INVENTORY MARCH 2021 US Prices

htcthompson

HEIDI THOMPSON

2021 Inventory

The artist uses archival quality acrylic paint, heavy Indian cotton canvas

hand-stretched over professionally crafted wooden stretcher bars.

Paintings are textured with gesso and silica sand.

Artist signs each painting on the back.


Gentle Shower of Light 2019 Acrylic on Canvas 60 x 50 inches $4450 USD


Light & Gold 2020 60” x 36” Acrylic on Canvas $4450 US


March Radiance 2020 60” x 40” Acrylic on Canvas $4450 USD


Sunshine in February 2020 60” x 36” Acrylic on Canvas $4450 USD


Sunshine in July 2020 Acrylic on Canvas 72” x 48” $6450 US


A Happy Day 2020 60” x 36” Acrylic on Canvas $4450 USD

D


Sky Tapestry 2019 84” x 36 Acrylic on Canvas $5450 USD


Guardian of Light 2019 84” x 36 Acrylic on Canvas $5450 USD


Guardian of Light 2019 84” x 36 Acrylic on Canvas $5450 USD


Inspiring Ascension I 2020 90” x 24” Acrylic on Canvas $6450 USD


Inspiring Ascension II 2019 90” x 24” Acrylic on Canvas $6450 usd


A Breath of Optimism 2020 50” x 46” Acrylic on Canvas $4450 USD


Intensity of Soul 2020 50” x 40” Acrylic on Canvas $4450 USD


Matter & Energy 2020 50” x 46” Acrylic on Canvas $4450 USD (SOLD)


A Passionate Dance 2015 50 x 46 inches Acrylic on Canvas $4450 uSD


October Optimism 2020 60” x 40” Acrylic on Canvas $4450 USD


Levity of Light 2020 60” x 40” Acrylic on Canvas $4450


Field of Gold 2018 60” x 50” Acrylic on Canvas $5450 USD (SOLD)


Breathing Green 2021 Acrylic on Canvas $5450 USD


Field of Green 2021 Acrylic on Canvas $5450 USD


Breathing Stillness 2020 60” x 50” Acrylic on Canvas $5450 USD


A Warm Embrace 2020 60” x 50” Acrylic on Canvas $5450 USD


Soul Resonance 2019 64 x 48 Acrylic on Canvas $5450 USD


Jewel Earth 2019 64” x 48” Acrylic on Canvas $5450 USD


December Blue Field 2019 54” x 54” Acrylic on Canvas $5450 USD


Whisper of Warmth 2019 54” x 54” Acrylic on Canvas $5450 USD


Breathing Passion 2019 Acrylic on Canvas 50 x 60 inches $5450 USD


Rainbow Patina 2015 60” x 50” acrylic on Canvas $5450 USD


Spring Poetry 2019 60 x 50 inches $5450 USD


Glorious Awakening 2019 60 x 50 inches $5450 USD


Blue Sanctity 2018 90 x 66 inches Acrylic on Canvas $8450 USD


Silver Orange Patina 2018 60 x 36 Acrylic on Canvas $4450 USD (Currently in Switzerland)


A Day in July 2018 (Currently in Switzerland at the Halde Gallery)

)


An Afternoon in July 2018 50 x 46 inches Acrylic on Canvas $4450 USD


Silver Veil over Light 2019 36 x 84 Acrylic on Canvas $5450 USD (SOLD)


Silver Veil over Sky Blue 2021 36 x 84 Acrylic on Canvas $5450 USD


Spring Celebration 2019 60 x 30 Acrylic on Canvas $4450 USD (Gallery Halde Switzerland)


