‘ment, and with his niother'’s
tacit | Spproval, snfolied at

ne waking moment. to the dis-

and éipline “ of. becoming a

bited in important: inter-
national exhibitions on three

continents, and his works
are represented in several
Canadian public and cor-
porate collections, only a
small portion of the artist's
prodigious‘ output has been
placed on public view at any
one time, beyond his native
Quebec. ,

The Vancouver = Art
Galery, in tribute to the
artist, and in keeping with its
policy of bringing the work
of important Canadian
attists to Vancouver, has
organized ‘an exhibition of
sixty-nine pieces, each
reflective of the ideas which
have occupied Hurtubise for
the past two decades.

Hurtubise has been
painting with a passion most
of his life. He began at
seventeen by copying repro-
ductions, postcards, comic
strips and the tops of choco-
late boxes, mounting his
canvasses on the back of a
refridgerator at the rear of
his fathers’ grocery store.

He soon realized he would
rather make art than help

run his father’s establish-"

Since: those: days in 1956

| he has ‘rarely deviated from a

demanding régimen of work,
seldom missing a day in his
studio.

‘While the works
assembled by-curator, Lorna
Farrell-Ward, provide a

survey of the artist’s career, .

the exhibition focuses on the
previously unshown, large
abstract colour paintings at
which Hurtubise has been
working for the past three
years.

He candidly acknowledges
his debt to the New York
School and the Abstract
Expressionist movement but
remains, by choice, an artist
nourished by Montreal’s
unique artistic development
with its extra-mural
references to France and
New York. .

Hurtubise's irrepressible
exuberance and zest for
painting is balanced by a
systematic and meticulous

‘approach to the process and

evolution of each work.
Form, colour, design, all are
precise and delibrately
executed. Even Hurtubise’s
characteristic “splashes” are
intentional and rio mere
accident.

THE CIRCUS
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DON'T MISS IT.
ITS PURE MAGIC.

The Shrine Circus ts coming to Vancouver

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“I don’t just paint for the
gestural way of doing it, like
the automatistes did,” he
explains. “If there is a drop
in my paintings, it is because

_I want it to stay there, other-
. wise I-have to take it off or to

make it disappear.”

Farrell-Ward, in the
catalogue . which accom-
panies the exhibition, writes:

“The role of a painter
must be the production. of
works that endure and
continue to be visually
arresting. It can become a
challenge, although difficult
— a winning or a losing on a
daily basis, Through his own
way of applying paint to
canvas and his will to express
himself exist all future un-
thought possibilities and self
discoveries. Hurtubise
challenges himself and takes
risks with his idea of what a
painting can be.”

To which Hurtubise adds
decisively.

“A painter is a man who
has to express himself into
painting. If he doesn’t do it,

‘well, I think he shouldn't

paint, that’s all. If he has to

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