Artist Statement

Elizabeth-Greisman

View My Complete C.V. HERE

I was born in Toronto, Canada. I work both internationally and in Toronto as a Visual artist, curator ,Visual Arts administrator and Visual Arts educator. I am a graduate of York University, Toronto, Canada , in Visual Arts and Education, The Laban Centre in London England, in Dance Education and Ryerson University, Toronto Canada, in Landscape Design. Since 2001, I have participated in yearly Visual Arts international residencies where I have developed collaborations in the fields of dance, poetry, music, theatre, creative writing, medicine and cuisine. I have exhibited my work internationally and within Canada, highlighted by a show at the Canadian Embassy in Dublin Ireland and shows in Marnay sur Seine France. I curated and produced five multi-disciplinary shows for Nuit Blanche in Toronto on the six acres of the grounds at historic Spadina Museum, combining Visual Arts, installation art , theatre, music, medicine, science and video .

I began my artistic life at the Banff Centre in 1970, when I was a student of visual arts for the summer. I was enchanted. Much soul searching and personal development has occurred at the four Residencies at the Banff Centre.

The light in the studio is magical for me as a Painter, with strong clear sunlight, intense black shadows dominating, but my world is also that of theatre and of the botanical and humble vegetable garden. I apprenticed in the gardens at Spadina museum. 

Being a part of the community of artists, producing work that reflects what goes inside on those solitary walks as well as the conversations about collaboration, stretching boundaries, personal history, this is the essense of collaboration, individual work and mentorship.

I participated in the first Science Symposium at the Banff Centre in 2006 with Dr Wendy Wobeser on the HIV project. Since 2009, I have produced and directed 5 Scotiabank Nuit Blanche shows at Spadina Museum in Toronto, all multi-disciplinary, with a science and musical inclusion as well. I have participated in eighteen international residencies in a retreat format, The Tyrone Guthrie Centre, Ireland, The Cill Rialaig Project, Ireland, The Irish College In Paris, The Vermont Studio Centre, Vermont USA, Fundascione Valparaiso, Spain, La Maison Verte du Jardin Botanique, in Marnay sur Seine France, and the  Banff Centre.

In each of these settings I endeavoured to absorb my surroundings, and orientate myself almost meditatively, collegially, relying on instinct, rather than formula for work or success.

I desire access to the knowledge of collective intelligence from my peer artistic community , to help create as yet undreamed of opportunities, risks and forward thinking concepts, always ahead of the pack.

Beginning with the 2003 performance year, in Toronto I have been a guest visual artist of the National Ballet of Canada and also of the Tapestry Opera Company in Toronto Canada. These sketches have been developed into larger oil paintings in the studio which are reflective of the mediums of dance and opera. A a guest of both companies I have had the opportunity to liase performance art with visual art.

This past summer in Ireland at the Tyrone Guthrie Centre in Ireland, I developed work that reflects the “thin space”, a term meaning a space on earth where the distance between the world as we know it and the supernatural world are poised to merge. Emotions and creativity are heightened. I painted Fairy circles in an abstract manner , recalling the magic of the garden , the woods, and the passion of the art of creative thinking and painting.

The banners created for W-O-M-A-N for Nuit Blanche were part of a larger collaboration with Isabel Fryszberg and Wendy Wobeser. My oil paintings embodied personal experiences of learning horticulture and cultivation of the plants in Spadina Museum garden. Visions of the women of the house and visitors to the site, both past and present, were reflected in my offering. Mylar was used as a support in deference to the changeable elements. 

“Painted to the music of Miles Davis and John Coltrane, Elizabeth envisioned the floral bouquet setting the mood for the interlude.

Rhythm, colour, magic, intuited thought and abstracted form play a part in her compositions.

Dots and circles in shades of pure pigment dance across the page as the observer attunes music, light and shade to the celestial yet contemporary form.

Various plays of light create depth.

The paintings are created as  companion pieces to much larger exhibitions.”

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