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About the Artist
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Creativity & innovation
is a way of life.


First manifestations in childhood were sewing, embroidery, drawing, painting &
sculpture.


The journey of maturation proceeded through...saw it progress through ...


Art Systems design
Scientific illustration Management
Commercial art Writing
Architectural drafting Theatre
Fashion design Music
Advertising Triaslin farm
Forms design




The journey through a variety of fascinating fields returned me to the earth where interests & experience coalesced to run a farm of diverse livestock & topography.


It harbors a studio where the origins of my journey are rediscovered in sculpture, portraits of people, animals & the useful application of my infatuation with life.




Art
I was taught to write and draw as soon as I could hold a pencil. In the solitude of my oriental childhood, art constituted an important part of life and panacea for any malaise or upset. The only places I was permitted free rein were museums. In those days artifacts lay on open shelves, available for close examination. The curators took me under their wing, teaching me about everything before me, thereby linking art to everything in life. I was enthralled by the same qualities that had inspired the artist 4,000 years before. The impact was visceral. Throughout my travels, museums and galleries were my ultimate objectives. They taught me history, science, humanity, psychology, diplomacy, humour, engineering,

I love art as a means of communication through time and space and I studied diligently to understand the conceptual, minimal, post modern, intellectual, formalist concerns of the day. The thought of an archeologist, centuries hence, discovering an artifact of our time brought me back to my original belief - that lines and forms discern sentiments that transcend time and space. They move us … define art…and project a sense of immortality.

My first work was exhibited at school, after which I was invited to exhibit with different artists annually. By the time I was eighteen my scientific illustrations had been published. My studies of people and animals had won prizes, been exhibited and sold in five countries. I was invited to give talks and participate in seminars and to teach. In the early seventies I co-founded art groups and worked to bring artists and their art to the community. In 1972 I established Atelier Kralik in Ottawa. For 28 years, artists from many countries and disciplines congregated there and exhibited their work.

The concept of the Renaissance was alive in my family and it was one’s duty to develop as many facets and abilities as possible.



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Scientific illustration
As a student, my favourite subjects were physics, chemistry, botany, zoology; all of which introduced me to people who were involved in research. They required detailed technical drawings to illustrate reports and papers published about their discoveries. I drew plants, insects, biology dissections and eventually worked with a microscope to detail sections. I loved this work, intending to study medicine to become a medical illustrator.




Commercial art
My first position after High School was as a commercial artist for Bell Telephone. I was accepted on the basis of my portfolio. I began my “on the job” education, in which every assignment was a test and failure was not an option. My client base was extensive and covered every field. I developed an open-minded approach and cultivated a versatility that served me throughout my career.

I researched all unfamiliar subject matter in order to depict it dynamically as well as physically correctly. The experience allowed me to perfect my skills in lettering, typographic design, line drawing, composition, logo design and public relations.




Architectural drafting
From 1965-9, I studied architectural drafting, rendering, photography and maquette building. These disciplines were fascinating and invaluable from that point on.



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Fashion design
Among the first skills I was taught as a child were the arts of clothing design, tailoring, embroidery and lace. My designs were especially in demand during the sixties when people threw convention to the wind, outdoing each other in their search for something especially daring and innovative to wear to the annual balls, the opening of Parliament, traveling or other special events around Ottawa.




Advertising
As associate in an advertising firm, I carried out projects in typographic design, publications design and corporate image design. Clients included Dundas Chemical, Insulglass, Pure Spring, The Seaway Authority, Assaly Construction, Bill Teron, Minto, Campeau and 3M. It was very exciting work, as yet unaffected by the technology revolution. Concepts relied on manual skills that took years to master but resulted in unique products. This process was quite unlike the mechanical / computer driven graphics that soon followed which enabled people lacking design skills and aesthetic sense to generate graphics.



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Forms design
Forms Design offered me the opportunity to apply my widening experience in an area that had little competition and provided an enormous challenge. In 1970 I won a competition to Nutrition Canada, an ambitious Federal project to ascertain the relationship between health, geography, socio-economic status, employment and other factors.

