B O B H A I N S T O C K

Bio & Statement

The Printmaker Studio

1688 Brow Of Mountain Road

Centreville, Nova Scotia, Canada, B0P 1J0

Phone: 902-582-3656

E-Mail: bjhainstock@xcountry.tv ,or,

bob@theprintmaker.ca

Bob Hainstock has told his stories for almost four decades – journalistic non-fiction

for newspapers and magazines in Western Canada for the first two decades, followed

by his visual fictions on canvas and paper in Eastern Canada for the second half. A

graduate of the Nova Scotia College of Art & Design, he currently operates The

Printmaker Studio in Nova Scotia where he works as a printmaker, painter and

workshop instructor. He continues as a visiting artist in provincial schools and

universities, and private workshops throughout the Atlantic region. He is represented

by galleries in most provinces across Canada.

Hainstock’s work frequently explores the increasing contrasts between a shrinking

rural influence and swelling urban populations, and between natural and human-made

environments. His studio and home are located 600 feet above Atlantic Canada’s

beautiful Annapolis Valley – giving a unique perspective to color and texture of

season and time of day. Bob Hainstock is an award-winning author and illustrator

of a best-selling book on rural architectural heritage, and an award-winning journalist

for news, feature articles, and illustration of rural life. His studio practices include a

full range of painting and printmaking techniques, as well as mixed media and

sculpture from natural materials. Hainstock’s rust prints have become his unique

signature within the printmaking world and also provide the distinct character to

his mixed media landscape work.

E D U C A T I O N

Bachelor Fine Arts, Nova Scotia College of Art & Design, 1996

Majored in printmaking and painting

University of Winnipeg (p/t student)

University of Manitoba (non-credit art, design courses)

E X P E R I E N C E

- Acadia University, p/t instructor and visiting artist (1998 - current)

- Ross Creek Centre For The Arts, instructor (2002 - current)

- Professional Artists In The Schools -- Annapolis Valley, South Shore, & Halifax

schools, invited instructor ( 1997 - current)

- Province of Nova Scotia, Art Bank & Cultural Grant programs, juror, several years

- University Sainte Anne, printmaking workshops, (2005, 2004)

- St. Michael’s International Print Shop, St. Johns, Nfld. artist-in-residence (2002)

- The Printmaker Studio, lessons & workshops (1996 - current)

- Nova Scotia Arts Council, juror, Peer Assessment (2001)

- Barns of Western Canada: An Illustrated Century, author & illustrator,

16,000 copies sold (1985)

- Collaborative Print Editions & Services for Other Visual Artists (1997 - currently)

- Artsinfusion, invited artist, Nova Scotia 5-Year Education Experiment (1997-2002)

- Winnipeg Free Press (daily), Winnipeg Tribune (daily), Brandon Sun (daily), Manitoba

Co-operator (weekly), Manitoba Business Magazines (monthly) – various positions,

including: artist, columnist, reporter, editor, publisher (1988-1964) Eatons, artist trainee

- Red River Community College, Winnipeg, advisor, Creative Communications

- Studied with a variety of artists in formal classroom and workshop settings, including:

Gerald Ferguson, Alex Livingston, Sara Hartland-Rowe, Edward Porter, Bob Rogers,

Leya Evelyn, Susan Wood, Susan Wakefield, Dan O’Neill, Patrick Monahan, Laura Millard,

Wayne Staples, Bruce Barber, David Umholtz, Robert van der Peer, Dan Mezza,

AWARDS & EXHIBITIONS selected venues

- Work Selected to Nova Scotia Art Bank (2005, 2004, 2003, 2002, 2000, 1999, 1998)

- Canada Council grant, individual creation (1983)

- Nova Scotia Arts Council grant, individual creation (1997)

- Landscape Season, solo, Art Sales & Rental Gallery, AGNS, Halifax (2010)

- Recent Works on Paper, Peer Gallery, Lunenburg (2010)

- Domesticated Landscapes, Arts on Atlantic Gallery, Calgary, Phil Secord Gallery, Halifax,

The Stall Gallery, Saskatoon, Harvest Gallery, Wolfville. (2009)

- Invited artist, 2^nd Annual International Printmaking Exhibition., Beijing, Seoul, Boston,

Miami, Palo Alto, (2008)

- Bob Hainstock, New Work, solo, Harvest Gallery, Wolfville (2007)

- Self Portraits, Invited Artist, Ross Creek Centre For the Arts (2007)

- Eight Printmakers, Kansai Int. Print Exh., Kyoto, Japan (2007)

- Bob Hainstock, New Work, solo, AGNS AR&R , Halifax (2006)

