I currently have a marketable inventory of acrylic paintings which are either framed or gallery wrapped. You can e-mail me to discover the cost of any individual work.

I work from 8 x 10 inch prints mainly from photographs I have taken during my travels. Although I have used photos taken by others, as an example commissioned work, normally I have experienced the warmth of the sun on a log or the murmuring of a creek as it slowly unthaws. I try to create an accurate scale of what I am seeing while still retaining some artistic licence in colour and composition.

I am guided by my desire to recreate, with few exceptions, what I see in my photo reference(s). If a subject reveals a certain magnitude of beauty and distinction, I will use whatever techniques I must that result in an accurate depiction of the reference. Although I will begin with one and two inch brushes to build in larger swatches of colour as may be present, I will switch to smaller brushes to begin the process of adding detail and finally will use 10/0 and 18/0 brushes to finish the painting. The use of these brushes plus the fact that I further hydrate my fluid acrylics, enable me to minimize the presence of brush strokes and give my paintings a softer tone that is recognizable. The layering of colour with small brushes as well as the suitable application of light and shadow enables me to add depth to my paintings. I will also use a variety of tools to get the effects I'm looking for. I may use scrunched up newspaper, sponges, and even wooden skewers to provide detailed texture or for the leaves of middle distance deciduous trees. If one were to undertake a forensic examination of some of the utensils in the house they might find the evidence of acrylic residue. I also have a compressor and an airbrush which might be employed in order to achieve a specific tonal gradient such as the gradual blending of the ocean from the foreground to the horizon. So the end justifies the techniques that are applied. In minimal instances, the end may include changes that I have determined will result in a brighter, or more sombre, or better composed painting. In my mind, the changes will result in a more natural setting given how cameras don’t always reflect what the eye sees.

                   

                                      Artist Statement

I create wilderness art that invites you to experience the same thoughts and feelings that prompt me to paint. I would like you to wonder what's around the bend in a path or over the next hill.

I paint using acrylics on canvas and wood to capture the photorealistic truth of what I see. I use a variety of techniques and styles of composition to achieve the desired results and normally build fine layers of paint until I have accomplished my objectives.

I create representational work that is photo-derived but with as many changes that reflect what I want to present to the viewer. Along the way, I have studied and been influenced by Coleville and Bateman and some of the great Russian landscape artists Shishkin and Levitan. My approach of creating very detailed, photorealistic work gives me the satisfaction of crafting something unique.

With few exceptions, I have stood on the sites of my paintings and felt the warmth of the sun or the coolness of the deep shade. I endeavour to enable you to feel the same things from my paintings .........to wrap you up in the moment .......to create an experience that you can't forget!

                                                             Biography

Ken Nash was born and raised in Armstrong in the North Okanagan Valley in British Columbia and has created art for fifty years using a variety of mediums including ink, coloured pencil and acrylics on paper, wood and canvas. Inspired by the beauty of the valley around him, he started painting when he was eight years old and over time developed the techniques that he applies today. His work can now be descibed in the genre of photorealism and is an excellent conduit to reflect the beauty of the wilderness of British Columbia, Canada, and other parts of the world.

For most of his career, he focused on commissioned work and continues to provide clients with an opportunity to have his beautiful art hanging on their walls. As an example, in the past few years, Ken has completed a number of commissions for both corporate entities and private individuals.

He also has exhibited (and is exhibiting) his work throughout Metro Vancouver, the Fraser Valley, other parts of B.C. and Alberta, and is an active member of the Federation of Canadian Artists (FCA). A couple of years ago, he enjoyed exhibiting his work in Armstrong in a show entitled appropriately " Coming Home ". Ken is also a featured artist for a group called Westart which will put on three shows annually with partial sales going to separate charities. Please check out www.westart.ca for a list of featured artists and the specific dates of the shows.

Ken became a signature member of the Artists for Conservation (AFC) in 2016, (see www.artistsforconservation.org) . Although his landscape paintings (as they relate to the pristine habitats that need to be conserved), are consistent with the mandate of the world-wide group, he has recently begun to paint wildlife in his unique style for further integration with the theme. His paintings are juried into an annual AFC Show here in Greater Vancouver (this year, 2021 at the VanDusen Gardens) and then have been part of a traveling show that have taken them to China and are currently part of an exhibition at the James Museum in St. Petersberg Florida. On the conservation theme, Ken agreed to donate a painting to a show at Science World in Vancouver with proceeds going toward endangered amphibians.

Ken is always looking for other venues to showcase his work and as a result, he has had his work on display at the Arta Gallery situated in the beautiful historic Distillery District in Toronto.   His work can now be viewed at the Grant Berg Galleries in Grande Prairie and Kananaskis ( Delta Marriot Hotel) Alberta starting in December 2017. As of May 2018, Ken's work is also represented at the Kube Gallery in Fort Langley B.C.

Ken was also profiled in the 2017 Autumn/Winter edition of the Canadian Art magazine Arabella which featured an in-depth look into the history of his life as an artist and how his work has evolved and been influenced over time.

Please wander along the trails and across the valleys until you come to rest by a stream.  Feel free to stay a while and absorb the moment.  When you leave, remember how you got here and come again whenever you need a break.

                         

Although I had a second career, over the course of that time, I undertook commissioned paintings in order to maintain my skills and to keep a presence in the art world. I value the opportunity to create a painting that reflects the end results desired by the client. My work is photorealistic however I believe that I still offer enough self-interpretation that one still sees a painting. For a landscape, I take the time to research the geography of the area, the type of trees and vegetation that are common to the region and the type of detail exhibited in the leaf structure or foliage. This work enables me to grasp a feeling for the area that may or may not be reflected in the reference photo.

My draft sketch is also a careful scale representation of the subject based on the dimensions of the support. Research and sketching may take me two weeks or more until I’m satisfied that I’m now ready to begin painting. At this point, I will consult with the client to ensure that I have captured the subject as intended. I also ask for 30% of the total agreed price (non-refundable) up front, to cover the cost of materials and the time committed to research. A month in, I will again consult with the client for feedback and, contrary to a view that an artist is tied to their personal creative impulse, I do respond constructively to feedback. Time to completion varies but, as an example, a 30” x 40” acrylic painting normally takes me two and a half to three months to complete. Payment in full is contingent on the complete satisfaction of the client. If this is not the case, I keep the painting and I will retain the 30% to cover costs.