Francis Timothy De Rose
Tim De Rose
1964-1969 - Central Technical School, Toronto. Graduated from Special Arts
Program: Ceramics, Painting, Drawing, Graphics, Illustration and Sculpture.
Studios:
1968-1975 - First studios, Toronto. Part-time production, part-time
teaching, full-time studio technician, Central Technical School.
1975-1976 - Adolphustown, Ontario, Full-time production studio, part-time
instructor at St. Lawrence College, Pottery Dept., Kingston.
1976 to 2016 - Full-time studio potter and painter working in production stoneware raku, and landscape painting. Living and working at Wilton Pottery, with wife Diane Creber (porcelain potter).
2016 to Present-Painting Studio, Landscape painter
Pottery Shows:
1971 - Two person show with Roger Kerslake, "Earth and Fire" an
exploration of material and process, abstract structural and
environmental sculpture, wall panels, and fountains. Canadian
Guild of Potters, Toronto, Ontario.
1976 - Juror and guest lecturer for the first Ontario Potters Association Conference and Show, McMaster University, Hamilton, Ontario.
1976 - Jurors show with John Reeve, Angela Fina, Ruth McKinley, Roman Barkew, and Harlan House, McMaster University, Hamilton, Ontario.
1977 - Two person show with Diane Creber, "Contrasts". The Market Gallery, Kingston, Ontario.
1977 - One person show, "Environmental Stoneware", McMaster University, Hamilton, Ontario.
1978 - One person show and workshop, Ontario Arts Council Grant, Sault College, Sault St. Marie, Ontario.
1981 - One person show, "One-of-a-Kind" McMaster University, Hamilton, Ontario.
1981 - Invited to participate in a symposium "Clay in Ontario" with guest lecturer Kimpia Nakamura, muralist and architectural sculpture. Sheridan College School of Design, Oakville, Ontario.
1981 to present - Many one and two person shows in the Kingston area and at Wilton Pottery.
1996 - Wall panel commission for the Helen Henderson Library, Amherstview, Ontario. This consists of a triptych or three panels each 2' x 5'. The panels are set side by side to make a total area of 6'x 5' plus framing. They are low-relief sculpture in an abstract pattern made of stoneware clay and multi-glazed.
Painting Shows:
1999 -2000-2001-2002-2003-2004 One person painting show at the Springer Lounge, Grand Theatre, Kingston, Ontario.
2002-2003-2017 Windmills Cafe, Kingston, Ontario, One Person and Group Shows, Winter (painting and drawings)
1999-2000-2001-2002-2005-2007-2014 The Toronto Outdoor Art Show (painting)
2007 One person show, Gallery Raymond, Kingston (Painting), Kingston, On.
2007-2022 Group gallery artists shows, Gallery Raymond, Kingston
2005-2006-2007-The Salon, Kingston Artists Association, juried shows.
2008-2009-2010 One person and group gallery artists shows The Academy Gallery, Bath Ontario
2010 Juried group show "The Other Salon show", Robert Macklin Gallery, Kingston, Ontario
2012 One Person Show: "Eclectic Roots", Out In The Sticks Cultural Centre and Art Gallery, Yarker, Ontario
2014-2022 Men's group shows, Gallery Raymond, Kingston, Ontario
2013-2015 Two Person Shows, Peggy Morley and Tim De Rose, Gallery Raymond, Kingston, On
2015 to Present Gallery shows, Crescant Hill Gallery, Mississauga, On
2021 One person show, Art Noise, Kingston, On
2022-2023 Group Theme show, Crescant Hill Gallery, Mississauga, On
.Teaching and Related Activity:
1969 to 1975 - Central Technical School, Art Dept. Ceramic Technician, part-time instructor, summer school and night school instructor.
1976, 1977, 1978, 1985, 1986 - Haliburton School of Fine Arts, summer pottery instructor.
1975, 1976, 1984 - St. Lawrence College, Kingston, pottery instructor.
1979, 1980 - McArthur College, Queens University, Instructor summer school instructor credit program.
1980 - Georgian College, Barrie, Ontario, Workshop for The Arts Program.
1969 to present - Workshops given for most of the Province of Ontario's pottery guilds and pottery associations.
1985, 1986 - Kingfest, Kingston, Ontario. Pottery instructor.
1975 to present - Volunteer teaching in many local schools both primary and secondary.
Featured in:
Ceramic Monthly
Profile Kingston
Represented by:
Gallery Raymond, Kingston, On.
Crescent Hill Gallery, Mississauga, On.
