Wednesday, 30 December 2015

Tuesday, 29 December 2015

River of Democritus - The Laughing Philosopher

River of Democritus - The Laughing Philosopher, o/b, 36" x 48", Steven Rhude

Available through the artist.

Thursday, 24 December 2015

River of Heraclitus - The Weeping Philosopher

River of Heraclitus, oil on board, 36" x 48", Steven Rhude
Available through the artist.

Thursday, 17 December 2015

Scale - AGNS

Fish Scale in the Art Gallery of Nova Scotia, o/p, 24" x 24", Steven Rhude

Available through the artist. 

Tuesday, 15 December 2015

Sunday, 13 December 2015

Saturday, 12 December 2015

Between the Lights

Between the Lights, 24" x 24", o/p, Steven Rhude

Available through the artist.

Thursday, 10 December 2015


Olympia with her Buoys, 44" x 62", oil on canvas, Steven Rhude

For sale through the artist.

 (currently on exhibit at the Art Gallery of Nova Scotia, Yarmouth)

Tuesday, 8 December 2015

Museum Piece

Boat in the Beaverbrook, oil on canvas, 36" x 48", Steven Rhude

Available through the artist.

Saturday, 28 November 2015

What's Green on the Outside and Red on the Inside?

Watermelon, o/p, 24" x 24", Steven Rhude

 Painting for sale through the artist.

"Watermelon is a word that tells you what is wrong with the climate change debate.
For some libertarians, it is the insult that expresses what greenies and climate scientists are really up to. Behind all the acronyms and the jargon, they say, is a conspiracy to promote a nakedly political aim – anti-big business; anti-free market; pro-tax increases. In short, green on the outside but red on the inside."

- James Randerson

There is a power to still life painting that will always prevail - that is the way metaphor can energize a discourse with something a simple and apparently as innocent as a watermelon. I find it fascinating that certain colours have been applied to political issues (think flags). "Greens, reds, blues, pinks", the list will expand as our social views congeal.

Steven Rhude, Wolfville, NS

Monday, 23 November 2015

The Circles of Rembrandt, Wolfville

Circles of Rembrandt, Wolfville, o/p, 24" x 50", Steven Rhude

 Painting for sale through the artist.

Inspired by the mysterious circles used by Rembrandt in his famous self portrait, the sun and moon in a Wolfville setting strikes me as a sensible place to start. When an artist co-opts the use of the circle, not only as an aesthetic, but a symbol in western art ranging from the social order to the heavens, Vasari's famous proverb comes to mind.

"...Pope Benedict IX of Treviso sent one of his courtiers into Tuscany to see what sort of man was Giotto, and of what kind his works, having designed to have some pictures made in S. Pietro. This courtier, coming in order to see Giotto and to hear what other masters there were in Florence excellent in painting and in mosaic, talked to many masters in Siena. Then, having received drawings from them, he came to Florence, and having gone into the shop of Giotto, who was working, declared to him the mind of the Pope and in what way it was proposed to make use of his labour, and at last asked him for some little drawing, to the end that he might send it to His Holiness.

 Giotto, who was most courteous, took a paper, and on that, with a brush dipped in red, holding his arm fast against his side in order to make a compass, with a turn of the hand he made a circle, so true in proportion and circumference that to behold it was a marvel. This done, he smiled and said to the courtier: "Here is your drawing." He, thinking he was being derided, said: "Am I to have no other drawing but this?" "'Tis enough and to spare," answered Giotto. "Send it, together with the others, and you will see if it will be recognized."

The envoy, seeing that he could get nothing else, left him, very ill-satisfied and doubting that he had been fooled. All the same, sending to the Pope the other drawings and the names of those who had made them, he also sent that of Giotto, relating the method that he had followed in making his circle without moving his arm and without compasses. Wherefore the Pope and many courtiers that were versed in the arts recognized by this how much Giotto surpassed in excellence all the other painters of his time. This matter having afterwards spread abroad, there was born from it the proverb that is still wont to be said to men of gross wits: "Tu sei più tondo che l' O di Giotto!"[Pg 79] ("Thou art rounder than Giotto's circle").

This proverb can be called beautiful not only from the occasion that gave it birth, but also for its significance, which consists in the double meaning; tondo being used, in Tuscany, both for the perfect shape of a circle and for slowness and grossness of understanding." [1] Vasari

[1]  Title: Lives of the Most Eminent Painters Sculptors and Architects Volume 1, Cimabue to Agnolo Gaddi Author: Giorgio Vasari Translator: Gaston du C. de Vere Release Date: May 5, 2008 [EBook #25326]

Steven Rhude, Wolfville, NS.

