Most winter mornings, my day starts in the dark. I love to sit by the window, coffee in hand, reading, and watching the sun rise. I pretty much always have a novel on the go, but just as often, I’ll spend some time catching up on my favourite artists and writers by reading their blogs or checking out their Instagram accounts. This morning’s reading included author and poet Shawna Lemay’s lovely blog, Transactions With Beauty. Her post today featured three poems about sitting, which is one of my favourite things. This one, by Canadian poet Phyllis Webb, stunned me in its perfection:


by Phyllis Webb

The degree of nothingness
is important:
to sit emptily
in the sun
receiving fire
that is the way
to mend
an extraordinary world,
sitting perfectly
and only
remotely human.

To sit emptily in the sun receiving fire… so many layers to this! Mindlessly soaking up the sun on the dock by the lake is the most blissful of things, but going deeper… before painting, I’ll often just sit for a bit, allowing myself to become open to receiving the fire of inspiration. I just sit, letting thoughts, judgements and agendas fall away so that there is room for other things, as well as for nothing.


I just sit, and then I get up and paint.




I’ve always loved walking in the woods, especially on a crisp wintery day. Recently, I came upon the Japanese concept of Shinrinyoku, or “forest bathing”, which means to go deep into the woods where everything is silent and peaceful. Just being in the forest, seeking relaxation. It’s supposed to have calming, rejuvenating and restorative benefits.

Who knew… it’s a thing.

To me, it’s a lifeline, an escape from an annoying and stressful world. I’m fortunate to have a wonderful walking partner, my great dane Jasmine – we get out into nature every chance we get. She loves to sniff around, and I love to just look closely at all the textures and colours, tucking inspiration away in my soul for future reference.

Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life. – Hermann Hesse

Here are a few snaps taken on one of our recent walks…




You’re never really alone out in the woods. Birds, animals and plants are all around. They’re the best company.





Pantone’s Colour of the Year for 2018 is Ultra Violet, PANTONE 18-3838, a cool purple shade that veers towards the blue end of the violet spectrum.

“People are exploring and experimenting and looking for something that’s original.” – Laurie Pressman, VP Pantone Color Institute

Oddly, as I look at the printed colour chip of 18-3838, the aspirations projected onto this bluish-purple hue don’t quite jive with what I see in front of my eyes: coming from a background in corporate branding and design, it feels like a conservative colour to me, like the type of colour you’d have chosen in the 90s for a corporate logo. On screen, it shows up as a dull mauve shade. I may not be the only one who thinks this: looking around the internet for examples of how it’s being used, I’m seeing lots of products and mood boards in variegations of mauve and purple, but not much of the actual specific colour that was chosen.

I unexpectedly fell in love with this room from Elle Decor (PHOTO: Mikkel Vang, for Elle Decor)

People seem to be embracing the spirit of the choice, if not the specific hue, hailing it as being unexpected and refreshing. Pinterest is certainly exploding with it.




Gorgeous mood board from australian blogger The Hello Bureau

The hype from the Pantone website:

Announcing PANTONE 18-3838 Ultra Violet, PANTONE® Color of the Year 2018. A dramatically provocative and thoughtful purple shade, PANTONE 18-3838 Ultra Violet communicates originality, ingenuity, and visionary thinking that points us toward the future.

Complex and contemplative, Ultra Violet suggests the mysteries of the cosmos, the intrigue of what lies ahead, and the discoveries beyond where we are now. The vast and limitless night sky is symbolic of what is possible and continues to inspire the desire to pursue a world beyond our own.

Enigmatic purples have also long been symbolic of counterculture, unconventionality, and artistic brilliance. Musical icons Prince, David Bowie, and Jimi Hendrix brought shades of Ultra Violet to the forefront of western pop culture as personal expressions of individuality. Nuanced and full of emotion, the depth of PANTONE 18-3838 Ultra Violet symbolizes experimentation and non-conformity, spurring individuals to imagine their unique mark on the world, and push boundaries through creative outlets.

