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Working Drawings
at the Ron Bloore Archives

at the University of Regina

Working Drawing


Working Drawing

1987, Nov. 29th, 112x224cm, oil on masonite, University of Regina, Riddell Hall

“I am not aware of any intention while painting with the exception of making a preconceived image function formally as a painting. By this I mean that the appearance of each work has been consciously determined in my mind before executing it, and the general concept is not significantly altered by the requirements of material limitations.”
      -  1961



Starting around 1988 Bloore's preconceived figures started to appear in their own spaces rendered illusionistically. The actual frame of the painting became an apparent frame of a view into another world. This was radically new for Bloore, but very old as far as painting is concerned. It was a compositional shift from the iconic to the surrealistic.


8-by-8 no.13

2-Panel Diptych Number 13, 1989 February 9-27, 2x 244x122cm, oil on masonite

Doing the large 2-Panel Series of 1988-90 he developed a method of almost mechanically generating compositions. He determined his frame in advance: a particular proportion at a preconceived scale. The drawing work was then about confining his ideas inside this window. He would scribble randomly all over his square with a pencil in his left hand and then erase with his right hand everything that did not look interesting.


Sketching At 265

1989, Sketching at 265 Adelaide in front of 2-Panel Series Number 12

Then he would do this again, and again, many times. He would isolate and emphasize the most interesting relationships that would develop out of the squiggles and try to end most days with something that just might fly. Only the cold light of the next day and the fresh eyes of morning would tell. At the point the vision cohered he would always note down how many days of struggle had gone into that image, sometimes more than it required to execute it.



Drawn Oct. 2-7, Painted Oct. 8-24


1991 No. 8, 122x122cm, oil on masonite

Now the page would be cleaned up, usually with a battery powered eraser, gridded over with a mechanical pencil and the composition would be transferred with conté to the masonite panel for painting. As the piece was then painted the working drawing would be used to keep notes on novel methods of execution, paint selection, techniques, layering, etc. and Bloore would use these notes for subsequent works.



2007 Black Line Series No. 3, 122x122cm
Drawn Feb. 23-24, Painted Feb. 24 - March 28


MacKenzie Art Gallery, Regina
Permanent Collection

These records are an extremely valuable resource as they are crucial for restoration work and other repairs. They have been photographed, digitized and backed-up and placed for safe keeping while available for research purposes at:

The Bloore Archives
at the University of Regina


Lochhead/Bloore ’21
Peel Sumi Inkworks ’19
Wallace Gallery ’16
Moore Gallery Tribute ’11
Wallace Gallery Tribute ’11
Carleton U Works on Paper ’08
Mackenzie/Nickle ’07-09
Peter Pan 2006-15
AGP, Bloore at 80, ’05
Art Company, Sploores etc ’03
Winchester, Small Works ’03
Meridian Gallery, Inkworks ’03
Lambton Gallery, Inkworks ’02
Not Without Design ’90-2
AGP, Bloore Drawings 1960-88
Dorothy Cameron Gallery ’65
Here And Now, Toronto ’62
Win Hedore, Regina ’60

Late Sixties
Early Sixties
The Beginning
Early Drawing
Mixing Media
Black Inkworks
Larger Inkworks
Studies on Paper
Baby Bloores

Regina Five Interviews ’91
Knapik Interview ’91
Murray Interview ’78
Morton Retrospective ’94
Jan Wyers Retrospective ’89
Folk Painters, Jan Wyers ’60
Art in Canada, Spring ’51
Roest, Bloore's Dialectic ’17
Bloore at Eighty 1988-05
Not Without Design ’91
Peterborough Donation ’88
Bloore Drawings 1960-88
Regina Five Reunion ’81
Ted Heinrich Review ’79
Barry Lord Review ’66
Robert Fulford Review ’62
Win Hedore in Regina ’60
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