AGNS Installation View, Yarmouth NS

Installation photo of AGNS Yarmouth show "Capture".

Works from left to right:

 "Olympia with her Buoys", Steven Rhude,
 "Parade", Susan Garvey,
"Self Portrait", Richard Davis

Steven Rhude, Wolfville, NS

Friday, 13 November 2015

August Cod

August Cod, 51.5" x 39", oil on canvas, Steven Rhude


Recent commission.

Steven Rhude, Wolfville, NS

Wednesday, 11 November 2015

Realism at Art Gallery of Nova Scotia

Susan Gibson, Parade
Susan Garvey, Parade

Art Gallery of Nova Scotia - Yarmouth  

Capture 2014: Nova Scotia Realism

Curated by: Tom Smart and Peter Dykhuis
In the diverse history of Nova Scotian art, there is a consistent tradition of artists working in the Realist mode. From ship portraitists, landscape painters, and still life and trompe-l’oeil artists, to Magic Realists and those who work from photographic and digital sources, this pluralistic tradition is a vital part of Nova Scotian cultural identity.
Initiated by Professional Living Artists of Nova Scotia and developed in partnership with the Dalhousie Art Gallery, Capture 2014 is curated by Tom Smart (in consultation with Peter Dykhuis, Director/Curator of the Dalhousie Art Gallery). Generous funding for curatorial research from the Robert Pope Foundation, with additional project support from the Craig Foundation, made it possible.
The works are organized into categories and genres based on the concept of “capturing” experience, place or ideas through modes of Realism.
Realism’s long, sometimes uneasy, relationship with contemporary artmaking practices has often seen its proponents at odds with current mainstream or academic modes and genres. Capture 2014: Nova Scotia Realism seeks to dispel common assumptions about the nature of Realist art by presenting recent work by artists who are pushing its boundaries. Above all, the exhibition questions received notions of the status and place of Realism in the contexts of current art practices and contemporary society.

Organized by the Dalhousie Art Gallery in association with Professional Living Artists of Nova Scotia (PLANS).

Curatorial research funded by the Robert Pope Foundation with project support from the Craig Foundation. 
Tour assistance provided by the Art Gallery of Nova Scotia.

Alan Bateman
Douglas Boutilier
Malcolm Callaway
Anthony Clementi
Richard Davis
Tom Forrestall
Peter di Gesu
Susan Gibson
Christopher Gorey
Peter Gough
Adam Gunn
Paul Hannon
Ed Huner
Derrick Dale Johnson
Joy Snihur Wyatt Laking
Gord MacDonald
Roy Mandell
Katie Melanson
Yanina Movchan
Shelley Mitchell
Onni Nordman
Jayé Ouellette
Susan Paterson
Mary Reardon
Steven Rhude
Anna Syperek
Tom Ward
Ambera Wellmann

Wednesday, 28 October 2015

Realism Redux

The following works will be in the Secord Gallery exhibition: Realism Redux

The Home Coming, o/c, 33" x 50", Steven Rhude

Pleasantville, o/b, 24" x 48", Steven Rhude

Telephone, o/b, 24" x 24", Steven Rhude

Portrait of Caitlyn Jenner, o/b, 24" x 24", Steven Rhude

Cathedral, o/b, 24" x 24", Steven Rhude

Steven Rhude, Wolfville, NS

Sunday, 25 October 2015

Saturday, 17 October 2015

Making Things Matter: 5 Painters

Below are the 5 works I have included in the Making Things Matter show. Full colour catalog available from Gallery 78. Nice essay included by Leopold Kowolik.

Reception: Gallery 78
October 30th, 2015  5:00 PM to 7:00 PM - show continues to November 22nd, 2015
Location: Gallery 78
Phone Number: 506 454-5192
796 Queen Street
Fredericton, New Brunswick, Canada E3B 1C6

After the Storm, o/b, 24" x 48", Steven Rhude

Double Bind, o/b, 24" x 24", Steven Rhude

Ship of Theseus, o/b, 24" x 48", Steven Rhude

Splitting Table, o/b, 24" x 24", Steven Rhude

Post Cod Beach House, o/c, 36" x 48", Steven Rhude

The Textures of Nature

Stephen May, David McKay, Steven Rhude, Réjean Roy,
Stephen Scott

Nature seems so obvious. It’s right there; we live in it and
we are it. We say ‘naturally’ when the point is self-proving.
And yet what exactly is nature? Where is it? What does it
look like? It can be just as much an impression and a vibe
as something green and specific. For certain romanticizing
poets and artists of the past, nature was a pastoral idyll
in which to escape, a Utopia almost outside time, pure
and honest in a way human society can never be.

