Hello everyone,

I just found out about this artist resource, called COVA-DAAV. They handle all licensing requests of my works and make sure I get paid. The just emailed me saying that their applications are open and I think every visual artist should check it out!

cova-daav.ca

Lets all come together, settle differences.

Justice for Victims

Acrylic on wood.

I purchased some Vancouver Grey paint from Kroma Paints on Granville Island and have used it in my last few including this one. I recommend finding a Canadian paint supplier because..well you know.

PSA paintings are part of the new 50 percent tariffs that just went into effect.

I think this was made in Montreal in the 2000s. It’s maybe 4” by 6”. Any ideas?

New interview with Edmonton based artist Allan Thomas.

Acrylic on canvas with permission from photographer Russell Brown. The Bald Range fire is still burning out of control at the time of this post

I have to post this on my work's website and I want to honour the artists - always. But the buyer does not care and it drives me nuts that the manufacturers don't provide this information to us.

All the info I have on it is a product name "Desert Days" and that's it. I can't read the signature too well either. It looks like either a K or a J next to an S with a y in the middle somewhere. I've tried looking for exact images of this on Google and found only visual matches, and the AI system is aso bad at trying to identify text in calligraphy and has given me a dozen different answers on what the signature reads.

Can anyone help me identify this piece of artwork?

Interview with London, Ontario-based artist Nicole Schultz

I painted this one square on purpose. Lake Louise is the most painted place in the country and I didn't want to make the postcard again — a square won't let your eye run off sideways the way a wide canvas does, so it holds you in one spot.

What actually caught me there wasn't the glacier at the head of the valley. It was the birds, a whole scatter of them sitting out on the open water.

The water took the most work. I laid the turquoise down in horizontal bands with a straight brush, let each band set, then dragged a nearly dry white across the middle so the light breaks instead of streaking. That broken line is what makes still water read as moving.

20" x 20", latex-acrylic on canvas, satin varnish. 2026.

Oil painting of a river scene, which I believe is in the Laurentians. Could be an amateur painter as I can’t find anything else relevant by the name Bissonnette. If anyone knows anything please let me know, thanks!

Rundle runs for kilometres down the Bow Valley and every slope on it was cut to the same tilt — ice and water working the rock at one steady angle for a very long time. I work in latex-acrylic with straight and angled brushes rather than a knife, so it goes down as flat decisive shapes. The autumn scrub at the water is there to give away the scale.

A stand of white birch with the whole understory going up behind them. I work in latex-acrylic with straight and angled brushes rather than a knife, so it goes down as flat decisive shapes — up close it's marks, step back and it's woods. Autumn in the Alberta foothills lasts about two weeks, which is why I wanted one at this size.

Maw’s etching captures the Round Room at Eaton’s College Street. Maw was an architect and member of the Society of Canadian Painter-Etchers and Engravers (CPE).

Designed by Jacques Carlu, the Round Room is one of Canada’s outstanding Art Deco interiors. Lady Eaton was the driving force behind the project, and it crowned Eaton’s flagship store for nearly a half century. After Eaton’s bankruptcy it was saved from demolition and restored as The Carlu, now a private event venue and National Historic Site of Canada.