Articles and Reviews

From Lion's Roar
Special Edition 2019
p. 21

A Journal of Art in Everyday Life
Winter 2019
(pub. Shambala Arts)

Roberta Pyx Sutherland: Ensō Variations
October 21, 2018

Uncertainty Club
A Magazine of Zen and the Arts
June, 2018

Review by Paola Iacucci
Director of BAU Institute

Review by Bernard Vischer
President of Cercle des Amis

Review by Nicolas Tuele
Former deputy director and chief curator at the Art Gallery of Greater Victoria

Volume 23 No. 2 2014
(ISSN:1190-7886 )
Pages 8, 58-61

Review by Anne Gilroyed
Executive Director, Nanaimo Art Gallery

Review by Robert Amos
Times Colonist newspaper
November 1, 2013

Volume 14 No. 5 July 2006
Pages 64-71 Images

Review by Danielle Hogan

Artist Profile by Anne Hansen
James Bay Beacon

Review by King Anderson
Canadian archivist

Volume 13 No. 6 2005
Pages 48-51 Images

Review by Brian Grison
Critic, Historian

Review by Lance Olsen

Books and Catalogues


New work by Roberta Pyx Sutherland

Author and Editor: Roberta Pyx Sutherland

Layout: David Ellingsen

Cover image: Hidden Memory, Roberta Pyx Sutherland, 2019

Photograph, fungal spores on paper 63.5x51 cm (25x16.5 inches) Edition of 5

ISBN: 978-1-7774291-0-2

Copyright © 2021 Roberta Pyx Sutherland

Except essay Attentiveness to Becoming: Roberta Pyx Sutherland’s Inter-Species Art-Making © Bradley A. Clements

Editart-D.Blanco, Editart Rencontres et Dialogues 50 Ans

BimpeX International Print Catalogue
ISBN 978-0-9782396-9-5
Publisher The Society for Contemporary Works on Paper

Poésie muette / Poetry Unspoken

Mini Print Internacional De Cadaqués
2014 Canada No. 34693

ISBN 978-0-9688432-7-7
P. 28-29

Chrysalide RP Sutherland

Mini Print International
De Cadaques
Essay by Richard Planas Camps
37 pages

Chapter headings and cover image, 'Cosmic View'
ISBN o-86171-392-3
Wisdom Publications 2005
Edited by Andrew Schelling

Artropolis, Celebrating Contemporary BC Visual Art
Vancouver, BC.
144 pages. pp.
ISBN 1-895371-16-3

A Book of Days: Art For Our Time
A Project of the Volunteer Committee
Art Gallery of Victoria 1998
Page 108

Beyond the Gate
Artists' Journeys to Save the Tsitika Valley and Robson Bight. 1990 Western Canada Wilderness Committee,
Victoria, BC.
Essay by Roberta Livingstone.
48 pages.
ISBN 1-895123-09-7

Liane Davison (Curator)
Roberta Sutherland: Earth Briefing
Catalogue, Art Gallery of Greater Victoria
ISBN 0-88885-099-9

Art In Victoria, 1960/1986
1986 Art Gallery of Greater Victoria, Victoria, BC.
Essay by Nicholas Tuele and Liane Davison.
180 pages.
ISBN 0-88885-093-X

British Columbia's Women Artists
1885 - 1985

Anne Gilroyed

Executive Director, Nanaimo Art Gallery

Review: Roberta Pyx Sutherland's Internal Landscapes

"Pyx's sojourn on the west coast has been both kind and influential to her extensive talents. Her work grows and expands in ways that a true talent is always compelled to do. Using ragged remnants of rich hues, across colored fields, and painterly abstractions with allusions to nature, she expresses her radical sense of space, talks to us about where she fits into the scheme of things and expresses her inner direction.

The need for positive emotion in the world has never been greater than today. Positive emotional force emanates from these recent paintings and can be absorbed directly by the receptive viewer. If you are capable of suspending disbelief you can see aging skin mingled with slabs of rock, earth and sky. Pyx's works could, and hope to spotlight what is pivotal in the evolution of important contemporary art and the current milieu. The thoughtful viewer observes in this art a plethora of visual information and an articulated language of space, color, composition, and painterliness. In a typical work of this period she paints asymmetrical, emotionally intense abstractions that combine several styles and expressions in one picture; hard edge borders, hard edge lines, stacks of brushed smears, on a deep red field or dark layer of weathered material.

The viewer is quickly connected to these works. The theme of rough landscape, the technique of staining, smearing, calligraphy and articulate use of color have been streams of consistent interest in Pyx's work. These paintings create a dialogue resonating with meaning and power which, if nothing else, delve into and illuminate the mysteries of current styles, thought, abstraction, and spirit.

J. Whistler said of William Turner that he "ought not to have painted. He should have written." Pyx's treatment of her media has so much depth of character I want to say please continue to paint! . . . . but perhaps write as well."

Review by Anne Gilroyed
Executive Director, Nanaimo Art Gallery