The five artists of Making Things Matter understand
the natures of things but without escaping anything.
And though we the viewer can take pleasure from some
escape into their paintings, it is what we return with that
matters. Painting here in the 21st century, Steven Rhude,
David McKay, Stephen Scott, Stephen May and Réjean
Roy know that there can be no Arcadia, no Utopian myth
– at least not in the way there was before. Now nature and
art have so much more in their story.

Nature and the nature of life is something we will find in
these artists’ work. But what they also have in common
is the shared thread of texture; this is what makes this
exhibition a grand statement on the nature of truth. Like
five students of the same subject, undertaking the same
assignment: so much is the same, only the method of
reaching the conclusion is different. Each ends with a
statement of nature, but each begins by exploring the
possibilities of texture in a different way.
Like nature, ‘texture’ can have a variety of meanings,
especially when used to discuss paintings. In the work
of these five artists, texture is extensively defined – from
the subjects within the paintings to the brushstrokes themselves.

Texture means something of oppositions – two or a few
elements rubbing against each other to produce something
new and often startling. For McKay and Rhude, this
textural energy is inside the subject matter of the paintings
– it’s a texture of contrasts between the objects they’ve
painted; for May and Roy the texture is on the surface, in
the paint itself; for Scott the textural relationship exists
somewhere between, in the amorphous tension of subject
suspended in paint.

Being able to hold the thread of a painting tightly is the
mark of a good artist. Such textural elements must be
stretched tight if the friction of the elements is to be
effective. Lesser artists may attempt to work with these
ideas of texture, but something usually gives, the line falls
slack, the suspension sags and the works don’t have that
captured energy that we see here.

For Rhude, there’s tension in the almost surreal contrast
of his subjects which are often placed in paradoxical
situations. You can feel the slight rub of confusion – why
is the buoy on the over-turned boat? How can the shed be
in the surf? In that moment of disjointed comprehension,
behind the smooth, enjoyable surface of the painting,
Rhude’s texture opens up a culture of enquiry – the
political meaning of unemployed fishermen for example
– a visual expression of our society’s pressing questions.
Rhude makes ideas into texture.

For McKay too, the texture is in the contrasts of the
subject matter: wiry trees in the foreground syncopated
against the horizontal rhythm of a barn side or the
horizon itself, or smooth globular rocks in front of a
teeming mysterious tree-line. The sensations that McKay
summons and captures weave the texture of a tartan rug
– not only in their colours and patterns but in the nuzzled
austere familiarity. He’s recalling something of a previous
time, another generation; McKay wants not the noisy
present of people but a stillness out of time. McKay makes
memory texture.

In Stephen Scott’s work, pleasurable visual friction comes
from the interaction of individual paint marks and subject
matter. Visual and physical paint texture is integrated into
his subjects; simultaneously, the subjects of the world that
matter to Scott are integrated and subsumed in paint. Our
eyes are acutely aware of brushstrokes and subject separately
but instantaneously. The contents of the paintings
– the stories and scenes – exist within the inner texture of
the material of the artwork. Scott finds and fosters texture
in the division and reunion of seeing and showing.

Stephen May tries to get out of the way of the subject altogether.
He wants to be a conduit for the reality of a subject.
We see naturally what May sees. His work is colour and
paint with as little interpretation as possible. Where there’s
tension, it’s in his striving to channel the reality without
filling-in any of the ideas or social contraptions. The
visual texture is a communion with something beyond.
It is fragile, fleeting and incomprehensible. And yet May
makes it understood, and permanent and palpable. This is
the paradox of art perhaps but May’s texture is paint made

May makes paint into nature; Réjean Roy makes nature
into paint. Of the five artists, Roy is perhaps closest to the
Arcadian dream of natural nature as found by a wandering
observer. With a style that makes paint sensory and
tangible, Roy captures in thick brushstrokes of texture
the scale and intensity of raw, powerful nature. In this
contemporary Arcadia, nature can be intimidating – but
that awe can be so rewarding to eyes that have viewed
too much human hubris and not enough respect for the
natural world. By capturing the light and the din of the
wilderness, Roy takes our eyes like hands, running them
through and over the world. Roy’s texture is the paint of a
real Arcadia.