Historically, there has been a mystical or spiritual quality attached to Ultra Violet. The color is often associated with mindfulness practices, which offer a higher ground to those seeking refuge from today’s over-stimulated world. The use of purple-toned lighting in meditation spaces and other gathering places energizes the communities that gather there and inspire connection.

Pantone has created some great tools for designers and beautiful palettes for using Ultra Violet. I rarely use violets or purples in my work, but I do love how these hues can calmly anchor blues and teals in a painting, or create a rich tapestry when combined with bright jewel tones, such as last year’s Colour of the Year, Greenery. Two of my favourite palettes from their site:


I especially love the creative tie-in with food:

“Considered exotic and enticing, purple fruits, vegetables, and starches, such as acai, purple shaded cauliflower, yams, carrots, asparagus and cabbage are also known for their natural health benefits. These new “it” foods are naturally rich in nutrients and antioxidants, and also bring vibrancy and sophistication to the table.” – (I found these images on Pinterest and unfortunately was not able to find the original posters – if these are yours, please let me know so that I can credit you or remove them if you prefer)

Saatchi Art has partnered with Pantone to select a fabulous collection of art that embodies the spirit of Ultra Violet. A few of my favourite pieces from the collection:

Clockwise from top left: Dearly Beloved We Are Gathered Here Today To Get Through This Thing Called Life, by Angie Jones; Astro Violet, by Teis Albers; Night Sea 3, by Alexander Jowett; Spray, by Wendy Turchan

What I find most interesting about Pantone’s colour of the year is how this very influential annual trend is chosen.

The woman behind it all is Leatrice Eiseman, Executive Director of the Pantone Color Institute. in addition to her position at the helm of Pantone, Eiseman holds graduate degrees in psychology and counseling and is the author of numerous books on the subject of colour in the context of consumerism and psychology. Recognized worldwide as a guru of colour trends, she’s described as one of the world’s top style makers and ranks higher than Steve Jobs amongst the world’s most important “Outsider Influencers” in the world of interior design. Definitely a woman to watch.

So how is this holy grail of hue selected?

{ Dream Job Alert }

A committee of colour experts is sent to travel the world every year, to search out trending colours in every industry and major event in which colour may be a prominent factor. The actual selection process and criteria are secret, but it boils down to looking at the “aspirations, moods and attitudes of consumers”, examining how colour is used throughout the world in art, design, fashion, decor, beauty, sports, film, and every other cultural expression of humanity that you can think of.

Ultra Violet in Taiwan and Bali (PHOTO CREDIT ??? from Pinterest)

“What we do is try to read the pulse of the public, so to speak,” Eiseman says. “What are people asking for? What are they saying their needs are? What are they hoping for? What are their aspirations? We try to then pick out a color that speaks to that cultural reaction to color, the collective consciousness’s reaction to color, and the psychological and emotional impact.”

They’re looking for something that goes beyond reporting what’s currently popular or forecasting what’s going to be big next year: their mission is to try to identify the one specific hue that expresses the current ideological zeitgeist common to the entire world. The challenge is to select a specific shade that will not only express what’s currently coming into vogue, but also has the kind of staying power to hold the public’s affections over the lifespan of the various products that might adopt a colour of the year.

I’m particularly fascinated with Eiseman’s  philosophy regarding colour:

“When 80% of human experience is filtered through the eyes, we understand that the choice of color is critical.”

This is certainly a powerful factor in influencing consumers’ buying habits, but more interesting to me is how Eiseman describes the psychological aspect of colour as being “very symbolic and represents many emotions”.


This is exactly what gives art the power to move people. In the hands of an artist, colour is a language that touches people in a deep, visceral place, unique to everyone but also universal. This to me is where the true value in Pantone’s colour of the year: much more than a consumer-oriented trend indicator for packaging or makeup, it’s a bold statement that captures the ephemeral spirit of our time.

Alright Ultra Violet, let’s see what you can do.


