19th 1 - 4 PM

May 12th - Landscape Painting on Red Ground

Find a fresher approach to landscape painting by using a red-gessoed canvas. The subject matter usually includes varieties of greens and blues. By allowing “squeaks” of background red to be seen around and through the features of a landscape, the contrasts enliven the visual effect

Typically, a basic palette of primaries, white and burnt sienna is all that is required, along with a few hog bristle brushes. (I recommend water-soluble oil paints to make clean up easy. No solvents are used.)

Working from personal imagery/photos that have a strong composition and strong contrast of light and shadow tend to offer the best results.

This approach is ideal for “plein air” painting as well. (Maybe some on-site painting around picturesque Vankleek Hill may follow?).

May 19th - Basic scumbling* techniques on a Black canvas

Looking to transition from light and shadow drawing results into oil painting? This session is ideal in helping you develop effective, elegant painting techniques.

All that is needed are a black-gessoed canvas, Payne’s grey and white oil paint and a few hog bristle brushes.

(Water-soluble oil paints ONLY, please.)

*A thin, opaque coat of paint or layer of shading applied to give a softer or duller effect.

Any questions? Don’t be shy, email Ian Griffiths at saxmanian@hotmail.ca. Include “Arbor Gallery” in your subject line.

Workshop is 3 hours in duration and cost is $30. You will be contacted as to which materials you will need to bring to the workshop.

Artist’s Statement - Ian Griffiths

After teaching Visual Art in Montreal for 35 years, I have returned to the challenges of painting in oils and acrylics.  My subject matter centers mainly on surface effects, distortion and the interplay of light using vintage toasters and coffee percolators.  Included in this exhibition are nine toaster sculptures that marked the start of my concentration on objects related to the breakfast theme.

However, I do not limit myself only to seductive images, sometimes exploring simpler, weathered wood compositions that afford me more freedom to create effects that border on abstraction.  Above all, spatial organization, movement and brush technique are critical concerns when I create paintings that invite the viewer to look again at objects perhaps not usually considered to be appropriate subject matter.

Superficial effects aside, my work also has a deeper personal meaning, and I challenge the viewer to find those messages within.


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