Fiona Ackerman


Glassland l, 2016
Oil and acrylic on canvas
66 x 66 in., SOLD

Originally from Montreal, Fiona Ackerman is a painter living and working in Vancouver, BC. Since completing her BFA through Concordia and Emily Carr University of Art + Design, Ackerman has exhibited across Canada and in Europe. She received an honorable mention for the Kingston Prize for Canadian Portraiture in 2009, and was included in Carte Blanche 2: Painting, a survey and showcase painting in Canada (published by The Magenta Foundation, fall 2008). Most recently she was featured in the Jealous Curator’s new publication, entitled “Creative Block”, published by Chronicle Books, and was longlisted in the 2015 Sobey Art Awards.

While Ackerman’s work is diverse in style, it is deeply rooted in the practice of painting. Whether working on a wild abstract piece or a delicately rendered portrait, her approach is at once playful and meticulous. Through her painting, Fiona is continually reinventing the way she represents her world, her environment and the places of her imagination. In 2016, she showcased her studio still lifes in a dual exhibition at the Surrey Art Gallery entitled “Mimetic Workshop”, a study into the inner workings of the artist’s studio. Another exhibition of more new works will take place at Winsor Gallery in November of 2016.

About her work she writes:

My work has always been a balance between loose, expressionist painting and precise, meticulous editing and composing. In these works, playful compositions made on random pieces of paper are treated with calculated exactness. By rendering the collection with meticulous accuracy onto the canvas’ surface, taking into account placing and shadows, I wanted to explore the tension between the raw, dirtiness of painting, and the exactitude of composition, the relationship between chance and deliberation.

These paintings ask the viewer to blur the line between what we know, and what we believe. As a sensory experiment, we are asked to see both the lightness and temporariness of a paper instillation on the wall, and the unchanging permanence of painting. This 'captured moment' is a clear reference to photography while the content reminds us that in fact, painting is the true subject.