Breathing Mystery 2018 Acrylic on Canvas 50 x 46 $4450 USD


Breathing Mystery 2018 Acrylic on Canvas 50 x 46 $4450 USD


Orange Grey Patina 2018 Acrylic on Canvas 60 x 40 $4450 USD


Spring Dance in Orange 2018 60 x 40 Acrylic on Canvas $4450 USD


Suspended Moment 2018 50 x 40 Acrylic on Canvas $4450 USD


Field of Warmth 2017 60 x 36 Acrylic on Canvas $4450 USD


Sunshiny Day 2019 36 x 36 inches Acrylic on Canvas $2700 USD


Alizarin Crimson Jewel Patina 2017 50 x 46 Acrylic on Canvas $4450 USD


White Veil Mystery 2017 84 x 56 Acrylic on Canvas $7950 USD


June Green Field 2017 60 x 36 Acrylic on Canvas $4450 USD


Rainbow Patina 2013 60 x 50 Acrylic on Canvas $5450 USD

Exhibition 2012 Alexander Salazar Fine Art, San Diego CA


Yellow Veils 2008 72 x 48 Acrylic on Canvas $5450


Orange Energy 2015 50 x 40 Acrylic on Canvas $4450 USD


Green Veil over Blue 2014 60 x 50 Acrylic on Canvas $5450 USD


Cerulean Blue Patina 2011 90 x 66 Acrylic on Canvas $8450 USD


Cerulean Blue Patina 90 x 66 $8450 USD - Exhibited in La Jolla, CA


Fire and Rain 2012 64 x 48 Acrylic on Canvas $5450 USD


Green Veils over Light Blue 2014 64x48 Acrylic on Canvas $5450 USD


Green Energy 2011 36 x 36 Acrylic on Canvas $3000 CDN


Lemon Yellow 2016 50 x 40 Acrylic on Canvas $4450 USD


Lemon Yellow 2016 50 x 40 Acrylic on Canvas $4450 USD


Yellow Rush 2016 60 x 50 Acrylic on Canvas $5450 USD


Unveiling Mystery 2016 50 x 60 Acrylic on Canvas $5450 USD


Butterfly Effect 2014 50 x 46 Acrylic on Canvas $4450 USD


Butterfly Effect 2014 50 x 46 Acrylic on Canvas $4450 USD


Ochre Energy 2014 64 x 48 Acrylic on Canvas $5450 USD


Joy 2015 60 x 36 Acrylic on Canvas $4450 USD


Okanagan Summer 2016 84 x 56 Acrylic on Canvas $7950 USD


Okanagan Summer 2016 84 x 56 Acrylic on Canvas $7950 USD


Magenta Sunrise 2016 84 x 56 Acrylic on Canvas $7950 USD


Magenta Sunrise 2016 84 x 56 Acrylic on Canvas $7950 USD


Yellow Inspiration 2016 84 x 56 Acrylic on Canvas $7950 USD


Soul Inspiration 2014 90 x 66 Acrylic on Canvas $8450 USD (SOLD)


Light Blue Infinity 2010 90 x 66 Acrylic on Canvas $8450 USD


Earth Energy 2010 90 x 66 Acrylic on Canvas $8450 USD (on reserve)


Vermillion Red Field 2001 Acrylic on Canvas 88 x 64 $7950 USD


Soft Blue Field 2015 50 x 46 Acrylic on Canvas $4450 USD


Sky Energy 2016 50 x 40 Acrylic on Canvas $4450 USD


Small Light Blue Field 2010 50 x 40 Acrylic on Canvas $4450 USD


Equanimity 2016 50 x 40 Acrylic on Canvas $4450 USD


Eternal Night 2016 50 x 40 Acrylic on Canvas $4450 USD


Yellow Energy 2009 64 x 48 Acrylic on Canvas $5450 USD


Eternal Awakening 2010 50 x 60 Acrylic on Canvas $5450 USD


White Energy Field 2010 50 x 60 Acrylic on Canvas $5450 USD


Cadmium Orange Energy 2015 50 x 40 Acrylic on Canvas $4450 USD


Yellow Patina 2011 50 x 40 Acrylic on Canvas $4450 USD


CURRICULUM VITAE

HEIDI THOMPSON BFA, Swiss Dipl. Photography

Heidi Thompson was born in Vernon, British Columbia. After graduation, she moved to Europe where she studied

art at various academies. From 1975-1979 she attended the University of Art & Design Zürich earning a Swiss

Diploma for Professional Photography. In 1980 she studied painting at the Nürnberg Art Academy. Her final year in

Europe was at the Hungarian State University for Fine Art in Budapest. In 1982, Thompson returned to Canada

where she worked as a photographer, painter and book publisher. Currently, Thompson paints full time and

exhibits her work in Europe, Canada and the USA.

