- Angela Cowan Story

Story courtesy of , a Black Press Media publication
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After climbing several sets of narrow stairs and finding myself at the industrial-style door to painter Nicole Sleeth害羞草研究所檚 Fisgard Street studio 害羞草研究所� marked only by a small business card 害羞草研究所� I害羞草研究所檓 not sure what to expect.

Having been in a few artist studio spaces in Chinatown, I害羞草研究所檝e found that they all have their own personalities and quirks.

Nicole opens the door and ushers me in with a warm hello and an easy smile, her dog Poppy running to greet me as well. I decide the space fits her. It害羞草研究所檚 bright and open, inspiring yet uncluttered, with a dozen or so stunning canvases displayed along one long wall. The painted grey wooden floors and pale walls provide no distraction from her art.

害羞草研究所淚 love my space,害羞草研究所� she says, mentioning she害羞草研究所檚 only been here a few years. 害羞草研究所淚 feel so fortunate to have found it. The size is incredible. I害羞草研究所檝e never had this much space before.害羞草研究所�

The larger than life works that line the studio are from her current and ongoing series Gaze, and the women portrayed, who stare out at the world through their painted eyes wearing just their skin, demand a focus unto themselves.

It害羞草研究所檚 hard to shift my attention back, but Nicole offers me a seat and we start getting to know each other.

Born in Kingston, Ontario, she started painting as a hobby in 1998, and studied in a traditional art atelier fashion with Ottawa artist Bob Grant for eight years before continuing on her own. It wasn害羞草研究所檛 until 2011, when she was living in Vancouver, that she began painting and teaching full time, after an unexpected but ultimately fortuitous turn in her career.

害羞草研究所淚 got laid off from my job,害羞草研究所� she laughs. She害羞草研究所檇 been working at an art gallery, and with her newfound freedom, decided to start teaching to help make ends meet while she explored her own art. Within just a few short months of teaching at community centres, word spread and her classes grew large enough that she could move into her own studio.

害羞草研究所淚t took the pressure off of having to sell my art,害羞草研究所� she adds.

Three years later she made the move to Victoria and began offering classes here as well, with great success. Her weekly instruction welcomes everyone, regardless of experience (or lack thereof), and focuses on drawing and painting with a classical approach.

It was also in 2014 that she began her Gaze series after her first workshop at the New York Academy of Art.

害羞草研究所淚 did a particularly impactful workshop with Alyssa Monks, who is one of my most favourite artists,害羞草研究所� says Nicole.

Inspired, she started creating 害羞草研究所渓arge scale depictions of nude women who engage and actively challenge the viewer.害羞草研究所�

Each canvas stands independently, the women therein relaxing in poses of their own choosing. Their feet are firmly planted beneath them and their gazes turned unflinchingly on the viewer. Some seem to have a hint of defiance, others a calmness. All are grounded and clearly comfortable in their own skin.

害羞草研究所淚害羞草研究所檓 trying to keep it honest and genuine,害羞草研究所� she says. 害羞草研究所淚t害羞草研究所檚 not for the viewer害羞草研究所檚 benefit.害羞草研究所�

The series grew from both her passion for realism and a frustration at how women and their bodies are nearly always treated in media and art.

Always a certain body type, a certain age and a certain demographic. Often with faces turned away or with only select body parts highlighted, it all speaks to a focus on giving the viewer the chance to look, and look as long as they want.

害羞草研究所淭here害羞草研究所檚 no accountability,害羞草研究所� says Nicole. 害羞草研究所淚 just get tired of that, of certain body parts being more valuable than others. As a society, at least in this part of the world, I think we are too comfortable with voicing our approval or disapproval of women, particularly their appearance.害羞草研究所�

Nicole害羞草研究所檚 works step away from that, existing in their own right as honest portrayals of women.

Her work captures the spark of life in her models害羞草研究所� eyes, the textures of their skin, the humanity in their hands.

But step closer, and you also become viscerally aware that they have been intentionally created. Their edges soften into swirls and brushstrokes until it all deconstructs into light and shadow and pigment. That relationship between paint as an inert substance and something that can bring life to a canvas is something that fascinates Nicole. Though she works in realism, she strives to marry that with an awareness that each piece is still something that害羞草研究所檚 been created.

害羞草研究所淣ot photographic. Not strictly duplicating reality, but enhancing it,害羞草研究所� she says.

Her style and technique have been evolving over the last three years within the Gaze series.

害羞草研究所淚 am more careful with my first pass, more thoughtful,害羞草研究所� she says. 害羞草研究所淚 try to allow some movement too, to allow some edges to soften or disappear, and others to stand out. A huge thing I害羞草研究所檝e found is having their feet planted makes the models feel and appear more grounded.害羞草研究所�

And while she害羞草研究所檚 been involved in dozens of shows in the past, and says she害羞草研究所檇 eventually like to have a show with Gaze, there are no immediate plans for anything formal.

Without the pressure of trying to make all the pieces fit together, 害羞草研究所淚 can have each painting be the best painting it can be,害羞草研究所� she says.

In a way, her relationship with the art itself mirrors what she害羞草研究所檚 depicting in her portraits: no demands, just fluidity and an honest acceptance for what is. She has given agency not only to her models, but to the work itself, and her passion comes shining through again and again right to the end of our conversation.

害羞草研究所淚 like painting skin, I like painting women害羞草研究所檚 bodies,害羞草研究所� she says, her hands moving as she talks. 害羞草研究所淚 love the way people look. I think it害羞草研究所檚 fascinating, and I would love to see more curiosity about it. There害羞草研究所檚 just so much variation.害羞草研究所�

害羞草研究所淭here害羞草研究所檚 no judgment. This is just a body,害羞草研究所� she says. 害羞草研究所淭his is a person.害羞草研究所