Grizzly Col, 2024
Upper Kananaskis Lake, 2024
Reaching Aspens, 2024
Sea of Fertility, 2022
Oil on linen.
40 x 60 cm.
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The foothills near Laza, which seem to be draped in green velvet. The richness and fertility of these mountains pours down on you, and this plenitude was reflected in the overwhelming hospitality I received on my trip to Qusar. The landscape is depicted without sky or foreground. The soft, undulating mountainside takes up the entire field of view, so that the observer might feel they could reach out and touch it.
40 x 60 cm.
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The foothills near Laza, which seem to be draped in green velvet. The richness and fertility of these mountains pours down on you, and this plenitude was reflected in the overwhelming hospitality I received on my trip to Qusar. The landscape is depicted without sky or foreground. The soft, undulating mountainside takes up the entire field of view, so that the observer might feel they could reach out and touch it.
Enfolded, 2022
Oil on linen.
80 x 60 cm.
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An imagined view from the heart of Bayil, composed of both the outer and inner layers of the neighborhood. Finding a house here feels like delving into a labyrinth. Each turn into a narrow side street obscures more of the sky and brings you to places hidden away from the cliff-top villas hanging overhead, to where people take care of the simple daily tasks that make life more dignified. The focal scene of lively plants, a cat, and hanging clothes draws the gaze inward using unrealistic perspective and a shift in contrast and vibrancy, giving a sense of being hemmed in, and of warm invitation.
80 x 60 cm.
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An imagined view from the heart of Bayil, composed of both the outer and inner layers of the neighborhood. Finding a house here feels like delving into a labyrinth. Each turn into a narrow side street obscures more of the sky and brings you to places hidden away from the cliff-top villas hanging overhead, to where people take care of the simple daily tasks that make life more dignified. The focal scene of lively plants, a cat, and hanging clothes draws the gaze inward using unrealistic perspective and a shift in contrast and vibrancy, giving a sense of being hemmed in, and of warm invitation.
Titanic Potential, 2022
Oil and acrylic on linen.
80 x 100 cm.
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The icy peaks of the Greater Caucasus looming over a river notorious for flash floods. For now the Kish River is just a trickle, allowing cows to wander through the gully, and an artist to take advantage of the view. The mountains are patterned like the geometric mirrors found in the Palace of Sheki Khans, in order to relate the power of the mountains (which can wash away the town) to the power of the Khan (who can sever the hands of the artist who decorated his palace). This artist reminds me of Tural (@moyufov), who struggled to become an artist against the opinions of family and society, and of the Titan Prometheus, who was exiled in these mountains. The cows walking between the artist and the mountain refer to Tural’s grandmother, who supported his dreams by selling milk and cheese.
80 x 100 cm.
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The icy peaks of the Greater Caucasus looming over a river notorious for flash floods. For now the Kish River is just a trickle, allowing cows to wander through the gully, and an artist to take advantage of the view. The mountains are patterned like the geometric mirrors found in the Palace of Sheki Khans, in order to relate the power of the mountains (which can wash away the town) to the power of the Khan (who can sever the hands of the artist who decorated his palace). This artist reminds me of Tural (@moyufov), who struggled to become an artist against the opinions of family and society, and of the Titan Prometheus, who was exiled in these mountains. The cows walking between the artist and the mountain refer to Tural’s grandmother, who supported his dreams by selling milk and cheese.
Heat Mirage, 2022
Oil on canvas.
40 x 70 cm.
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The Soviet apartment blocks, natural gas flares, and bold modern architecture of Baku seen through the heat distortion of the ‘eternal flame’ of the Ateshgah. Baku is only possible because of the resources that fed those sacred fires, yet most Azerbaijanis don’t feel they benefit from the oil and gas industry. The city is depicted as both an ancient premonition come to life and a mirage.
40 x 70 cm.
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The Soviet apartment blocks, natural gas flares, and bold modern architecture of Baku seen through the heat distortion of the ‘eternal flame’ of the Ateshgah. Baku is only possible because of the resources that fed those sacred fires, yet most Azerbaijanis don’t feel they benefit from the oil and gas industry. The city is depicted as both an ancient premonition come to life and a mirage.
Searching For Lachin, 2022
Oil monotype on paper.
49 x 76 cm.
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A Lachin-like landscape of rolling green hills, silvery mountains, and red rooftops. Due to the presence of landmines, I could not travel to Lachin with Yusif Mirza. Instead, I learned about Lachin through his stories, paintings, and photos. The monotype technique turns the landscape into a ghostly impression, like my vague mental image of the place.
49 x 76 cm.
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A Lachin-like landscape of rolling green hills, silvery mountains, and red rooftops. Due to the presence of landmines, I could not travel to Lachin with Yusif Mirza. Instead, I learned about Lachin through his stories, paintings, and photos. The monotype technique turns the landscape into a ghostly impression, like my vague mental image of the place.
The Fortress City, 2022
Oil on linen.
80 x 160 cm.
