Natu ral

4 NE MIGHT expect the painter of verdant floral ar-

| rangements to seek inspiration from her own
“es cultivated garden. But Mona Goldman isn’t the
‘least bit-interested in horticulture.

“4'd rather be painting,’’-ex-"
‘plains the diminutive artist whose
-_ ‘works are on display at-West Van- -
. coyver'’s Ferry Building Gallery
/ from ‘now until Sept: 13. ;
_. Awalk through the gasden of
‘the south Granville Tudor home
_ she has shared with her physician
“husband for nearly: 40 years and

4a have to irust. im ny ) intuition, core

"By Layne Christensen

Now Reporter

feplicas of their fiving counter-
(parts.--

_ “i start with the flowers then 1
work towards creating a paintin:
explains Goldman, w no ne wil edd

”

: ; pursue the areas. of promise . .. and
take risks. 77

oothis fact comes plainly into view.
An overturned lawn chair, a ;
“tangle of weeds and an overgrown
flower bed are all this sorry garden
has to offer.
“~ But a short flight of stairs up to ~
“-Goldman’‘s sun-drenched studio

~ above the garage and suddenly the,
‘most exquisite floral arrangements oe

. come into view.

” Acascade of purple phiox,a

spray of snow-white anemones
and a riot of blood-red poppies,
_ Spilling out over the collection ¢ of
canvases.
“The artist's floral paintings are.

rich and vibrant but far from exact .

- on pens.

“School | Districts |

- take risks,”

"=~ Mona Goldman

_ and ‘subtract. forms: and even turn

the canvas upside down before-
‘she senses the compasition is
complete. :
“have to trust my intuition —-
not think too much about what.
Vm doing — allow it to change,
-pursue the areas af promise, be .
-Unafraid te paint-over good areas
- thar detract fom the whele, and -
she says, admitting she.
never knows exactly how the can-
. Vas will look when it’s finished.
But flowers weren’t always the

. subjects of her dynamic paintings.
“x: Goldman was primarily a por-

trait artist until the age of 20 when

resou rces

Mona: Goldman paintings atthe Ferry Building

she left her native Toronto for
Chicago to study with Moholy-
Nagy at his Institute of Design in
the mid-’40s.

“It was the experience of my
- life, coming from a’sheltered
home to freedom and the interna-
tional world cf art,’ recounts
Goldman of-the two years she
spent at the institute learning from
the Hungarian-born sculptor,
painter and former director of the
Bauhaus movement.

~ The young artist put herself
through schoo! dressing windows ©
and transcribing Moholy-Nagy’s .
important treatise on design, Vi-
sion in Motion — no easy task
considering the master’s limited
gtasp of the English language.

“He would start a sentence on
one page and finish it three pages
later,’ recalls Goldman.

it was during these formative

‘ years that Goldman was introduc-

ed to the marvels of non-objective ’
art — paintings that develop solely
from the artist's mind.

For the next 26 years, Goldman, ,

who by the late-’ 40s had meved to

‘Vancouver and had started a fami- ©

ly, painted abstract works of art:
splatter-drip paintings in the ’50s,
vibrant slashes of color in the ‘60s,
“hard-edged forms in the ‘70s and

. ~organic.shapes i in the ‘80s.

Gradually Goldman's paintings
“had evolved from an intellectual
exercise into a celebration of
nature.

“4 was tired, of looking inward.

_See Never page 36 ,

sept: Foes #888

Thére is still ‘ao? in most day and.

evening classes
* High School completion
* Adult Up-grading
* English Language Training
* Vocation Training
* Leisure Courses"

libraries and at our:office, 2132 Hamilton; ‘N. Ve os

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