Andrea Blanar

Click HERE for Artist's CV (PDF)

Click HERE for a Global CV (PDF)

Click HERE Community Outreach-Audience Development & Arts Education CV (PDF)

Canadian - Born: Szeged, Hungary
Resided in Austria, Belgium, Dominican Republic, Japan

• Bachelor of Fine Arts, Concordia University, Montreal, Magna cum Laudae
• Atelier Petit, Printing Studio, Tokyo
• Sumie Certificate, Ohta Reiko, Tokyo
• Graphia 3710 Inc., Montreal, Printmaking Studio
• Clay Workshop, Burlington Art Center, Ontario

Grants & awards

• Hamilton and Region Arts Council
• Ontario Arts Council
• CALQ, QC, “Hommage Dumouchel" in cooperation with Graphia 3710 Inc.
• Quebec - New Brunswick Economic Cooperation Grant
• Pro Cultura Hungarica, 2006 (PDF - 241 KB)
Mayor of Montreal’s
Award for Life Time Achievement, 2006

Exhibition History

• Trinity Galleries, Saint John NB
• Galerie d’art contemporain, Montréal QC
• Gallery on the Bay, Hamilton ON

Solo exhibitions 2012 - 1976

• Galerie Art Plus, Montréal
• Barbara Silverberg Gallery, Montréal
• Burlington Art Center, Burlington, ON
• City Hall Gallery, Moncton
• City of St John Gallery, Saint John
• Fog Forest Gallery, Sackville, N.B.
• Galerie Claude Lafitte, Montréal
• Gallery on the Bay, Hamilton
• Hart House, University of Toronto, Toronto
• Imperial Theatre, Saint John
• Prince Arthur Fine Arts, Yorkville, Toronto
• Restigouche Gallery, Campbellton
• Shayne Gallery, Montreal Fog Forest Gallery, Sackville
• U.N.B. Art Centre, Fredericton
• Waddington & Gorce, Montréal
• Wallack Gallery, Ottawa

Selected group exhibitions 2012 - 2007

• « Id :Entities », Viva Vida Gallery, Pointe-Claire, QC,
• « Re :InSitu », Musee Moncalm, Hull- Gatineau, On
• « Re :InSitu », Saint John Art Centre, Saint John, NB
• Struts Gallery, Sackville, NB
• « Re:InSitu », Maison de la Culture Notre-Dame de Grace, Montreal, QC
• “Quebec Masters”, Galerie D’art Contemporains, Montréal QC
• « Re:InSitu », Muveszet Malom, Szentendre, Hungary
• « Re:InSitu », Helikon Kastely Muzeum, Kesztehley, Hungary
• Museum of Contemporary Art, Guangzhou, China
• «Reflections Canada-Hungary», Pier 21, Halifax
• "Tantramar Art Symposium", Struts Gallery, Sackville
• « Reflections Canada- Hungary», Stewart Hall Art Gallery, Pointe-Claire
• « East West Oriental/Occidental Landscapes », Stewart Hall Art Gallery, Pointe-Claire

Selected group exhibitions 1969 - 2006

• "Les Femmeuses", Pratt & Whitney, Montréal
• "Living Nature 88", Museum of Natural Sciences, Ottawa
• "The Canada Council 1957-1983"
• Art Gallery Norman McKenzie, University of Regina
• Art Jonction, Nice, France
• Atelier de réalisations graphiques, Québec
• Cardigan Milne Gallery, Winnipeg
• Cégep du Vieux Montréal, “Grand Format”
• Centre Culturel de Trois-Pistoles
• Centre Culturel Henri-Lemieux, Ville LaSalle
• Centre d'Art La Sarre
• Centre d'Exposition de Baie-Saint-Paul
• Centre d'Exposition de Gatineau
• Centre d'Exposition de Mont-Laurier
• Centre d'Exposition de Rouyn-Noranda
• Centre d'Exposition de Val D'Or
• Centre National d'Exposition de Jonquière
• Galerie d'Art du Centre Culturel de Drummondville
• Galerie d'Art du Parc, Trois-Rivières
• Galerie d'Art L'Union Vie, Drummondville
• Galerie du Centre d'Amos
• Galerie La Chasse, Toronto
• Gallery Mclntosh, University of Western Ontario
• Hart House, University of Toronto
• La Galerie Alliance, Montréal
• Laurentian University Museum and Arts Centre
• Le Musée Laurier, Arthabaska
• Le Vieux Port de Montréal, "Chroma Québec", Montréal
• Maison de la culture, Notre-Dame-de-Grace
• McGill University, "Canvassing Women"
• McMaster Gallery, Hamilton
• Musée d'art de Mont St-Hilaire
• Musée du Bas Saint-Laurent
• Musée Marius Barbeau, St-Joseph-de-Beauce
• Musée Régional de la Côte Nord
• Musée Régional Sept-Iles
• Noho Gallery, New York
• Owens Art Gallery, Sackville
• Palais Montcalm, Québec
• Salle Augustin Chenier, Ville-Marie
• Salon de la jeune peinture, Grand Palais, Paris
• H.E.C., Université de Montréal
• Wallack Galery, Ottawa

Inner Temple

Robert Bernier, Parcours, Fall 2003

The most important temples are those that are found inside us. Who said that? It isn’t really important who, but understanding the meaning is. And that is what Andrea Blanar has been trying to do for the last fifteen years through her painting.

The meaning of the inner temple in question may reside in the power of the metaphor it suggests. Or does the usual meaning of the saying have to be reversed to be understood? That temples- which people of all ages and religions have built for the glory of their God(s)- are, in reality, symbols and metaphors of the temple inside us, and not the other way around? It is partly around this question that the pictorial approach of Andrea Blanar is woven. Of course, to condense the work of an artist as complete and complex as that of Blanar to a single consideration would be to take a wrong turn, since her initial reflections evoke a number of subtle nuances, to which are grafted a considerable number of complimentary pathways. More importantly, it must be said that the real link in this artist’s approach can be found in the meaning of the sacred, and in the echoes it evokes in us. Blanar explores this notion without any religious connotation, without integrating religion as any particular belief, but rather concentrating on an ensemble of beliefs, while questioning herself about the very act of believing itself. That is her primary subject: believing in its universal sense dimension. In the sense of the ‘Word’. If there inevitably has to be an end, then there also had to be a beginning! So what do we do with all this?

Andrea Blanar usually sets up the pictorial spaces in her canvasses by imposing a structure that resembles a window or a portal overlooking her landscapes. This construction becomes a symbol of passage from one world to another, the entranceway to the inner temple, the border between sacred and profane. From a strict pictorial point of view, paintings constructed in this way offer a harmonious blend of the rigors of form and the lightness of touch. Among her most striking works is a series constructed from materials that came from churches or sacred locations that have been marked by destruction. The passage of time leaves its traces. Here everything assumes even more meaning, adding another central preoccupation of the artist- the alternating destruction and construction (or reconstruction)- caused by wars, the passage of time, both in the exterior world and inside each and every one of us. Nothing is stable, everything keeps moving, and Blanar always sees the mark of the sacred in the ever increasing destruction and catastrophe around us, if only because of the extraordinary capacity of things to keep renewing themselves… perhaps the only concrete meaning we can give to eternity: nothing lost, nothing created.

Most extraordinary of all is that there are absolutely no givens in Andrea Blanar’s work. Nothing is the issue of some vague symbolism, nothing is disembodied. The artist moved her studio to an historic church in New Brunswick which she bought a few years ago, saving it from a sad end at the hand of a demolition ball, as if to emphasize the fact that somehow everything ends up coming together…