- Horizons, Textures & Patterns, solo, Ross Creek Art Centre, (2006)

- Landscape Fictions, solo, Harvest Gallery, Wolfville, (2006)

- Ink, Paper, Art, Argyle Gallery & NSPA, Halifax (2005)

- Cityscapes, Art Gallery Nova Scotia Sales & Rental (2005)

- Two Views,, Lunenburg Art Gallery, Lunenburg, (2004)

- Coastal Images, Art Gallery Nova Scotia Sales & Rental (2004)

- Vessels, solo, Wallspace Gallery, St. John’s, Nfld. (2003)

- New Work, duo, Artz Gallery, Halifax (2003)

- Transitions, juried, Argyle Art Gallery, Halifax (2003)

- Inksmithing, group, StFX University Gallery, Antigonish, NS (2003)

- Passages, juried, Pier 21 Gallery, Halifax, NS (2001)

- Sapporo International Biennale, juried, Sapporo, Japan (1998)

- Common Ground, juried, American Print Alliance tour 13 U.S. cities (2000-1998)

- Far & Wide Exhibition, juried, Visual Artists of Nova Scotia (2000)

- 19^th International Exhibition, juried, Kanagawa, Japan (1997)

- New Stuff, solo, Viewpoint Gallery, Halifax (2000)

- Fundy Textures, solo, Atlantic Theatre Festival, Wolfville, NS (1999)

- Contemporary Printmakers, juried, Bristol, England, and Dundee, Scotland (1998)

- 26^th & 25^th Bradley International Exhibitions, juried, Peoria, Illinois (1998, 1997)

- Nova Scotia Printmakers, juried, University of Virginia (1998)

- Fundy, solo, St. Johns University College, Winnipeg, Man.(1997)

- Scars & Textures, solo, Anna Leonowens Gallery, Halifax (1995)

- Contemporary NS Printmaking, juried, Quebec City, Quebec, & Halifax, NS (1997)

- Urban Fortress, solo, U of Manitoba, School of Architecture (1998)

- Collagraphs, solo, Portage Art Gallery, Portage la Prairie (1997)

- Alternatives, duo, ARCAC Artspace, Annapolis Royal, NS (1997)

- Mono Landscapes, solo, CentreStage Theatre, Kentville, NS (1999)

ARTIST STATEMENT

Landscape has been an important mirror of change in the fluid world of visual art, in

particular its reflection of recent shifts of influence from rural to urban cultures. Census

numbers no longer favor the rural experience and in the jargon of politics and marketplace,

the key factors in supply and demand for landscape art have gone uptown.

While it might be argued that landscape art has most often been an “elsewhere”

experience for artist and for viewer, the trend lines suggest fewer artists will be living

within the actual landscape, and that a majority will soon be traveling a good distance

from urban places to visually record their respective landscape ideas. At some future

point it may be that this urban shift will partially account for an increasing interest in

themes of industrial and urban landscape, interior landscape, or visionary landscape.

It remains to be seen whether this implies an increasingly “elsewhere” urban audience;

an audience perhaps more inclined to accept the pretty or the nostalgic image of a

distant or an idealized place. As density of urban population increases and skylines

become congested boundaries, the long, beckoning horizons of nature that so often

have been associated with human exploration and opportunity, will become a

second-hand experience crafted by and for weekend trespassers.

That is not to say that an artist has to live amongst the trees and streams in order to

convey the accuracy and spirituality within natural landscape. That would be an

impossible expectation for any other form of creative inquiry. But the huge shift

in urban/rural populations does contain important new dynamics for certain elements

of visual art, not only in the scope of artistic interest, but in its distribution, consumption,

and truthfulness.

In my own landscape work, elevation has become an increasingly important factor. Living

and working more than 600 feet above a constantly evolving landscape, provides

advantages that are unavailable to a normal, ground-level perspective. As we gain

altitude, density of landscape detail is replaced with pattern, texture and abstraction.

We begin to see the larger pictures and to understand the relationships between

humans and nature, and the connections or barriers between various types of community,

cultivation, and between eco-systems. For example, humans are the only life form

capable of creating the 90-degree angle so critical to engineered solutions. Only

with an elevated perspective can one begin to recognize the broad impact of this

man-made mark.

Perspectives down, into or across a valley allow glimpses of the subtle architectural

character of domesticated landscapes; a place where the use of vertical columns lend

strength to the hanging islands of horizontal woodlands and woven fields. Road patterns

continue this visual overlay of suspension cables that bridge the many rural places and

also recall the earliest patterns of farm in the New World.