Making Things Matter is an exhibition of nature as cast
through a many-tiered gauze of textures. More than that,
it is a display of the making of a natural world. These artists
observe and muse and then convert, direct, conduct
the bolts of their understanding onto surfaces for us to see
and consider and enjoy. They define nature. These matters
are nature. They are the world surrounding us that we
do not control and often do not notice – whether that is
memory or a garden plant. Indeed, nature can be the side
of a building or a porcelain vase or a maritime object just
as it can be a waterfall, wind in the grass, light falling, or
cliff-face silence. And herein lies the greater achievement
of this exhibition: it is not just the portrayal of the ‘things’
and surroundings of our naturally found world, it is that
these artists make these definitions of nature important.
“Not he is great who can alter matter,” said Ralph Waldo
Emerson “but he who can alter my state of mind.” And
this is the summit achieved by this exhibition: the artists
create art that matters. Emerson continues “They are the
kings of the world who give the color of their present
thought to all nature and all art, and persuade by the
cheerful serenity of their carrying the matter, that this
thing which they do, is the apple which the ages have
desired to pluck, now at last ripe.”

Rhude, McKay, Scott, May and Roy begin by looking
and rubbing together the things they find to create the
tensions and textures we’ve seen. The result is a natural
world that is significant. Each of these five artists makes
his art matter – they make statements and share understandings
that are vital. The great art critic Robert Hughes
could have been describing exactly this phenomenon
when he talked about the “direct, sensuous and complex
relationship with the world” which is the “lost paradise
that art can return to us.” The five artists of this exhibition
do not seek an imaginary escape into nature: They make
us feel natures through their textures and then make them
significant to our lives. As Mr Hughes concluded, “the
basic project of art is always to make the world whole
and comprehensible, to restore it to us… to close the gap
between you and everything that is not you.” This is the
grand statement of this exhibition: that nature is mysterious
and difficult to define and yet it can be captured
in between sliding textures of brushstrokes and subject
matters – and, moreover, that this can be understood and
matter to us all.

In the art of Making Things Matter these five artists show
a natural human engagement with our world, showing
nature as a real, complex Utopia – something older than
art and humans but as contemporary and essential as our
own ability to understand our experiences. This exhibition
shows us how to look at what matters, returning us to
ourselves along the way.

-Ralph Waldo Emerson ‘The American Scholar – an Oration delivered
before the Phi Beta Kappa Society, at Cambridge, August 1837’ in
Ralph Waldo Emerson, Essays & Poems (New York: Library of America,
1996) 65.
-Robert Hughes ‘The Shock of the New,’ Episode 8 (sl: BBC & Time-Life
Films, 1980) 48’20”

-Leopold Kowolik

Saturday, 3 October 2015

Capture; Nova Scotia Realism

Olympia with her Buoys, oil on canvas, 44" x 62", Steven Rhude

This work will be on display at the AGNS Western Branch Gallery in Yarmouth, NS for the Capture, Nova Scotia Realism show. Opening November 21st, 2015 and continues to May, 2016.

Steven Rhude, Wolfville, NS

Sunday, 20 September 2015

Towards Argentia

Ferry Table, Towards Argentia, o/p, 24" x 24", Steven Rhude

Painting for sale through the artist.

Steven Rhude, Wolfville, NS

Thursday, 10 September 2015

Film and Buoys

 Buoys and Film, o/p, 24" x 24", Steven Rhude,

 Painting for sale through the artist.

“That’s what we all live for, isn’t it?” she says. “We go to work and we come home and watch a movie or a TV show, we play a song or look on our walls to admire the artwork or maybe we’re wearing something by a talented designer… There was such a groundswell of support for the film industry from the Nova Scotia public that I believe that people here do love and appreciate the arts. Now, we just need to find a way forward.”

-  Jackie Torrens

Steven Rhude, Wolfville, NS

Saturday, 5 September 2015

Splitting Table

Splitting Table, o/p, 24" x 24", Steven Rhude, Gallery 78 Sold

Pretty well every wharf I visited in Newfoundland had a splitting table, where during the recreational groundfish fishery it received more than its normal measure of use. Embedded in the wood is the stains of countless fish, blood, and their guts - colour and matter as accumulated culture and history.

