Audrey Nicoll -visual artist

Audrey Nicoll -visual artistAudrey Nicoll -visual artistAudrey Nicoll -visual artist

902-279-0402

902-279-0402

Audrey Nicoll -visual artist

Audrey Nicoll -visual artistAudrey Nicoll -visual artistAudrey Nicoll -visual artist

Audrey Nicoll

Audrey NicollAudrey NicollAudrey Nicoll

beginnings  & endings & connections

Explore Our Artwork

About Audrey Nicoll




My studio is located on top floor of the hundred year old barn on our property in rural Nova Scotia, Canada. It used to be the old chicken coop that helped feed the family of ten that grew up on the property. It is a property with history captured in giant oaks, elms, maples, sprawling apple trees, and toys & cutlery discarded in garden beds to resurface decades later. 





About Audrey Nicoll visual artist

History

Born in Scotland immigrating to Canada as a young child, eventually ending up on the West Coast of Canada, where  I grew up surrounded by the forests and the sea. My love of drawing was encouraged by my elementary school art teachers and evolved into a life long practice of both creating and teaching art. 

My early environment deeply influenced the focus of my work -our complex relationship with the natural world.  It evolved from simple observation and delight through the politics of conservation to land at a place of recognition where the transience of the human experience parallels nature's cycles of growth and decay. Both are deeply entwined, fragile, yet resilient.  

Process

My art practice is predominantly one of drawing focused on motifs from the natural world. It is a process of observing, responding, and paring the mark down to its essence. The palette is limited, mostly earth tones or black and white, which often creates a quiet sensibility, but has been known to wander into the dramatic.

Earlier work involved research into the scientific, sociological, and mythical aspects of the subject becoming a way of knowing and understanding through layered juxtaposition of image and text. My current process continues with unexpected juxtaposition of images in a simpler, pared down composition based more on quiet narratives than complex politics.

Grounded in the Lost & Found

In times of upheaval, I turn to the sea or the earth to regain a grounding of body and mind. I grew up wandering through the woods and along the shores observing, drawing, and collecting gifts -the remains of animals, plants, rocks, shells, and whatever would fit into my pockets. These objects became the Lost and Found collection -a somewhat random assemblage that speaks to the cyclical nature of life, the beauty of a form left to decay, and my relationship with the natural world. It serves as a reminder of the fleeting nature of existence and the necessity to pay attention as I move through this life. 


My earlier work has dealt with our often destructive relationship with the environment, informed by science, data, and social impact. This series of drawings is a more personal response filled with both joy and sorrow, solitude and communion. The act of drawing is itself a grounding process where one works in the moment connecting hand to paper to relic to meaning, hopefully finding the quieting of the mind translated into image. 


I have been absent from my studio for a while. It has been an absence steeped in the fragility of the human body torn by age and illness amidst a global upheaval. The effort to return to the studio became an act of resistance -a desire to find calm and substance. Where slowly the rituals of studio unfolded a body of drawings that evolved from simple portrait to visual elegy. Where each one evokes the resilience of a life lived and quietly renewed. Where I became grounded in the lost and found.

GROUNDED IN THE LOST & FOUND

STELLA'S APPLE BLOSSOMS FOR HELEN

Mixed Media on Paper

24" x 36"

$1200 CAD

WEST COAST CHILDHOOD

Mixed Media on Paper

24" x 36"

$1200 CAD

WINTER SUSTENANCE

Mixed Media on Paper 

24" x 36"

$1200 CAD

SUSAN'S GIFT

SUSAN'S GIFT

Mixed Media on Paper

24" x 36"

$1200 CAD

LARK'S LAMENT

Mixed Media on Paper

24" x 36"

$1200 CAD

SOPHIE'S TARANTELLA

Mixed Media on Paper

24" x 36"

$1200 CAD

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7 SIGNS OF THE APOCALYPSE

Taking traditional samplers as inspiration and giving it a contemporary twist with vintage linens in 2013, these samplers critique the notion of traditional women's work and contemporary politics. Unfortunately, this series bears more relevance today than it did when first created.


