A new challenge: member of Ottawa Art Association

Text and Time 113(Archetypal Head), oil on canvas, 70x90 cm, 2016

Text and Time 113(Archetypal Head), oil on canvas, 70×90 cm, 2016

Since July 2016 I became a member of Ottawa Art Association, a prestigious organization of some important Canadian visual artists, founded in 1918, the oldest in this area. Ottawa is my second home-city, after Suceava, Romania, where I have spent many months in the last years, the city of a part of my family.

This is my profile on the site of OAA:


Ottawa Art Association organizes monthly meetings with all the members, a lot of cultural events and two group shows every year, in Spring and at the end of the year, where some of the best artworks are awarded.

The President of Ottawa Art Association is the painter Robert Murrell.

Here is my membership acceptance letter from July, 26:

Hello Constantin, welcome to the Ottawa Art Association, we are so glad you decided to join our organization. Your membership card and a receipt for membership have been placed in the mail. I would like to take this opportunity to welcome you aboard and provide you with the link to our web site http://www.ottawaartassoc.ca , as well I have attached a Membership Guide that will help you to assimilate into the OAA.

If you have not already done so, please consider putting your name down to assist with one of our volunteer committees. The OAA is a volunteer run organization and requires the active participation of our members.

Should you have any questions please do not hesitate to contact me or any other member of the executive.

Please do come to one of our monthly meetings and introduce yourself to us, we do look forward to meeting all new members of the association.


Betty Sullivan/OAA Membership Chair

BESullivan Artists Studio
Ottawa, Ontario, Canada

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Severin’s Choice: Ritchie Sinclair

Sounding – Norval Morrisseau and Ritchie Sinclair – Acrylic on canvas, 36″ x 48″, 1979

– Norval Morrisseau and Ritchie Sinclair –
Acrylic on canvas, 36″ x 48″, 1979

In my opinion, the great Canadian artist Norval Morrisseau is a classic of the archetypal expressionism, the new awarded art concept/movement with so many fans worldwide.
Now I have the great pleasure to feature on my blog Norval Morrisseau’s best follower, Ritchie Sinclair, a true Stardreamer on the contemporary art scene, looking for love in a Gods Country, and to include the story of their common painting, ”Sounding”.

The Story of Sounding
by Ritchie Sinclair

This painting was created by Norval Morrisseau and myself in September 1979 and signed by both of us before it was given away as a gift in December 1979. It is an example of the exploratory nature of “Thunderbird School Art”. On multiple occasions members of Toronto’s Eckankar community specifically utilized this painting as a vehicle to focus their sounding of the Hu at meditation gatherings held in Vandorf, Ontario.
Sounding didn’t begin as a joint project. Even though Norval kept me busy assisting him with his projects I also made time to create my own paintings, and I had intended this to be one of them. I first created the background of the artwork using a lift-off wash technique. With tape and a second wash I then created the central pyramid. In this rudimentary form the painting was first utilized in meditations that were conducted by Eck initiates; people who Norval held in high esteem because of their standing within the Eck community. Norval dreamed of one day meeting the living Eck master and hoped that he too would become an Eck initiate of some degree however those he sought counsel with informed him that his smoking habit was preventing him from evolving within the Eck community. This, however, did not deter him from daily study of the Eckist teachings and decades later, as a non-smoker, he would finally be initiated into Eckankar.
Sounding had been hanging on the mantle above a fireplace in an oversized room that opened up to two more oversized rooms on the main floor where the meditations had been taking place. Eventually I painted the figure of a head in the top right corner and the series of heads in the bottom left corner, and then left it.
One day I woke up to Norval sitting in a chair beside my bed, drinking coffee, and staring at something. I followed his gaze. At the end of my bed I spied my painting. It now had a big red dot in the middle of it. I was shocked. I never dreamed that anyone would touch one of my paintings in such a manner. Certainly no one ever had before. I wasn’t happy; I was upset and let him know it. He laughed. It didn’t seem to bother him at all and I soon got over my foolishness. Later that day, using his finger, he painted a yellow dot in the center of it, and later still; a blue dot. Over the coming weeks Norval kept the painting in the kitchen where he liked to sit and putter with it. I never touched it again except to sign it on the day we gave it away.
I grew to love the painting and what Norval had done with it, and openly wondered what would become of it. Artwork done in tandem was not a saleable commodity and paintings hanging around Norval never lasted long for one reason or another. We planned to spend Christmas with my family so I suggested that to keep it around we might give the painting away as a gift to my youngest brother, Keith; so we did. It has been with Keith ever since.
Interpretive Symbolism
I entitled the painting, “Sounding” after both its symbolic subject matter and its initial utilization as a seed for focusing the HU group meditation. The figure in the top left corner is an image of “Stardreamer”, which is the spirit name Norval gave me on the day we met. The nose and cheek are formed by a stylized bird, symbolizing the freedom of the sky (i.e. air). Out of the figure’s mouth emerges a sound which creates the path ahead. The light blue colouring the path represents the breath of life. To the bottom left are Easter Island-like figures symbolizing Morrisseau as shamanic mentor standing with the ancestors that came before him. The nose and cheeks of these figures are formed by a stylized moose head, symbolic of a grounded nature (i.e. earth). The top left corner spiral symbolizes the way through, down, and out of physical life. The yellow dot, blue dot and red dot in the central area lead one’s eye into the central pyramid of spiritual life, where souls travel up into the finer planes of existence. The three central birds represent beings deep in meditation. In juxtaposition to the top left corner’s unifying spiral at the end of one’s path of life (i.e. physical death) are two fish swimming in the bottom right corner that are symbolic of the dualities of Norval’s astrological sign, Pisces. It is interesting to note, however, that these fish swim free of one another, unlike the two fish tied together as depicted in traditional Pisces symbols.
Sounding is a highly symbolic painting. Each colour, line and form adds more detail to the tale told. Morrisseau paintings are usually two-dimensional renderings of symbolic subject matter however Sounding uses two dimensional forms to explore not only the 3rd dimension but to point the way to other dimensions
I have been avidly exploring the arts, primarily painting, all of my life. My artistic effort is both my personal approach to Spirit and ideally a source of inspiration to others. The theme of my art is love.