WHAT THE SEA WANTS, THE SEA WILL HAVE  •  24″ x 30″  •  Acrylic on canvas  •  $650

My website has just been updated with several pieces from my new series, MARE INCOGNITUM. I’ve been exploring my experience of painting in the context of a journey, an adventure and as a way to delve into the unknown.

YOUNG AS THE MORNING, OLD AS THE SEA  •  12″ x 12″  •  Acrylic on canvas  •  $250

Last spring, I set out to build on the visual language from my previous body of work, FLOW, with the idea of pushing certain types of marks and combinations of colours, especially related to water and to the sea. My goal was to approach the painting process with a very open mind, allowing the paint itself to take me where it wanted to go.

PERFECT FIFTHS, LOW SKIDS AND ARCTIC HOWLS I  •  12″ x 24″  •  Acrylic on canvas  •  $360

At first, I found it very difficult to relinquish control, in the sense of not starting out with a specific idea in mind of what I wanted the final painting to look like. I wanted to approach each day in the studio with a mindset of not-knowing, and of being open to responding freely to what was unfolding in front of me. It’s easy to talk about it simply now, but very hard to do for someone with strong opinions about what I like! But I wanted to get away from the idea of painting as a means of producing an object for sale, and instead learn to approach painting in a different way. I was looking to surrender to the sensuality and depth of the experience of a pure creative impulse.

Through the process of learning how to surrender, I learned some interesting things… chiefly that painting mirrors life in the way that it can feel chaotic and confusing while you’re in the thick of it. And then with a bit of time and distance, things make more sense. Patterns emerge both in painting and in life. It can feel arduous and heavy at times, while at other times it feels easy, light and fun.

LET US PULL DOWN THE STARS  •  12″ x 12″  •  Acrylic on canvas  •  $250

So here’s to a New Year filled with discovery and creativity to all of you!

I haven’t put these up in my shop yet, so if there’s anything you find yourself interested in, please drop me a note. I’ll be happy to share the story behind each piece with you. And please visit my website to see some more of this series.

*Some of you may recognize that I’ve named each painting with a song title or fragment of a song lyric. Music is a huge influence as I pain… each painting becomes in part a tribute to the poet who wrote the words of the songs that help shape my marks.

Canada’s Heart Is Broken

We are well into autumn here and I find myself reflecting on how the past four months have been a grand period of exploring for me. I’ve been working as a patroller on Le P’tit Train du Nord Linear Park, and it has been an incredible experience: over the summer and into fall, I rode my bike five days a week along this magnificent 232 kilometre long trail. I met fascinating people from all over the world, saw birds and wildlife every day and got to see the land change with the seasons in a very intimate way. Spending my days outdoors, immersed in the spectacular beauty of the landscape has been sublime. Sometimes the human element was, well… let’s call it interesting, but all in all, it was a fantastic experience.
Last ride of the season, logged over 3600 kilometres this year.

I rode my bike over 3600 kilometres over the summer, which gave me lot of time to think (or as happened more often that not, to not think and just bliss out to the views in the sunshine). Which I came to realize, was exactly what I needed, but it left me very little time to make art. I find it really hard to do the work in the little spaces left in between all of life’s obligations. Well, for now that’s my reality, so the work gets done regardless, just more slowly than I’d like.

*  *  *  *  *
Credit: Rogers Media
           Most recently, I’ve been reflecting on the work and life of Gord Downie who died last week, a victim of glioblastoma. He was a person who I admired tremendously… an extraordinary creative soul… singer, songwriter, poet, activist, showman. A master storyteller who has been dubbed Canada’s unofficial poet laureate. He was weird, brilliant, riveting, enigmatic. Mystifying. Inspiring. A lot has been said very well in the media about his life, his music and his work on behalf of our indigenous people, so I have little to add, but what I’ve been drawing inspiration from is how he was so filled with the creative spirit throughout his life, even after the diagnosis and surgery that left him with some major impairments. When most of us would have been focused on simply trying to survive, he doubled down and put out some of the most important work of his life.
During the long ovations he received during the last tour, he stood alone on stage, visibly trying to meet the eye and connect with each and every person in the crowd. Photo: David Bastedo
On his stage persona: “I surrender. I throw myself on the altar of song and I see my own personal musical life in fast flashes… I do what the music urges.” Photo: Andrew Chin/Getty Images