7 SIGNS OF THE APOCALYPSE

OVERWHELMING GREED

Cotton Thread on Vintage Linens with Embroidery Hoop

CELEBRATED IGNORANCE
Cotton Thread on Vintage Linens with Ebroidery Hoop

CELEBRATED IGNORANCE

Cotton Thread on Vintage Linens with Embroidery Hoop

UNBEARABLE CRUELTY

Cotton Thread on Vintage Linens with Embroidery Hoop

RAMPANT DENIAL

Cotton Thread on Vintage Linens with Embroidery Hoop

PARALYTIC FEAR

Cotton Thread on Vintage Linens with EMbroidery Hoop

COMPLETE DISMISSAL

Cotton Thread on Vintage Linens with Embroidery Hoop

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Requiem: Apiary

Requiem: Apiary is part of a larger ongoing body of work that looks at current food production practices and the impact upon our environment and global community. The honeybee and other pollinators contribute considerably to overall global food production, and their departure from our eco-system demands attention. This small series of drawings commemorates their contribution and some of their extraordinary characteristics. Each drawing pulls from a long history of symbolic and scientific notations associated with the honeybee starting with the structural underlay of the honeycomb as a unifying device for this series. It is the honeybee’s production of honey that instigated our interest and prompted associations with the gods. Ancient Egyptians made honey cakes by the thousands as offerings to their dead, which then required an extensive honey production industry. Itinerant beekeepers sailed barges down the Nile following the growing seasons. Filled with apiaries, the bees did double duty pollinating crops and producing honey for ritual offerings. A similar practice continues today when millions of bees are transported across North America in semi transport trucks to pollinate crops from California to Nova Scotia. Unfortunately, this practice has a 30% bee mortality rate due to stress and what appears to be malnutrition. It is also a contributing factor to the spread of parasitic infections and disease amongst the continent’s bee population. Yet it is a necessary component of food production. 

Apiaries have been a consistent component of food production since we figured out how to contain them within a domestic environment. A vital component to historical gardens, particularly monastic gardens, apiaries provided honey and more importantly beeswax. Beeswax tapers provided both literal and metaphorical light and thus maintained honeybees’ association with the sun, the gods, and enlightenment. The church provided sustenance for both body and soul with the honeybee inextricably entwined. It wasn’t until the 18th century, during the Industrial Revolution in Britain, that the church’s duty to feed its flock came to full prominence. A system of parish allotments was created out of a dire necessity to feed the rural poor. Over time, this system waxed and waned as necessary returning to Britain during the World Wars to supplement food rations and continuing today in the form of urban community gardens throughout the world. It’s success as a means to feed and potentially provide a source of income for the disadvantaged has inspired Non-Governmental Organizations (NGOs) to recommend and support the implementation of community gardens (allotments) in areas of food insecurity.  

Elements of the garden, pollination, and transience are woven throughout these drawings. They are but a small part of my fascination with the honeybee and its struggle to survive. Einstein once said that if we loose our bees, we have five years to survive as a species. Perhaps then it is also a fascination with our own ability to survive.

Requiem Apiary

Allotment

Mixed Media on Paper

60" x 95"

Conception & Demise

Mixed  Media on Paper

60" x 93"

Smoke Screen

Mixed Media on Paper

60" x 93"

Offerings To and From The Dead

Mixed Media on Paper

60" x 96" 

Ghost Bees

Mixed Media on Paper

60" x 93"

End of Eden

Mixed Media on Paper

60" x 95"

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Gallery Representation

My current work can be viewed in person at the Peer Gallery, 166 Lincoln Street, Lunenburg, Nova Scotia, Canada. Or at the gallery link belo

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Audrey Nicoll visual artist

1-902-279-0402


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