Steven Rhude, Wolfville, NS  

Sunday, 30 August 2015

Double Bind

Double Bind, o/p, 24" x 24", Steven Rhude, Gallery78

"I think in Atlantic Canada, because of what happened in the decades following Confederation, there is a culture of defeat that we have to overcome... Atlantic Canada's culture of defeat will be hard to overcome as long as Atlantic Canada is actually physically trailing the rest of the country." (New Brunswick Telegraph Journal, May 29, 2002) - Stephen Harper

Atlantic Canadians may never know just what exactly Harper meant by a "culture of defeat", other than the apparent reference to overcoming a defeatist attitude is essential for economic prosperity - something obvious to most people involved in even the smallest community initiative. We may also never know whether Harper has any views on what culture is in this age of mass communication, since he is indeed a product of mass communications media. He is as we now know standing on the other side of what can only be called a huge chasm of political inertia and indifference, where the bottom is filled with messianic promises of royalties and surpluses linked to the culture industry we currently experience. He is part of a larger political culture that has employed mass communication to lull society into a state of passivity - a double bind. It leaves one wondering what exactly a culture of success is or would be?

The term culture industry (German: Kulturindustrie) was coined by the critical theorists Theodor Adorno (1903–1969) and Max Horkheimer (1895–1973), and was presented as critical vocabulary in the chapter "The Culture Industry: Enlightenment as Mass Deception", of the book Dialectic of Enlightenment (1944), wherein they proposed that popular culture is akin to a factory producing standardized cultural goods — films, radio programmes, magazines, etc. — that are used to manipulate mass society into passivity. Consumption of the easy pleasures of popular culture, made available by the mass communications media, renders people docile and content, no matter how difficult their economic circumstances.[citation needed] The inherent danger of the culture industry is the cultivation of false psychological needs that can only be met and satisfied by the products of capitalism; thus Adorno and Horkheimer especially perceived mass-produced culture as dangerous to the more technically and intellectually difficult high arts. In contrast, true psychological needs are freedom, creativity, and genuine happiness, which refer to an earlier demarcation of human needs, established by Herbert Marcuse. (See Eros and Civilization, 1955).


Steven Rhude, Wolfville, NS


Friday, 28 August 2015

Food in Art Painting Workshop

Bread Line, o/p, 20" x 24", Gallery 78

Food and Art
Oil Painting Class with Steven Rhude
September 22nd  to November 10th  (Tuesdays, 7- 9pm)
This eight week workshop examines the role of “Food” in art using “Wolfville’s local market” as an information source. Working through the lens of psychology and techniques inherent in the tradition of representational painting, students will explore why food is so important a subject today for contemporary expression.
Using photographic sources, our purpose is to develop the ability to see, perceive, inscribe, and translate experience as it relates to food and a composition of the student’s choice. The student will learn to build a stretcher frame from scratch, stretch and prime canvas, and enhance their knowledge of the representational legacy of food in art.
The workshop will be taught by Steven Rhude
Note: Open to all skill levels. Materials not included. Participants will be provided with a materials list for the workshop.
For more information and to register contact:
Acadia University Art Gallery 902. 585.1373
Steven Rhude, Wolfville, NS

Monday, 24 August 2015

Ship of Theseus

Ship of Theseus from Grates Cove, o/p, 24" x 48", Steven Rhude, Gallery78

The ship of Theseus, also known as Theseus' paradox, is a thought experiment that raises the question of whether an object which has had all of its components replaced remains fundamentally the same object. The paradox is most notably recorded by Plutarch in Life of Theseus from the late first century. Plutarch asked whether a ship which was restored by replacing each and every one of its wooden parts remained the same ship.
The paradox had been discussed by more ancient philosophers such as Heraclitus, Socrates, and Plato prior to Plutarch's writings; and more recently by Thomas Hobbes and John Locke. Several variants are known, including the "grandfather's axe", which has had both its head and handle replaced.


Steven Rhude

Thursday, 13 August 2015

Three Recent Paintings

Blue Moon, 0/p, 24" x 24", Steven Rhude

Post Landscape Near Caning, o/p, 24" x 48", Steven Rhude

Far from the Sea, o/p, 24" x 24", Steven Rhude

It's true on the one hand they are just bales of hay bound up in a field near a small place called Caning. But on the other hand, it may also be true they are linked with the moon and the sun, rolling across the fields as the moon and sun roll across the sky.

Steven Rhude, Wolfville, NS

Friday, 31 July 2015


Lightning, oil on panel, 24" x 24", Steven Rhude

Also true for painting.

"The creative act lasts but a brief moment, a lightning instant of give and take. Just long enough for you to level your camera and to trap the fleeting prey in your little box."

