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A portrait of the portrait artist

Daniel Hughes was commissioned to paint the official portrait of outgoing Chancellor David Dodge. The portrait will be displayed in the Peter Lougheed Room in Richardson Hall, alongside portraits of previous chancellors. Communications Officer Andrew Stokes discussed the creative process with Mr. Hughes. 

Andrew Stokes: Can you describe the process you went through to paint Chancellor Dodge’s portrait?

[Daniel Hughes]
Daniel Hughes painted the portrait of Chancellor David Dodge to be unveiled Nov 8. (Supplied)

Daniel Hughes: I didn’t have David sit for the portrait because it took a very long time and he’s a busy man, so instead I worked with a photograph. Together with a photographer, we had him strike a number of poses and we captured a picture of him that would be a good representation. Working from a photo allows me to get the right lighting and contrast that I need for painting. 

AS: What were you trying to capture in the photo?

DH: More than anything, I wanted to get a shot where he looked truly relaxed. I also wanted to find a posture that showed something about his personality. As soon as you meet people, things come out about them, and it was quickly clear to me that he’s a charming and likable person. I had a chance to meet with David and his wife Chris to talk about what they were hoping for, and they wanted something a little more contemporary — they didn’t want a reserved Victorian pose. After sketching out a few of the options I found one where the smile was just right that managed to capture both his likeness and his personality.

AS: How long did the entire process take?

"Lesley" Oil on Canvas. Hughes has been painting portraits for more than 20 years.

DH: Once I started painting, I think it took somewhere between 60 and 80 hours to finish, and then some tweaking at the end as well. I paint portraits through a series of layers, starting dark and then working to a glaze layer. Getting details right like the pinstripes on his clothes takes time.

There’s always a strange effect when working on a portrait. You begin with a very abstract shape until suddenly a face starts to emerge. Once the likeness of the person is developed, they begin to give off their energy and you can feel their personality. While I was working on the painting, my sister came to visit me at my studio and the first thing she said was that he seems like a really pleasant and approachable person. It was great to get that feedback.

AS: What choices did you make to give the portrait a contemporary feel?

DH: Many of the previous chancellor portraits make use of a fairly dark colour palette, so I went for lighter colours. Rather than having him inside, standing by a bookshelf or something like that, he’s seated outside so you can see the sky, and there’s a silhouette of Grant Hall in the background. I typically paint contemporary subjects in modern clothing, but since David was wearing his robes and regalia, it felt a little bit like I was painting Henry VIII.

AS: How did you get this commission?

DH: I owe thanks to Jan Allen (Director, Agnes Etherington Art Centre) for suggesting me to do the painting and to David and Chris for selecting me. It’s been an honour to do a painting of a prominent Canadian that will hang for 100 years.

Chancellor Dodge’s portrait will be unveiled Saturday, Nov. 8 at the University Council Dinner. More of Daniel Hughes’ paintings can be seen on his website.


Art, anxiety and 'Awakening'

Exploring Anxiety through Art 

When Athena Mitsilios (Artsci ’17) was asked to make a clay sculpture on the theme of anxiety for her art class ARTF 227 she knew exactly where to start.

Student Jessica Peterson's scultpure of a knotted stomach.

“I knew I wanted to look at social anxiety,” she explains. “I wanted people to know more about what it feels like.”

First she carefully crafted an alien’s head, adding big, bulging eyes she then covered in tinfoil.

“When you have anxiety you feel like everyone is staring at you,” says Ms. Mitsilios, explaining that her alien has a small mouth to suggest the feeling of not being able to breathe. 

Part of the assignment, set out by associate professor Kathleen Sellars, however, included building in a sound component, which Ms. Mitsilios did by recording the sound of laboured breathing and a voice repeating “stop staring, stop staring” in increasingly panicked tones. The sounds for each of the exhibition’s 12 sculptures, which are embedded with mini-speakers, are only audible by plugging a cell phone, iPod or tablet.

“We haven’t really had a chance to do a sound component with an art piece before,” says Jess Peterson (Artsci’17), who also created a piece for the exhibition. “It was interesting. Each sculpture is totally different when you hear the sound component.” 

Ms. Peterson interpreted the theme by creating an organic-looking pink stomach which she encircled with string.

“I was thinking about the physical symptoms of anxiety,” she says. “This is a stomach completely tied up in knots.”

Radha Chaddah: “Awakening”

Alumna Radha Chaddah (Artsci’ 92) grew up torn between art and science.

“My family was always split,” she explains. “One side was in the arts, the other was in the sciences.”

"Flame", from Chaddah's Awakenings
Alumna Radha Chaddah's photography straddles art and science.

By growing stem cells and photographing them using laser light, Ms. Chaddah has drawn a careful path down the middle, creating ephemeral two-dimensional works that look both organically abstract and carefully considered.

“I always knew I wanted to bring the two together and somehow make art about science, among other things,” she explains.

Ms. Chaddah opted to start her education in the arts, which is why she pursued a double major in film and art history at Queen’s. Later, she rounded out her education with an undergraduate degree in biology, eventually choosing to pursue a master’s degree at the University of Toronto some years later. That’s where, working at a neurobiology lab, she found herself drawn to a stem cell project. Disinclined to experiment on animals, she began growing cells in petri dishes, learning a technique called immunohistochemistry. 

“The technique is used to prove the identity of a cell,” Ms. Chaddah explains. “I recognized doing my research that certain antibodies created beautiful images.”

While images cell images are typically reproduced in scientific journals in low resolutions at the size of an inch square, Ms. Chaddah’s high-resolution technique allows her to enlarge images to 40” x 60”. While each image can take up to 30 minutes to shoot, the results are arresting.

For Ms. Chaddah these works are more than just interesting images. She uses her work to ask questions about the world.

“They’re really about where we’re going, and how we are merging all these scientific discoveries as we move towards a place that is interesting and scary, all at the same time,” she says.

While she may have picked up the techniques in graduate school, Ms. Chaddah is quick to credit her Queen’s education for giving her the skills to think critically. She also names a former film professor, Derek Redmond, for teaching her to appreciate light and colour when creating an artistic work.

“His words have stuck with me since then,” she says. “I have become obsessed with light.”

“Awakening” by Radha Chaddah and the anxiety sculptures created by the students from ARTF 227 are on-view at the Art and Media Lab at the Isabel Bader Centre for the Performing Arts until Nov. 13, 2014.

For more information visit the Isabel’s website.


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