Interests past and present:
Canoeing, kayaking, long distance cycling, walking, gardening, swimming, fishing, galleries, museums, traveling, good food and cooking.
ARTIST’S STATEMENT
Totems and the Imagery
What or why a person paints a specific subject matter often has no basis in the idea of design or will. If a painting is a story, then sometimes the story seems to tell itself. I have heard author/artists describe their process as deliberate and plotted. On the other hand, I have listened with more interest to authors/artists relate how the work told itself, and that they were acting as a scribe. This is how my paintings happen.
The theme that I’m offering with these two paintings is called Totems.
The notion of what a totem is, by definition, a representation of life. When you draw, paint or carve something from the natural world you automatically try to imbue its spirit or life. Where I live in southeastern Ontario, there were once great old growth forests of mixed species of trees.
The standout remnants of these vast forests are the small pockets of white pines that stand alone or in small groups. Old, weathered Pines stand as totems, representing beacons of tenacity.
As a culture, modern people have brokered new forms of totem that have no ties to the natural world. Economics and the symbols of power are their realms. Tall buildings represent the power symbols and structure of the urban landscape, economics and business are our guides.
No more parking lots please!
Well adapted to their environment, they survive and accumulate the various scars and losses in their conflicts with weather and man. They have become natural totems telling us everything we need to know and understand how vulnerable we are as a species. If we see.
On the western side of Kingston, On. there was a small stand of old growth white pines that had survived the onslaught of urban spread, malls, and road construction. They seemed to be well placed or well left alone depending how you looked at them. I marveled at how time and nature had sculpted their shapes giving them regal beauty and dignity.
Then one day I passed by on the way to town and they were gone. A car dealership had sprung up in their place, using the land for parking. Now I take photographs and paint the trees that still remain. Joni Mitchell was so right! “They paved Paradise and put up a parking lot.”
Tim De Rose
Tim De Rose
1964-1969 - Central Technical School, Toronto. Graduated from Special Arts
Program: Ceramics, Painting, Drawing, Graphics, Illustration and Sculpture.
Studios:
1968-1975 - First studios, Toronto. Part-time production, part-time
teaching, full-time studio technician, Central Technical School.
1975-1976 - Adolphustown, Ontario, Full-time production studio, part-time
instructor at St. Lawrence College, Pottery Dept., Kingston.
1976 to 2016 - Full-time studio potter and painter working in production stoneware raku, and landscape painting. Living and working at Wilton Pottery, with wife Diane Creber (porcelain potter).
2016 to Present-Painting Studio, Landscape painter
Pottery Shows:
1971 - Two person show with Roger Kerslake, "Earth and Fire" an
exploration of material and process, abstract structural and
environmental sculpture, wall panels, and fountains. Canadian
Guild of Potters, Toronto, Ontario.
1976 - Juror and guest lecturer for the first Ontario Potters Association Conference and Show, McMaster University, Hamilton, Ontario.
1976 - Jurors show with John Reeve, Angela Fina, Ruth McKinley, Roman Barkew, and Harlan House, McMaster University, Hamilton, Ontario.
1977 - Two person show with Diane Creber, "Contrasts". The Market Gallery, Kingston, Ontario.
1977 - One person show, "Environmental Stoneware", McMaster University, Hamilton, Ontario.
1978 - One person show and workshop, Ontario Arts Council Grant, Sault College, Sault St. Marie, Ontario.
1981 - One person show, "One-of-a-Kind" McMaster University, Hamilton, Ontario.
1981 - Invited to participate in a symposium "Clay in Ontario" with guest lecturer Kimpia Nakamura, muralist and architectural sculpture. Sheridan College School of Design, Oakville, Ontario.
1981 to present - Many one and two person shows in the Kingston area and at Wilton Pottery.
1996 - Wall panel commission for the Helen Henderson Library, Amherstview, Ontario. This consists of a triptych or three panels each 2' x 5'. The panels are set side by side to make a total area of 6'x 5' plus framing. They are low-relief sculpture in an abstract pattern made of stoneware clay and multi-glazed.
Painting Shows:
1999 -2000-2001-2002-2003-2004 One person painting show at the Springer Lounge, Grand Theatre, Kingston, Ontario.
2002-2003-2017 Windmills Cafe, Kingston, Ontario, One Person and Group Shows, Winter (painting and drawings)
1999-2000-2001-2002-2005-2007-2014 The Toronto Outdoor Art Show (painting)
2007 One person show, Gallery Raymond, Kingston (Painting), Kingston, On.
2007-2022 Group gallery artists shows, Gallery Raymond, Kingston
2005-2006-2007-The Salon, Kingston Artists Association, juried shows.
