W. Van artist goes

ARTIST DRUE Delanty has
ted a frenetic life worthy of a
heroine in a pulp romance.

From being confined to a Catho-
lic convent at age 13 to working as
art director for a Samoan television
station, Delanty’s life: has been
chocked full of aciventure.

But her biggest risk so far was
revealing her art work to the
public for the first time after 18
years of confining it to the walls of
her Horseshoe Bay home.

Now 40-something, Delanty
wishes others would take the bold
step and buy new art.

“It’s hard for people to buy art
because it puts their taste on the
line,’ explains Delanty, clutching
a cup of black coffee and chain
smoking. “On the other hand,’’
she says, “it's O.K. to buy a VCR
because nobody questions your
taste.”

Delanty’s work is a far cry from
the safeness of a VCR or mass-
produced generic prints that dom-
inate the market.

Her paintings are a visual pot-
pourri of styles, merging classical
with fantasy. On one wall a
Hellenistic male nude floats

EVELYN
JACOB

spotlight feature

through a multi-colored checker-
board sky. On another, a woman
who has just woken up gazes in-
tenily into a mirror at her made-up
image. Unlike the nude, Delanty
has painted a menacingly modern
look into this piece.

“It took me a long time to
show my work,” she says staring
at the painting. ‘1 thought, why
subject people to my viewpoint?
And then that got scary because |
thought maybe I don’t have a
viewpoint.”

Hers is a unique viewpoint, to
say the least. It is the product of a
unique life,

“My first art teacher was a
nun,” she declares with a grin. It
was within the walls of a Toronto
convent where Delanty received
her first formal art training. Mother
Martha,“who could have been
ar incredible forger,”” became her
teacher and mentor.

‘NEWS photo Mike Wakefield

HORSESHOE BAY artist Drue Delanty had her first exhibit after 18
long years. Delanty’s style is a mixture of modern, classical and fan-

tasy.

“Mother Martha was only 5'2”
with jowls that went this way and
a tush that went up and down,”
Delanty recalls with delight. ‘She
taught us how to imitate the
masters, paint drapery, flesh tones
-- things that aren’t taught any
more. And you didn’t even realize
you were being taught.”’

Before Mother Martha, Delanty
says she doesn’t remember seeing
any women artist role models. “‘t
sort of felt like | was striking out on
my own,”’ she says.

Delanty, like all women in her
family, spent the major part of her
teens growing up in a convent. “I

suppose it was so we'd marry doc-
tors and learn to curtsy for the
queen,” she says. But she was the
first to break family tradition when
she climbed over the wall of the
convent and got herself kicked
out.

See W. Van
Page 28

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