Nevada Christianson

Tree Study I + zoom	Tree Study II + zoom	Begging Bowl + zoom	Aum Mani Padme Aum + zoom
Mendicant Monk + zoom	Baobabs II + zoom	Storming in Costa + zoom	For Ryokan + zoom
Baobab + zoom

Artist Statement

At this time, the idea of creating work that uplifts is important to me. I use simplified images from nature and illuminate them with bright, contrasting colors. I work with silver, bronze and gold leaf, as well as reflective ink and paint combined with resin to simulate the magical qualities found in nature. These may include the glint of sun reflected on snow, the shimmer of gold on a leaf in fall or the luminescent quality of the moon. My intention is to include an element of magic into each painting, which may in turn strengthen our appreciation for the natural world.

Having independently studied eastern philosophy throughout my lifetime, I have been strongly influenced by traditional Buddhist art, especially in the Tibetan tradition. Perhaps worth noting is that I often paint with a kitchen timer. The timer sounds every fifteen minutes and serves as a reminder to return to the present moment or transform negative thoughts into positive ones.

Education

University of Victoria, Fine Arts

Biography

I grew up in the Yukon and my earliest creative memory involves using wax
crayons to draw pictures on the side of our very hot woodstove. At the
time my creative efforts were not so well received. A few years later,
somewhere around the age of six, I recall my father sitting me down and
having me sketch pictures of my older brother, Harl.

I have always loved to write, draw and paint and if it weren't for skiing and climbing, I would have devoted myself more seriously to cultivating a disciplined creative life after university. Now I feel grateful to have found a balance between outdoor pursuits and working as an artist. The two past times compliment one another in a way that leaves me feeling challenged and blessed at the same time. I work out of a small studio in my backyard in Golden, BC and take plenty of time to ski, run and ride my bike.

What is your artwork about (underlying concept, focus, themes, intent, etc)?

On the most fundamental level, my focus is to create work that uplifts.

What informs your artwork, or what are your influences?

Recently I have become aware of how much I am influenced by the change of seasons; my whole palette shifts once the snow falls and shifts again when the leaves come out in spring. I am captivated by all species of trees and have been for years. They are magical to me and are often subjects of examination. I have also had a longstanding reverence for Buddhist philosophy and traditional Buddhist art

What matters to you most about the work that you do?

At risk of sounding didactic, I believe we all have the obligation to become self aware and muster the courage to follow our own hearts. That is what matters most about the work I do – it speaks to my heart. There is a Buddhist precept called Right Livelihood and it puts forth the idea that we should partake in work that is peaceful and does not cause harm. Working as an artist allows me to engage in work that is positive and energizing, which in turn allows me to be a more balanced person.

Do you feel you need to position your work within the context of art history and if so what's your take on that?

I can’t say the idea resonates at this time. Perhaps I will feel differently toward the end of my working life.

Is there a trigger or a starting point for each piece?

Ideas come from different places, but once they begin to form I start sketching until I get something workable that I like. Even though the image invariably changes once I start painting, I still like to begin with a specific idea and generally I have thought about it for some time.

How has your work evolved over the last five years?

I am starting to believe in myself more as a creative person and because of that my work has become more personal, more of an expression of my intimate thoughts. I think I am also a little braver and perhaps less concerned about what people think.

What is currently the central motivation for or conceptual concern in your work?

I have been reading a book of poems called One Robe, One Bowl and it is the translated writings of an 18th century hermit monk named Ryokan. He lived in the mountains in Japan and wrote the most beautiful, wise, poignant, and even lighthearted zen poems describing his life there. Lately I have been preoccupied with the images from those poems and creating work that incorporates them.

How does your physical/geographical environment inform the work you do?

Urban life seems to overwhelm me so I live in a very small town in the Rocky Mountain Trench. There is only one functioning traffic light, no parking meters and when dinner time rolls around the streets are deserted aside from the odd dog ambling through the neighborhood. It’s not for everyone, but I take solace in the predictability of the place. I find the regularity settling, which allows me to focus more on creating. The town is also situated between two mountain ranges, at the confluence of two rivers and is home to the Columbia River wetlands. As an appreciator of the natural world, I think is a special place. Having such immediate access to mountains, rivers and forests helps me stay connected to the earth, to myself and to the present moment. This brings vitality to my life and work that I doubt would exist otherwise.

What are your other passions in life and how have these influenced your work?

I love books, my bathtub, running through the forest in summer, ski touring in winter and my sweetheart who brings endless love, laughter and kindness into my life.

Why are you an artist?

When I paint, hours pass like minutes.