           Along with all the Hip stuff, the media has been playing old interviews with Gord speaking on art and on his creative process: “I write every day. I walk around in silent conversation with my latest unfinished songs. I love it, I love all aspects of it.” He spoke of how his favourite moment of the day would come fireside at day’s end with all his writing materials around him. He had a notebook that was a thick as a phone book, filled with ideas and poetry – I can only imagine the brilliance in those pages, and I hope that someday we get to see it in some form.

I’m having some trouble wrapping my mind around it all and putting into words what an incredible artist he was, but the main point is that I’m in awe of how he kept the fire of his creativity burning so consistently throughout his life. As Stars singer Torquil Campbell said, he was the “gold standard of how to be an artist and how to be a person.

The Secret Path was one of Gord’s last projects, about which he said, “If it’s the last thing I do, I’m happy”. It is brilliant, and heartbreaking. Last December, First Nations National Chief Perry Bellegarde presented him with an eagle feather – a gift from the creator above — and he was given a Lakota spirit name, Wicapi Omani, which can be roughly translated as “Man who walks among the stars.”

On our country’s painful and necessary reconciliation with our Indigenous people: “To become a country, and truly call ourselves Canada, it means we must become one. We must walk down a path of reconciliation from now on. Together and forever.” Photo: Stephen McGill
           And so, Canada mourns our beloved poet, who is now at rest. For many of us, he sang the stories of our lives in a way that made us feel connected to each other. He never tried to tell us who we are, but we saw ourselves reflected in his words. He challenged us to face our dark secrets, and he exhorted us to live in the moment. He humbly gave us everything he had, and as Justin Trudeau stated last week, we are less as a country without Gord Downie in it. No dress rehearsal, this is our life.



I’m happy to announce that my art has a new home on Instagram!

After a year of waffling over whether or not to split it off from my personal account, I finally made the (tiny) leap. I like to keep things simple, so I held off because it felt counter-intuitive to me to start a second account. But then again, it seemed very logical that people who are interested in my art might not want to see my dog every day. Typical overthinking.

Soooo… for a daily glimpse into my creative world, a dose of inspiration and some discount codes for my shop when I release new stuff, please follow me on Insta @kimduhaimefineart and tell me a bit about yourself when you follow. Check out my first two posts to read #20factsaboutme – you should try that one yourself!


An as yet untitled piece that I was working on at the Symposium du Domaine Saint-Bernard.

I can’t believe we’re already heading into the last two weeks of August. It feels like the summer has gotten away from me, as I’ve been super busy with all kind of art things as well as with work. I have a job for the summer that’s taking up a lot of my time, but it’s something I really love so I can’t complain.

Several artists took advantage of the beauty of the site to work on paintings in situ.

First, I have to mention taking part in the Symposium des Arts du Domaine Saint-Bernard, August 4-6. First of all, the site is spectacular. Just down the road from the defunct Gray Rocks ski resort, the Domaine is on the site of a former monastery, sitting in the shadow of Mont-Tremblant’s ski trails, with lots of nature trails, resident wildlife and a pretty little beach. It’s a haven of peaceful nature hidden in the woods right near the bustling town. On the Friday after setting up our work in our tents, we were treated to a 5 à 7 private pre-show with several VIP guests. Wine and delicious hors d’oeuvres were served.

It did get a lot busier than these photos show, but I was occupied in my tent with visitors and only took pics when it was quiet!

The weekend was windy with some looming thunder storms, so the turnout was not as good as we’d all hoped, but I sold my painting Next To the Sea – a big thank you to Cyndie and Jeff for taking this very special piece home with them, as well as to all who attended and took the time to chat with me about my work. I’ve also since been contacted by collectors from Germany about purchasing a piece that they saw during the show. I was very pleased with the setup of the tents by the organizers, and the best part was having the chance to meet some new artist friends. All in all, it proved to be a very successful and enjoyable weekend. I hope to participate again next year!