Success relied on the use of huge mainframe computers that required entire buildings of their own, scores of programmers feeding truckloads of punch cards into them and reviewing trainloads of paper that spewed forth from them each day. It was a heroic undertaking that introduced me to a diverse team of specialized professionals united in a groundbreaking project. I reveled in the breakneck intensity of research and collaborative, innovative problem solving.

I took university courses in computer programming, systems analysis, statistics and psychology, in order to understand the factors that influence people’s attitudes to capturing, interpreting and managing information via computer technology. In fields that normally rely on narrative, we had to designate conditions, alternatives and degrees numerically. Without exception, simplification causes complications and it is complicated to simplify.




Systems design
My work with Nutrition Canada opened a door to the frontier of systems analysis and design. My university studies continued in the evenings while I learned practical applications in the real world during the day.

I set up paperwork processing systems for Health & Welfare Canada, Medical Services, Agriculture Canada, Indian & Northern Affairs, Parks Canada, & Environment Canada. I trained individuals, organized seminars, all the while crusading for work simplification and the elimination of duplication.



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Management
Many of the Management engineers in Government came from the military during the seventies. I was always the first or the only female consultant they worked with. I was fortunate to be surrounded with strong players who were instrumental in groundbreaking management innovation in the private sector. They were excellent mentors.

The projects assigned to me were in fields of science, medicine, health and agriculture; all of which fascinated me. I particularly enjoyed collaborating with subject specialists and researching in the departmental libraries and archives. Although each project was different, they all required creativity in problem solving and the ability to realize implementation.

My projects included systems analysis and design, performance measurement, organizational design, public relations, conference planning, communications and a multitude of management improvement initiatives.

Within a decade, the sudden influx of MBA graduates inundated management and taught me how destructive empty lessons devoid of practical experience could be to an organization.




Writing
Most of my positions required a writing style that is detailed, succinct and interesting to read. The years of copy writing for advertising, promotion, for press releases, for printing or for building specifications proved a fine training ground for writing reports, executive summaries, systems and procedures manuals. Later, I wrote about artists and their work.



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Theatre
The study of ballet, music and theatre dominated my early years, culminating in roles in “After this, our Exile”, “Our Hearts Were Young and Gay” and Dylan Thomas’ “Under Milkwood”.




Music
Promoting bands, making demo tapes, intros to the recording industry, etc.




Triaslin farm
Tiraislin farm began in 1996 as my magnum opus, my performance piece, my exploration into cycles of life that make sense.  It demanded of me all the  faculties I’d spent a lifetime acquiring. In return, bliss, exhaustion, an endless supply of subjects, resources, space and potentially, wisdom.

The animals teach me by their interactions, a way to live more interesting & pleasant than the savagery of urban life.

The promise I make to the animals is that they have the happiest life they can have.  They are free to gambol in the sun and forage.  I believe the meat from pasture raised animals is far more delicious & healthy.  CLA, which protects the animal from disease as well as the person who eats the meat, drinks the milk or eats the eggs, is higher in pasture raised animals and disappears in confined animals.   T he meat from pasture raised animals is much leaner which in turn can sometimes be tougher than the pulpy flesh of animals which have spent their lives confined & unable to move.  The flavour warrants taking care to cook the meat gently. It is lean enough one can afford to cook it in butter or olive oil. It is so rich that one is satisfied without overeating.

I also believe that we are a complex bag of chemicals in which happiness is the result of a  certain combination.  I suspect that if we eat the meat of  tortured creatures who've known nothing but the pain & frustration of not being able to move, run, roll in the sun, stretch out, experience play & grooming  with friends & relations or even choose its  own fodder, then we suffer too.

I believe our state of being affects the way we grow at the cellular level.  This pain or bliss affects our very fibres.  Therefore, in my mind, the widespread depression in today's population is not a coincidence.

Visitors come to study, work, realize special projects, repair urban frazzle …or just marvel at nature.

 




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Last update:
April 2, 2004