Daniel J. Clegg
I was born in Chilliwack to Richard and Daphne Clegg, both artistic folks in their own right. We moved to Ryder Lake in a couple years and I grew up in the forests of the Chilliwack River and Fraser River watersheds. I am self-taught, or rather taught by God, nature, family and friends. I have worked in
woodturning and carving, lutherie, pottery, photography, and painting in oil, acrylic, and watercolour. At present, I am working primarily in watercolour, in studio and plein air.
I paint things I know and love. My upbringing formed strong relationships with plants and landscapes and I now try to communicate those experiences. I follow a school of thought that believes in the soul of all experience, and nature as an analogical intermediary between God and human beings. I hope my work can show beauty in a way that helps people see things.
Russian impressionism, straight photography, phenomenology/rationalism, Mennonite Christian worldview, Taoist thought, Sam Rocha, Edward Weston, Paul Strand, Georgia O’Keefe, Emily Carr, Hong Seongil, Josef Schmidt, Anson Vogt, Dmitry Permiakov, Tad Retz, Alexy Savchenco, Mark Carder, Harry Stooshinoff, Eric Merrell, Atanas Matsoureff.
I try to reduce waste produced by painting. I don’t put wash-water down the drain, minimize rags used, and avoid lead and cadmium. I am experimenting with locally and responsibly producing pigments, binders, paper fibres, and brush hairs. This remains an aspiration—please inquire about specific works.
As an English, Manx, and Irish Canadian, I recognize the privilege of working in unceded territories in Chilliwack and Vancouver to which Indigenous people hold rights and title. My current doctoral dissertation addresses violence against Indigenous land-based worldviews in curriculum. I hope my artistic work can also support folks’ relationships with land and stewardship efforts.
I strive to use long-lasting archival materials. I use very lightfast and permanent pigments. I use acid-free and buffered papers, and for mounting, acid-free, lignin-free, and buffered conservation mats and acid-free backing and tape. I use acrylic gesso under oils. Please inquire for exceptions and details about specific works and for care instructions. Note: it is always a good idea to limit direct sun exposure of any art.
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