An impromptu jam sessions broke out early Saturday morning at the Symposium.


Also this month, I managed to sneak in a visit to the 1001 Pots pottery exhibit that takes place in Val-David every summer. I love this show, not only for the stunning quantity of fantastic work, but also for the quirkiness of the site. I have a few favourite potters whose work I collect, including Kinya Ishikawa (who owns the property on which the exhibition is held and is the driving force behind it), and Eva Ferenczy-Reichmann, (I’ve been admiring her fantastical work for over 25 years). I’m always inspired by seeing how everyone’s work evolves from year to year.

For me, the highlight of 1001 Pots is the Jardin de Silices. This “garden of silica” is a wonder of creativity. Rusted steel cages holding thousands of shards and chunks of broken pottery, forming the walls of a meditative labyrinth in which stone, metal and water combine with greenery to pay homage to the process of creating. To make things even more magical, the garden is dotted with the mythical work of local sculptor Biscornet. I try to spend as much time in this place as possible while the show is open, it’s one of the most inspiring in situ works of art I’ve ever had the privilege to explore.

Le Jardin de Silices, 1001 Pots 2017

To wrap things up, here are a few photos from “the office”… I’ve spent the summer working as a patroller on the Parc Linéaire bicycle trails: it is truly a dream job to be able to spend my days in these spectacular locations.

MontageVelo2.jpgI’ve ridden close to 2000 kilometres on my bike so far, cycling the “rails-to-trails” bike paths of the Corridor Aérobique and the Ptit Train du Nord, lending a hand to anyone who needs first aid, mechanical assistance or directions to the nearest café for a good latte. After a long hard winter, I was really feeling like I needed to get out into nature and refill my well of inspiration, and it’s been exactly what I needed.


Last but not least… here’s a little preview of what I’ve been working on, along with a bit of inspiration from Mother Nature.

I’m very much inspired by water as it appears in nature.

Please excuse the mess on my table – I always swoon with envy over all those ultra neat and organized artist studios that you see on Instagram, but the reality is that painting is often a messy endeavour for me. Anyhow, folks, stay tuned because these little pretties from my new series Mare Incognito are going to be hitting my shop in early fall!

UPCOMING SHOW… Symposium des Arts du Domaine Saint-Bernard

I’ll be showing some new work this weekend at the Symposium des Arts du Domaine Saint-Bernard. I’m very excited about this one as it’s a juried show, and it’s situated in a beautiful location in the heart of Mont-Tremblant. There are 35 artists presenting their work and I feel honoured to be among their number.

Here’s a little preview of some new paintings that you’ll be able to see this weekend:

Tripping Billies, 12″ x 12″, acrylic on canvas  •  $250

Not every artist loves the dynamics of art fairs. You can get a lot of casual passersby who could care less about art except as something to stick on a blank wall that they end up hardly looking at. This type of person generally has little desire to connect with what they’re seeing and has no interest in trying to understand anything that doesn’t immediately reflect what they already know. They’re often quick to judge, tossing off an ignorant or insulting comment with no regard for the artist who is likely standing right there… with people like that around, you really have to have a good sense of humour to get through the day without feeling discouraged! Thankfully, a lot of people who truly love art seek out art fairs and spent a good amount of time really looking at what’s being presented. They may not stop at every artist’s spot, but they will take the time to speak to at least a few of the artists to show some appreciation for the work and ask questions about the artist’s process and philosophy. These art lovers make the art fair experience worthwhile for an artist, regardless of whether they buy a piece or not.

At a recent show, I overheard a passerby say of an artist’s body of work, “Ça ne me rejoint pas”, meaning that the art didn’t reach her, or that didn’t touch her on some level. I thought this was a thoughtful and graceful way to say that she didn’t like the work… much less painful to hear than simply, “I don’t like it”, or “That’s awful” (also overheard).