- Henri Cartier - Bresson

Wednesday, 29 July 2015

After the Storm

After the Storm, o/p, 24" x 48", Steven Rhude, Gallery78

Coastal storms can be horrific. They can dislodge the faith of an individual and through repeated dreams bring one back to the very event that may have caused great damage to an area or community. I still dream on occasion of a storm that struck our coast years ago. Rising water, unimaginable winds, thrashing waves all still pound away at the subconscious in the same way they probably influenced John of Patmos when he scripted his perfect storm.


But there is also the aftermath. Sheds dislodged from their original location and objects strewn about; objects that seemed to have been relocated from our original fit with the landscape by the forces of something other than just mother nature. Power outages and the requisite alternatives of wood heat and oil lamps for those without generators, are employed. Inventories are taken, and stories of the effects of the storm move up and down the community shore. Eventually relief takes over, and a routine is restored for all, until the next dream, and the next storm, a cycle always lingering on the horizon.

Steven rhude, Wolfville, NS

Sunday, 19 July 2015


Pleasantville, oil on panel, 24" x 48", Steven Rhude

For a while now I have wanted to do a painting which summed up my feelings about the decline of rural Nova Scotia. This one comes close since the gas station is so integral to commerce and the transference of goods. Gas stations are a little like parking garages, they are all mostly self serve experiences now that leave one pondering existential situations between place "A" and place "B".

 Encountering an abandoned rural gas station with a Yard Jockey perched atop a giant quasi Rubix Cube, I recall  thinking what it is I stopped to look at, or perhaps more to the point, through looking, is there a process or set of rules to  follow in solving a post modern problem such as this one. I don't believe there is. Hopper's gas station paintings are alive with people and his brand of solitude evokes a transition. Pleasentville can't do this. The problem is not black and white, and the rules keep changing as this is written. The gas pumps struck me as being wrapped as though conveying some sad Christo like joke being played out, with one tarp black and the other white. One can only guess what they are being preserved for as the tarps alter the angular form of the pumps.

The Yard Jockey, stoic - yet impish, glances away, as if anticipating another arrival that we know will never appear. The title "Pleasantville" (there actually is such a place in Nova Scotia) belies the true nature of this image. There is really nothing very pleasant about it at all.

Steven Rhude, Wolfville, NS  


Thursday, 16 July 2015


Waiting, Old Perlican, o/b, 24" x 24",$3,000.00, Steven Rhude

Steven Rhude, Wolfville, NS

Wednesday, 15 July 2015

Caitlyn Jenner - a recent work

Portrait of Caitlyn Jenner, oil on board, 24" x 24", $3,000.00, Steven Rhude

Steven Rhude, Wolfville, NS

Tuesday, 7 July 2015

Scene of the Crime

Post Cod Beach House, oil on canvas, 36" x 48", Steven Rhude, Gallery78

I've learned over the years not to be spoon fed. Strip away the superficial associations that cling to certain objects like a weathered fishing shack or a fish box, and new worlds appear. Objects have always embodied certain qualities for me. Morandi's bottles are not just bottles. So why should a fishing buoy just be a fishing buoy? There is a whole world of icons outside our traditional Judeo - Christian appreciation. Call em secular icons, or whatever. But they exist and have etched their way into our culture as Maritimers. And they will go on existing in our lexicon of symbols no matter how they may be branded by marketeers. What may be seen as repetition could also be seen as diversity - yet subtle with respect to a salient range of objects depicted. To put it simply, the table top in still life painting is a stage, the objects are actors, and the composition conveys performance. Objects in a landscape can be seen the same way if so desired. I didn't write the play. I'm just a witness to it. If the story repeats itself, perhaps it is because I haven't understood it completely or it doesn't have an ending I'm content with - if there even is one. So I keep going back to the scene of the crime, because a crime definitely has been committed. 

Steven Rhude, Wolfville, NS

Wednesday, 17 June 2015


Boat and Buoy Adrift, oil on canvas, 30" x 42", Steven Rhude,  $4,500.00,  Gallery, Sold



adjective, adverb (postpositive)
floating without steering or mooring; drifting
without purpose; aimless
(informal) off course or amiss: the project went adrift
Collins English Dictionary - Complete & Unabridged 2012 Digital Edition
© William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins
Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012
Cite This Source
Steven Rhude, Wolfville, NS 

Saturday, 13 June 2015

Reaching Brigus Light

Reaching Brigus Light, o/c, 40" x 60", $7,500.00, Emma Butler Gallery

This painting is now available at the Emma Butler Gallery in St. John's, Newfoundland.

Steven Rhude, Wolfville, NS