About Ian Carter
My painting has developed on many levels. Before becoming a full-time painter, I worked as an architect planning and designing mostly healthcare projects.
I have studied at and attended painting workshops at the Glasgow School of Art, Scotland, The Federation of Canadian Artists, Emily Carr University of Art and Design, in Vancouver BC and San Miguel de Allende, Mexico. My other interests include playing the Classic Guitar, Writing, Art, and travelling where our most recent visits have been in Mexico, Europe, Russia, Germany, Hungary, Scandinavia and the Mediterranean.
I was born in England. My parents moved to Scotland where I spent my informative years including gaining a degree in Architecture at the Glasgow School of Art. I practiced Architecture in Scotland and Nigeria before moving to Vancouver BC in 1974, where I retired in 2013.
Now my wife and I split our time each year between Vancouver in the summer and San Miguel de Allende in the winter.
My paintings are intuitive, en plein air and impressionist working in mostly watercolours but sometimes in acrylics from the abstract to impressionist. My work spans a broad range of subjects and styles, including landscapes, buildings and seascapes. I attempt to create a feeling, an impression, rather than a picture, to evoke a deeper emotional response from the viewer.
December 9th, 2017 Art Show
I have started a new series in acrylics named “Imagined Landscapes of Mexico” which is being introduced at this show.
I also like to work in watercolour, with as much under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of
the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolour you are in a dialogue with the paint, it responds to you and you respond to it in turn. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. I usually work
up from small sketches — which indicate in a simple way, something of the atmosphere or dynamics of an illustration; then I create drawings on a larger scale. When I’ve reached a stage where the drawing looks complete enough I’ll transfer it to watercolour paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. It’s fun to see where it goes!