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The cliffs of Shusha as seen from the new Victory Road. At this time, Shusha was still inaccessible to most people due to both security restrictions and its inherent nature as a fortress city built on a mountain. The carpet ornaments act as symbols, telling the story of my experience there and things that Ramiz Abbasov shared with me about his home. The fences of “mullah basha” evoke borders, protection, and obstruction. Fractured running water (axan su) ornaments refer to mineral springs that have run dry. Bird ornaments trace a hopeful song in the sky, and the tree of life takes the form of a cherry blossom tree with a flower for each year that Shusha’s residents have been unable to return home.
80 x 160 cm.
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The cliffs of Shusha as seen from the new Victory Road. At this time, Shusha was still inaccessible to most people due to both security restrictions and its inherent nature as a fortress city built on a mountain. The carpet ornaments act as symbols, telling the story of my experience there and things that Ramiz Abbasov shared with me about his home. The fences of “mullah basha” evoke borders, protection, and obstruction. Fractured running water (axan su) ornaments refer to mineral springs that have run dry. Bird ornaments trace a hopeful song in the sky, and the tree of life takes the form of a cherry blossom tree with a flower for each year that Shusha’s residents have been unable to return home.
Storm in the Fall, 2022
Elm Catching the Last Light 2, 2022
Bow River Headwaters, 2020
Oil on canvas.
20 x 16 in.
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A landscape found on a hike up Mount Jimmy Simpson, looking southwest towards Vulture Peak, which is barely visible in the background. The river in the foreground is the beginning of the Bow River, fed by the Bow Glacier just out of frame to the right.
20 x 16 in.
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A landscape found on a hike up Mount Jimmy Simpson, looking southwest towards Vulture Peak, which is barely visible in the background. The river in the foreground is the beginning of the Bow River, fed by the Bow Glacier just out of frame to the right.
Beam of Light on Mount Sarrail, 2020
Oil on canvas panel.
10 x 8 in.
10 x 8 in.
Miistukskoowa, 2020
Oil on illustration board.
15 x 9 in.
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A view of Eisenhower Peak and Rockbound Lake from the slopes of the eastern amphitheatre of Castle Mountain.
15 x 9 in.
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A view of Eisenhower Peak and Rockbound Lake from the slopes of the eastern amphitheatre of Castle Mountain.
Wenkchemna Pass, 2019
Sweltering Marsh, 2019
Soft pastel on coloured paper.
21 x 14 in.
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Developed from a drawing session done on location in northern Alberta. I was thinking of van Gogh and trying to reflect my emotional experience through mark-making and visual movement.
21 x 14 in.
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Developed from a drawing session done on location in northern Alberta. I was thinking of van Gogh and trying to reflect my emotional experience through mark-making and visual movement.
Candy Hills, 2019
Gold Ocean, 2019
Oil pastel on illustration board.
14.25 x 6.25 in.
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Drawn from a photograph of Nose Hill.
14.25 x 6.25 in.
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Drawn from a photograph of Nose Hill.
Prismatic Reservoir, 2019
House on the Bluff, 2019
Oil on illustration board.
7 x 5.5 in.
Painted on location at McHugh Bluff. This shows a large walled-in property overlooking Sunnyside, surrounded by woods. It’s a spot that’s always held mystery for me.
7 x 5.5 in.
Painted on location at McHugh Bluff. This shows a large walled-in property overlooking Sunnyside, surrounded by woods. It’s a spot that’s always held mystery for me.
Brewery Crows, 2018
Oil on hardboard.
12 x 7 in.
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Painted on location at the former Molson Brewery in Inglewood.
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Painted on location at the former Molson Brewery in Inglewood.
Suffocation, 2018
Watercolour, graphite, and oil on paper.
13.4 x 19 in.
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Painted from a photo taken at Big Lake, near St. Albert, Alberta.
13.4 x 19 in.
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Painted from a photo taken at Big Lake, near St. Albert, Alberta.
Plateau, 2018
Oil on wood panel.
24 x 12 in.
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A summation of many paintings undertaken at Nose Hill in 2017.
24 x 12 in.
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A summation of many paintings undertaken at Nose Hill in 2017.
Winter Flatness, 2017
Artificial Lump, 2017
Oil on hardboard.
11.75 x 8.5 in.
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Painted on location at Nose Hill. Some of the mounds atop Nose Hill are man-made and look out of place.
11.75 x 8.5 in.
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Painted on location at Nose Hill. Some of the mounds atop Nose Hill are man-made and look out of place.
cfrederiksen_unioncemeteryfixed
Sparking Bushes, 2017
Bridgeland, 2017
Oil on illustration board.
8.5 x 5 in.
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Painted on location overlooking Bridgeland, the neighborhood I lived in from ages 8 to 12.
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Painted on location overlooking Bridgeland, the neighborhood I lived in from ages 8 to 12.
Busy Valley, 2017
Light Stripes, 2017
Oil on illustration board.
11 x 6.5 in.
Painted on location in Confederation Park.
11 x 6.5 in.
Painted on location in Confederation Park.