2008-2009-2010 One person and group gallery artists shows The Academy Gallery, Bath Ontario
2010 Juried group show "The Other Salon show", Robert Macklin Gallery, Kingston, Ontario
2012 One Person Show: "Eclectic Roots", Out In The Sticks Cultural Centre and Art Gallery, Yarker, Ontario
2014-2022 Men's group shows, Gallery Raymond, Kingston, Ontario
2013-2015 Two Person Shows, Peggy Morley and Tim De Rose, Gallery Raymond, Kingston, On
2015 to Present Gallery shows, Crescant Hill Gallery, Mississauga, On
2021 One person show, Art Noise, Kingston, On
2022-2023 Group Theme show, Crescant Hill Gallery, Mississauga, On
.Teaching and Related Activity:
1969 to 1975 - Central Technical School, Art Dept. Ceramic Technician, part-time instructor, summer school and night school instructor.
1976, 1977, 1978, 1985, 1986 - Haliburton School of Fine Arts, summer pottery instructor.
1975, 1976, 1984 - St. Lawrence College, Kingston, pottery instructor.
1979, 1980 - McArthur College, Queens University, Instructor summer school instructor credit program.
1980 - Georgian College, Barrie, Ontario, Workshop for The Arts Program.
1969 to present - Workshops given for most of the Province of Ontario's pottery guilds and pottery associations.
1985, 1986 - Kingfest, Kingston, Ontario. Pottery instructor.
1975 to present - Volunteer teaching in many local schools both primary and secondary.
Featured in:
Ceramic Monthly
Profile Kingston
Represented by:
Gallery Raymond, Kingston, On.
Crescent Hill Gallery, Mississauga, On.
Interests past and present:
Canoeing, kayaking, long distance cycling, walking, gardening, swimming, fishing, galleries, museums, traveling, good food and cooking.
ARTIST’S STATEMENT
Totems and the Imagery
What or why a person paints a specific subject matter often has no basis in the idea of design or will. If a painting is a story, then sometimes the story seems to tell itself. I have heard author/artists describe their process as deliberate and plotted. On the other hand, I have listened with more interest to authors/artists relate how the work told itself, and that they were acting as a scribe. This is how my paintings happen.
The theme that I’m offering with these two paintings is called Totems.
The notion of what a totem is, by definition, a representation of life. When you draw, paint or carve something from the natural world you automatically try to imbue its spirit or life. Where I live in southeastern Ontario, there were once great old growth forests of mixed species of trees.
The standout remnants of these vast forests are the small pockets of white pines that stand alone or in small groups. Old, weathered Pines stand as totems, representing beacons of tenacity.
As a culture, modern people have brokered new forms of totem that have no ties to the natural world. Economics and the symbols of power are their realms. Tall buildings represent the power symbols and structure of the urban landscape, economics and business are our guides.
No more parking lots please!
Well adapted to their environment, they survive and accumulate the various scars and losses in their conflicts with weather and man. They have become natural totems telling us everything we need to know and understand how vulnerable we are as a species. If we see.
On the western side of Kingston, On. there was a small stand of old growth white pines that had survived the onslaught of urban spread, malls, and road construction. They seemed to be well placed or well left alone depending how you looked at them. I marveled at how time and nature had sculpted their shapes giving them regal beauty and dignity.
Then one day I passed by on the way to town and they were gone. A car dealership had sprung up in their place, using the land for parking. Now I take photographs and paint the trees that still remain. Joni Mitchell was so right! “They paved Paradise and put up a parking lot.”
Tim De Rose
$6,000.00
Acrylic on stretched canvas.
48x84"
In a mixed forest you might see a small pocket of White pines. Dominating the grouping in this case is what some call a Mother tree. She seeds this small area and nourishes her young. She recognizes her position and even when she dies and falls to the ground she will still be beneficial to her offspring.
$3,500.00
Acrylic on stretched canvas (set).
40x60"
Photographed originally north of Amsterdam. This photo started a new series based on how trees are used to deflect the wind but also on the idea of how trees are used outside there natural habitat. They often suffer the ravages of improper placement and alienation.
$4,000.00
Acrylic on stretched canvas.
40x72"
This painting is at first glance a moody landscape but then as you look at the details more closely, the boughs become constructs of different animals. Creating totem imagery, the painting is trying to tie all life forms together and show a greater meaning to what we see in nature.
$4,000.00
Acrylic on stretched canvas.
40x72"
A description of how things that are taken for granted can often be more significant. The imagery attempts to do more than just be a pretty picture of some innocuous piece of nature.