1956 - Born in Canada

1974-1979 University of Art & Design Zürich, Switzerland, earned Swiss Dipl. Photography

1980-1981 Academy of Art Nürnberg, Germany

1981-1982 Hungarian State Academy for Fine Art, Budapest, Hungary

2001-2002 B.C. Open University, Canada, earned B.F.A

2002-2003 University of Victoria, Canada, earned B.C. Teaching Certificate

EDUCATION

1975-1979 - Vorkurs at the Kunstgewerbeschule Zürich (now the University of Art & Design Zürich) followed by a

three-year concentration in photography earning a Fahigkeitszeugnis (Swiss Diploma for Professional

Photographer).

1978 - Selected photographer to document the Zürich Chamber Orchestra for a solo photography exhibition.

Traveled with the orchestra photographing soloists including Yehudi Menuhin, Paul Tortelier, Peter-Lucas Graf and

Louis Duquenoy. The exhibition of 100 images were published into a book – the anniversary edition of the Zürich

Chamber Orchestra.

1979 - Assigned photographer to document painter Robert Ryman before and during the opening of I.N.K.

(International Neue Kunst Gallery) Zürich.

1979-1980 - Apprenticed with the late German painter, Oskar Koller in Nürnberg, Germany.

1981-1982 - Studied painting at the Akademie fur Bildenden Kunste Nürnberg with Professor Ernst Weil. Outside

of school, became private student of Klaus Schmidt, former student of Austrian painter, Oskar Kokoschka.

Attended a 10-day Buddhist meditation retreat in Austria.

1982 - Completed first year of the five-year master’s art program, Kepzomuvezeti Foiskola (Hungarian Academy

for Fine Art) in Budapest under the instruction of Professor Kokas Ignacs.

1983 - Returned to Vernon, B.C. and established an art and photography studio. Exhibited paintings and

photographs in numerous cities in British Columbia and became member of the Viridian Gallery in New York.

1984 - Received the British Columbia Cultural Grant for preparation, travel and exhibition of a photography

project entitled "Portraits of Artists".

1986 - Took private instructions from illuminist painter, Leszek Forczek.

1995 - Wrote and published Recapitulation - A Journey by Sveva Caetani

1997 - Created and taught a meditation course for children in Vernon and Vancouver schools called Advanced

Attention Development. AAD was featured in a documentary film for CBC's Spilled Milk.

2001 - Earned a B.F.A., Open University of British Columbia.

2002 - Completed the Post-Secondary School Internship Program, University of Victoria. Received a British

Columbia Teaching Certificate (BCCT).