So for now, I’m still on the fence about art fairs, but I’m looking forward to this one because the Domaine Saint-Bernard Symposium distinguishes itself from many others by its reputation for drawing an audience of true art lovers.

Run Through The Moss on High Heels, 12″ x 12″, acrylic on canvas  •  $250

I always encourage everyone to pick up some original art for their home as it’s an excellent way to enrich your everyday experience. I have a lot of art in my home by artists from all over the world, as well as tons of objets d’art, little things that have meaning for me, from stones picked up at the beach to little arrangements of sticks and pinecones, to metal, ceramic and driftwood sculptures… Probably it seems like lots of flotsam and jetsam that would mean nothing to anyone else, but when those things are lovingly made by hand by someone who’s putting their heart and soul into what they’re creating, the object becomes all the more precious to me. I choose to surround myself with things that touch me, that have meaning for me in some way, that have textures, colours and patterns fascinate me.

My paintings are made from that same impulse. I love water, floating in the waves, the movement and variegated colours of the water, the textures of the shore. My latest paintings explore and express my love all those things. I use fluid pigments to create patterns of movement and texture, flow and ebb, punctuated by thick and colourful paint strokes. My work expresses the bright, exuberant energy I sense in the world around me, through paintings filled with energetic movement and sensual colour.

So if you’re in the Tremblant area this weekend, I do hope you’ll stop by!

539, ch. Saint-Bernard, Mont-Tremblant, QC
Saturday: 10:00-18:00
Sunday: 10:00-16:00

Midsummer Days… Here Be Dragons

WHIRLWIND I & II (dyptich) • 2 x 10″ X 10″ • Acrylic on 1.5″ Gallery Wrapped Canvas

I have two great things coming up fast this summer… Tomorrow, ArtBomb is featuring my dyptich, Whirlwind I & II. ArtBomb is a daily online art auction featuring curated works of art from artists across Canada. It’s a great way to discover interesting and affordable work from all across the country. Just subscribe (for free) and they will deliver one to three pieces to your inbox every morning. Bidding opens at 6 a.m.

I will also be at the Symposium des Arts du Domaine Saint-Bernard, which is coming up on the 4th & 5th of August. I’ve very excited about this one, as it’s a juried show and there were very few abstract artists selected. The Domaine is in a beautiful location in Mont-Tremblant, with a beach, gardens, hiking trails and an astronomical observation pavilion.


I’ve been busy busy busy this summer. Things are evolving and I find myself working on a new series (tentatively titled Mare Incognitum) as well as completing the latest pieces in my Flow series. I was planning on releasing a whole bunch of new work to start off the summer, but the reality is that I’ve only completed 3 paintings since winter ended. Yup.

There’s always lots of talk among artists about fearing the blank canvas… ha! That’s in no way a problem for me as I love nothing more than to attack a blank canvas. I generally have up to a dozen pieces sitting around in various stages of completion but looking at the pile this morning, I realized that things have gotten a bit out of hand: the count this morning came to … 39. Thirty nine!!!

It’s clear that I’ve been indulging my enthusiasm for the emptiness of  the white canvas a little too often. I’m not sure why I’m have so much trouble getting them to the finish line this summer, but it’s definitely a bit uncomfortable having so many of them sitting there unresolved. My painting process is very slow. I work intuitively and every time I face the canvas, it’s a journey of navigating the unknown. I don’t approach painting with any sort of specific destination in mind. I begin with a limited palette of colours and of course my personal lexicon of mark making is always front and centre, but I never start with a plan. As the piece progresses, I respond to what’s in front of me by adding or subtracting something, and sometimes annihilating the composition entirely with a bold, unexpected move. I work very wet which requires lots of drying time between multiple layers, so that slows things down even more. In my new series, I’ve been trying to be very mindful of this journey of exploration as it evolves. Stay tuned for a whole raft of new work coming up soon!