|
|
|
|
 |
From Reel to RealArtist Janice Blackie-Goodine has a passion for Western TraditionalismBy Janene Astra
'Western Traditionalism' is a term that sits well with Blackie-Goodine and her talent as an artist; not only is her art set in a traditional way of life, but she has lived it. Raised in the same Calgary home as her mother, Janice spent most of her young life travelling the back roads of the amateur rodeo circuit in Alberta, with a calf-roping father and a mother who believed in the simple beauty of life. 'I feel completely at home drawing western life. It's exactly how I grew up. I was immersed in this hard-working, dusty, beautifully simple way of life.'
It was an unfortunate tragedy that returned Blackie-Goodine to painting. A house fire consumed the ranch house of a couple she has known for many years. In an attempt to replace some of the couple's western art and artefacts, Blackie-Goodine did a painting of Glen O'Neil, the 1995 $50,000 Stampede Saddle Bronc winner, and presented it to them. 'Doing this painting for the Flewellings was truly inspirational for me,' she reminisces. 'I saw how it made them feel. It was an emotional time for us all.'
With sepia photograph-likeness, Janice transforms images of western life onto a leather canvas. 'Leather represents the western way of life,' she says, 'It really is symbolic for the image of the cowboy on his horse to be against a backdrop of what he uses every moment.' Blackie-Goodine uses organic earth tones to portray the authenticity of western life. Her images speak achingly and lovingly of hard times, past memories, and the roughness of rodeo, while the leather redolently exudes work in the saddle, gloves over calloused hands, or perhaps a pair of chaps after a ride. Janice and her husband, Dean, have recently bought a house in Summerland, B.C. so that Janice can 'keep the home fires burning' while Dean continues work in the demanding film industry. She calls herself 'a western realist artist with solid Alberta roots, who can now do what she knows and loves.'
Janice Blackie-Goodine can be found in her Summerland studio amongst leather and acrylic, or you can reach her by email at filmworld@shaw.ca A Nod from Oscar and a Kiss from Clint. A career success, to say the least. Janice Blackie-Goodine has spent 26 years in the film industry, designing sets. From the humble beginnings of Access T.V. to movies like The Edge and Honey, I Shrunk the Kids, to award-winning hits like Unforgiven, Blackie-Goodine has spent her days and nights researching, sourcing, buying, and setting up drapes, carpets, light fixtures, furniture, wall hangings and any other items that will develop a character through background. 'Not only do I have to do a lot of research about people or the time period, but I have to put myself in the position of the character, as to what sort of things he or she would have around them,' says Blackie-Goodine, as we tour her Summerland home, where there are countless framed photographs of her with the likes of Clint Eastwood, Anthony Hopkins, and Tom Selleck.
Although Blackie-Goodine has worked on a number of film projects, it's not hard to guess where her love lies. 'Westerns are my favourite,' she says. 'I have not only lived that life but a big part of being a set decorator involves research. I have spent countless hours researching the time periods. My attention to detail really comes from all of this.' Although film viewers may find it hard to keep their eyes off the action in westerns like Monte Walsh, Crossfire Trail, and the T.V. series Lonesome Dove, they just need to glance at what is hanging on the walls, rest a moment on the furniture, absorb the colours of the background, and they will see Blackie-Goodine’s talents. 'I'm very proud of the work that I have done in the film industry,' says Blackie-Goodine, 'and I know that others have been pleased as well. I can boast an Oscar nomination and,' she pauses and smiles, 'a kiss from Clint Eastwood.' |
|
|
 |
|
|
 |
|
There is passion, stamina, authenticity and an acceptance of work ethic in western people. I want to portray that,' says Janice Blackie-Goodine, as she pads across the cowhide rug to her easel, in her Summerland studio. 'These are all qualities that I admire and strive for in my own life, and I think I've been able to capture them in the detail of my art.'
From a young age, Blackie-Goodine wanted to paint what she saw in every day life. Her mother, who did some painting herself, would point out an old barn or a fence line and encourage Janice to notice detail, shape and colour. After graduating high school, Janice attended the Alberta College of Art. At the college, the 'modernistic attitude' of the 1970's completely discouraged her, and even though she did remain true to her art, Janice left the Alberta College of Art and put her talents as a western artist aside. Blackie-Goodine's 'attention to detail' talents were quickly recognized in the film industry (see our sidebar.) 'I sort of landed this job because of who I knew, but then I was quick to succeed because of what I knew.' She became well established in the film industry, although it wasn't exactly where her heart was.
It was then that Blackie-Goodine decided to take three months out of her movie career, and paint. In 2002 and 2003 she was approached by the Calgary Stampede to put a piece in the Calgary Stampede Art Auction. 'People had noticed my art before, but being in the Calgary Stampede Art Auction really showed my work to all kinds of people. These are the types of people that know what they love; horses, cows, rodeo; and they go for it.'
'I do have a favourite painting,' Blackie-Goodine says. 'It's one I did of my grandfather, resting and cooling as he sits on his horse, and it's called High Noon. It's funny where talent takes you. High Noon was purchased by a couple from Russia so somewhere in Russia my grandfather sits, taking a break on his horse.'
'Working in the film industry is very intense work. On a project we will work 12-18 hours a day, and everything centres around doing your best work yet staying on schedule. It's very engrossing and draining,' recalls Blackie-Goodine. She boasts more than 18 T.V. movies, 10 feature films, 10 T.V. series, and numerous commercials to her credit. However, being nominated for an Oscar in Set Decoration for her work in Clint Eastwood's Unforgiven has been one of the high points in her career. 'I feel at home doing westerns, and I especially loved working in Alberta with Clint Eastwood on such an incredible project,' she says, and smiles. 'I remember driving to every little small town in Alberta searching for antiques, digging through old barns and homesteads, and sifting through attics, to find set pieces for Unforgiven. It seemed like such a formidable task, but then again, much like a treasure hunt in authenticity.'