2012 - Wrote and published Calm Focus Joy - The Power of Breath Awareness

2013 – Speaker at TEDx Kelowna


SELECTED EXHIBITIONS

2019 Peachland Art Gallery, The Light Within (Solo)

2019 Vernon Public Art Gallery, The Light Within (Solo)

2019 Halde Galerie, Switzerland, Aurora (Solo)

2018 New York Arco Gallery (Represented)

2017 Vancouver / Interior Design Fair

2016 Kelowna Airport / Kelowna Public Art Gallery "OK Sunshine"

2016 Vernon / Headbones Art Gallery /"Okanagan Artists"

2016 Ottawa / The Cube Gallery "Blue - A Group Show"

2015 Lake Country / Public Art Gallery "They Tell You Where to Go"

2015 Vancouver International Art Fair

2015 Palm Beach Gardens / Onessimo Art Gallery (represented)

2014 San Diego / Alexander Salazar Gallery

2014 Widen Switzerland / Galerie Halde (group)

2012 Montreal / Galerie D'Avignon (solo)

2012 La Jolla, CA / Alexander Salazar Contemporary Exhibits (solo)

2011 Armstrong Public Art Gallery / "Mind Space Energy"(solo)

2011 San Antonio, TX / Gallery Nord Exhibit "11/11/11"(group)

2011 San Diego / Alexander Salazar Art Gallery (solo)

2010 Atlanta / Bill Lowe Gallery "Bloom: The New Abstraction" (group)

2009 Atlanta / Bill Lowe Gallery (group)

2009 Toronto / Lausberg Contemporary (group)

2009 Vernon / Gallery Vertigo (solo)

2009 Toronto / Varley Art Gallery (group)

2009 New York / Lana Santorelli Gallery (group)

2008 Montreal / Galerie Samuel Lallouz (group)

2008 New York / Lana Santorelli Gallery (group)

2008 Grand Forks / Grand Forks Art Gallery (solo)

2007 Toronto / The Drawers - Headbones Art Gallery (represented)

2005 Vernon / Vernon Public Art Gallery (group)

2000 Vancouver / Howe Street Art Gallery (represented)

1996 Vernon / Headbones Art Gallery (solo)

1994 Vancouver / Simon Patrich Art Gallery (represented)

1992 New York / Viridian Art Gallery (represented)

1991 Kelowna / Kelowna City Hall (solo)

1991 Vancouver / Festival of the Arts (juried/group)

1989 Vancouver / Robson Square Media Centre (group)

1989 Vancouver / Community Arts Centre/BC Women Artists (solo)

1987 Vernon / Topham Brown Public Art Gallery (solo)

1985 Grand Forks / Grand Forks Public Art Gallery (solo)

1985 Kelowna / Kelowna Public Art Gallery (solo)

1983 Vancouver / BC Festival of the Arts (juried/group)

1981 Hungarian / State University (group)

1980 Nürnberg / Komm Youth Centre (solo)

SELECTED COLLECTIONS

2012 Senvest Canadian Collection

2007 Samuel Lallouz Private Collection, Galerie Samuel Lallouz, Montreal

2006 Mraz Collection, Toronto

2004 Private collection of Robert Keller, USA

2006 Corporate collection, Benefit Plan Administrators Inc. Mississauga


AWARDS & GRANTS

1996 VanCity Book of Excellence Award for the publication of Recapitulation

1984 B.C Cultural Project Grant through the Kelowna Art Gallery

PUBLICATION & ARTICLES

2016 "OK Sunshine Airport Exhibition" / Okanagan Life Guillian Richards / June 2016

2012 Wrote and published CALM FOCUS JOY: The Power of Breath Awareness

2007 Photographs & interview Okanagan Life

1995 Wrote and published RECAPITULATION - A Journey, by Sveva Caetani

1992 Featured Artist, Okanagan Life, written by Charlotte Berglund

1989 Illustrated and published an art journal for children, Little Bear Book

1989 Drawings, Galerie, Vancouver based magazine

1985 Illustrations for 4 books entitled, Reflections, written by Brock Tulley

1980 Photographs, Professional Camera, May-June issue, Germany

1979 100 Photographs published into a book, Zurich Chamber Orchestra's 25 Year Anniversary

Alexander Salazar Fine Art , San Diego 2014

THE ESSENCE OF MANIFESTATION: THE ABSTRACTIONS OF HEIDI THOMPSON


JAMES D. CAMPBELL, CANADIAN ART CRITIC AND CURATOR

“The progression of a painter's work as it travels in time from point to point, will be toward clarity… toward the

elimination of all obstacles between the painter and the idea… and the idea and the observer.. To achieve this

clarity is inevitably to be understood.” -- Mark Rothko

It is a rare phenomenon to experience abstractions that speak directly to the heart. No word of representation,

but the idiom is immediately and immanently understood. Not as a panacea for existential conditions outside of

painting, but a tribute to an intrinsically healing art that values clarity above all else.

Claude Tousignant, one of Canada’s premier abstractionists, has often spoken of his insistent desire to create

paintings that are objects in their own right. He wants to void all referents to a world outside paintings that are

made to induce sensation alone. Indeed, for him, the sovereign thinghood of a painting Is the only signification

worth fighting for. Well, his remark resonates when we spend time with Heidi Thompson’s resplendent new work.

But her paintings are far from mute or self-contained objects, and are not predicated upon emptying out all

references to the external world. Instead, they seem to irradiate the void with something that is palpably Mind,

and well, they simply are. Indeed, the remarkable thing about her abstractions is the lasting claim they stake upon

us. They are magnetic things. They pull us into their orbits, and we are complicit in the making of meaning through

contemplation. In this sense, they are like mandalas, mantras and mudras. They coax out of us the sounds of

silence, body and soul. Through their sensuous presences, they lead us not into taxonomy but into an appreciation

of the colour field as a living entity, somehow inhaling and exhaling alongside us.

The dynamism of this work is in the reception, not in the utopian signifiers of colour and form. The myriad

luminescences that unfold in the surfaces of these paintings are like solar flares, but without any deleterious

effects. Instead, they settle within us like tiered textures of light that buoy us up.

The philosopher Michel Henry defines life -- within a phenomenological perspective -- as that which possesses

"the faculty and the power to feel and to experience oneself in every point of its being"[1]. Similarly, Heidi

Thompson in her abstractions incarnates life as force and affect through chroma and chromatic density alone, and

does so in order to lead us out of darkness into joy. Hers’ are paintings of radical immanence, which herald the

way towards pure thought. Her paintings are pulsating and effulgent affirmations of life. The painter Jaison

Cianelli has said:

“When you see a clear river you're less afraid to go out into its deep waters. It's peaceful. You stay in it longer, and

you even let your feet touch its bottom. Like a crystal clear river, a clear mind is the key to being at peace and

living in the present moment. A mind filled with the murkiness of worry and haste is a confused and overloaded

mind that will increase stress, lower productivity and lead the way to unhappiness and ill health. I have found that

by painting intuitively, not only do I clear my mind, but I receive spiritual healing seated deep within my heart.” [2]

Heidi Thompson is a painter of intuition. Her work speaks directly to heart and mind. She also practices

meditation. Perhaps this practice inflects and sustains paintings that are about clarity, above all. If I call her

painting ‘healing’ here, it is because I have been changed by her art. Indeed, I salute her resilient spirit of

affirmation, meditative intensity – and, not least, her pursuit of the clarity of which Rothko so eloquently spoke.

Endnotes

1. See Michel Henry, at http://www.wikipedia.org/.

1. Painting a Spiritual Journey Inward - Art as Meditation

by Jaison Cianelli http://www.newageinfo.com/painting-spiritual-meditation.htm

James D. Campbell is an independent curator and art writer living in Montréal who has published numerous monographs,

essays and reviews. Recently curated exhibitions, which were accompanied by catalogues, include Ron Martin, The Geometric

Painting: 1981-1985 and Murray Favro: The Guitars 1966-1989 at the Mackenzie Art Gallery in Regina, and Abstract Practices

II at The Power Plant in Toronto. He also lectures on photography and contemporary art and is a regular contributor to art

periodicals such as C Magazine.

HEIDI THOMPSON: THERE IS NO ANSWER


A REVIEW BY JOHN K. GRANDE, Canadian Art Critic

Attuned to the artist’s role as a medium, Heidi Thompson works with the physics of nature. The artist becomes

a conduit for energy, engaging in a painterly process that involves intuition and an inner dynamic so contrary to

the expressionist works Thompson produced earlier in her career.

These paintings are anti-form and all about the physics of the moment that exists in many moments, in fact

stands outside time. Therein lies the challenge and the invitation! We are not involved in recognizing anything

when we look at a Heidi Thompson painting. We are receivers looking into a brilliant spectacle.

A series of gestures leads to an event that the artist is part of. After priming the canvas, Thompson textures its

surface with random clumps and splatters of gesso and sand. After this dries, she seals the porous, rough

surface with another coat of primer. The process is ongoing and all about revealing what is already there. The

combinatory ways that paint and matter come together become the artist’s guide. Neither dominating, nor

controlling the outcome of a composition, Heidi Thompson is able to work with the medium of paint,

deliberately flicking the material with a small fan brush in a controlled splattering thus orchestrating the colour,

light and surface vibration.

Chaos and a conscious control exist in tandem. The artist becomes the balance between spirit and matter. It is

magic how a painting comes about. The canvas becomes a receiver that accepts the artist’s intervention, and

the artist distill the effects as they build up, occasionally removing paint, or orchestrating the event and actions.

The ultimate feeling these paintings conjure up is akin to sound, or atmospheres with background radiance.

Visually we feel the painter’s controlled actions, but as an event that is not frozen in time as if caught in the

parentheses of intention. Instead, the action suggests continual and conscious mutability of the medium with

change ever present and this unknown quantity - energy. These paintings have depths and as we observe the

microcosmic details close-up we sense a distancing, and close-up could be far away. Ultimately there is no

distance, and microcosmic could as readily be macrocosmic.

As “abstract” art, if ever the term had a precise meaning as all paintings occupy real space and time, Heidi Thompson’s pro

to Mark Tobey, Jackson Pollock, Mark Rothko and Indian-born Natvar Bhavsar for her recent paintings have a soulful radia

part of a fluid reading of reality. Thompson does not perceive art as a building process whereby the object becomes a co

containable result of actions.

Depending on her state of mind, Thompson will chose one of several painting techniques and approaches. Her

recent work usually is about constructing--to build up of layers of fine lines so they become a consummate map

of multiple actions we read depths into. The process of creating and building up results in a delicate interweave,

a field of coloured lines that cover the canvas in a very conscious and deliberate way. Every speck, every dot, or

splatter seems to be carefully examined, felt, and applied. The painting ultimately manifests and resonates

intuitively with an unconscious dimensionality.

Particle physics comes to mind when looking at each of these paintings, for they engage in a dialogue of form

and content. There is no labeling or identification with conventional representation, nor is the shaping, or

containment of form part of the language of Thompson’s art. Superficially they can be compared to Seurat’s

pointillist paintings such as A Sunday Afternoon on the Island of La Grand Jatte (1884) for the particularization

of matter ends up creating a kind of tonal vibration throughout. This will send a chill up your spine if you tune

into it. Contemplative and poetic, these paintings by Heidi Thompson invite contemplation for the surface

carries a gentle and harmonious action while remaining set in the materiality of the moment. And this

materiality suggests an infinite and invisible journey, one we are all embarked on, that is ongoing. Thompson’s


paintings evoke a real nature in that her process is less about the ego-systems of historical progression that

Abstract Expressionism and modernism were all about, but instead suggests a basic respect for the ecosystem

of body and mind and spirit and the nature that all art is part of.

From molecular to cosmic, these paintings are not trapped in a world of built and projected imagery, but

involve a dialogue between self and other, and embrace an inter-cultural vision of painting whose codes and

cues remain open, receptive, less about containment than suggestion, intuited and momentary inception, and

the progression is for us to discover with our eyes, our senses, without judgment. We perceive proprioceptively

and we feel what we perceive. Perception becomes a history of understanding that stems from childhood

through to old age, and this history involves a language of bodily response, visuality and recognition. What

becomes most interesting is the way we perceive without recognition as part of our cognitive and bodily

physical essence. Heidi Thompson’s paintings present fields of events, all simultaneous and relativistic. We

experience her vision consciously in this way, and but the feeling these works project is of unconscious effect.

As Heidi Thompson says, “When one's sharpened attention is directed inwardly, not to the imagination but to

the physical sensations, another dimension of reality takes place. Experiencing this subtle, vibratory feeling

within my body has influenced my painting style, technique and image.“

Chance and change are in these paintings, a controlled chaos, as sensitive as whispers, tiny as traces, with a

flow as immeasurable and hidden as rivulets, and with fine lines, those tones, various shades, chiming colour

always. As tiny as each of these contributing elements is, they are central elements, and build into resonant

rhythm - this artist’s crescendo is modest, flexible, ongoing and resonant. Heidi Thompson’s art is, like nature,

that eternal backdrop to everything we do and live with and in, is part of an endless cycle. That is a great

mystery to be part of! - John K. Grande

JOHN GRANDE is an art critic, writer, lecturer and interviewer. John Grande's reviews and feature articles have been

published extensively in Artforum, Vice Versa, Sculpture, Art Papers, British Journal of Photography, Espace Sculpture,

Public Art Review, Vie des Arts, Art On Paper, Circa & Canadian Forum. He is also the author of Balance: Art and Nature (a

newly expanded edition by Black Rose Books in, 2004), Intertwining: Landscape, Technology, Issues, Artists (Black Rose

Books, 1998), Jouer avec le feu: Armand Vaillancourt: Sculpteur engagé (Lanctot, 2001), and his most recent book,

Dialogues in Diversity: Marginal to Mainstream published in Italy in 2007 by Pari Publishing.

More magazines by this user
Similar magazines