Ritchie Sinclair (Stardreamer)



The Fire Place

The Fire Place

Ode to Love

Ode to Love

Divining Tomorrow

Divining Tomorrow

Gods Country

Gods Country

Algonquin Vision Quest

Algonquin Vision Quest



Spirit Fire

Spirit Fire

Ritchie Sinclair (Painting the Sky at Killarney)

Ritchie Sinclair (Painting the Sky at Killarney)

Artist’s Statement

I have been avidly exploring the arts, primarily painting, all of my life. My artistic effort is both my personal approach to Spirit and ideally a source of inspiration to others. The theme of my art is love.

Ritchie Sinclair (Stardreamer)

Artist’s site:

The Visionary Art and Artistry of Ritchie Sinclair and Brona Wingell

Artist’s Bio

January 2nd 1957, Thunder Bay, Scottish Lineage.
Apprenticed with Norval Morrisseau, 1979-1985, founding member of the Thunderbird School of Shamanistic Art.
Art Exhibitions
• • 1977 – Group Exhibition – “A.S.E. Spring Show” – Scarborough Civic Centre.
• • 1984 – Solo Exhibition – “Celestial Symbolism” – Synchron Associates, Toronto
• • 1987 – Solo Exhibition – “The Rabbit and the Resurrection – Gallery St. Luke, Toronto
• • 1988 – Group Exhibition for the Labour Council of Canada, Toronto City Hall.
• • 1989 >> 2004 – Permanent Showcase and annual exhibitions, Omega Centre, Toronto.
• • 1990 – Solo Exhibition – Africanadian Art – Second Story, Toronto
• • 1992 – Solo Exhibition – “Angelic Alchemy” – The Omega Centre, Toronto
• • 1993 – Solo Exhibition – “In the Spirit of Harmony” – Won Tai Sin Temple, Markham, Ontario.
• • 1994 – Solo multi-media art exhibition, “The Art of Bridging, 1994” – The Omega Centre, Toronto
• • 1995 – Touring Exhibition – “Alpha-Omega, A 21st Century Vision Quest”, Ontario Public/Secondary Schools.
• • 1995 – Solo Exhibition – Spirit Unearthed – The Omega Centre, Toronto
• • 1997 – Solo and Group Exhibitions held at BCE Place, Toronto
• • 2001 – Solo Exhibition – “Stardreamer – Pen & Inks” – Original Papers Gallery, Toronto
• • 2004 – Solo Exhibition – “The Inspirational Spirit” – The Omega Centre, Toronto
• • 2006 – Group Exhibition/auction – C.A.M.H. for Dare and Elder Vern Harper, Toronto
• • 2006 – Group Exhibition – Sole Vishuns – Canadian Institute for the Blind, Toronto
• • 2007 – Resident Artist – McMichael Canadian Collection, Kleinburg.
• • 2008 – Solo Exhibition – “Spirit” – Scollard Street Gallery, Toronto.
• • 2010 – Group Exhibition – Winter Solstice Celebration and Ceremony – The Strada, Toronto
• • 2013 – Group Exhibition – “Artists Exposed” – Georgina Arts Centre, Sutton
• • Feb 2014 – Group Exhibition – “Inspired by Love” – La Boheme, Toronto
• • May 2014 – Two-person Exhibition – “Lovescapes” – La Boheme, Toronto
• • Dec 2014 – Two-person Exhibition – “Spirit ISland” – La Boheme, Toronto
Special Commissions
• • 1987 – Commissioned to create 80 paintings for Originart Canada.
• • 1988 – Commissioned by Tridel Corp. to create “The Birches”, a condominium mural, Scarborough, Ontario.
• • 1989 – Commissioned by Kahu Corp. to create paintings for the corporate sponsors of Toronto’s Skydome.
• • 1989 – Commissioned by Second Story Inc. to create 12 paintings depicting ancient African shamanism.
• • 1997 – Commissioned by the Algonquin Tea Company to create six paintings for a line of Organic Teas.
• • 1998 – Commissioned by Morrissey Inc., to create a mural dedicated to Norval Morrisseau.
• • 2003 – Commissioned by the United Church of Canada to create a recreation centre mural.
• • 2004 – Commissioned by the Canadian Labour Congress to create a national Earth Day Poster.
• • 2011 – Commissioned by Kolapore Springs Fishery to create “Spirit of the Sacred Trout”.
• • 2012 – Commissioned by the Red Bear Healing Home to create “Red Bear Healing Vision”.
Socially Conscious Artistic Initatives
• • 1986 – “Lighthouse, A Beacon of Hope in a time of Despair”, a two-panel anti-apartheid painting toured the Greater Toronto Area with Archbishop Desmond Tutu including Harbourfront, Metro Toronto Convention Centre, St. Paul’s Church, Toronto and St. Matthews Church, Markham, Ontario,
• • 1990 – “Aftershock” a painting depicting the global village response to the Chernobyl disaster was presented in association with the Children of Chernobyl Fund at Convocation Hall, Toronto, to the people of Chernobyl. It later became the cover of a Ukrainian book detailing the disaster.
• • 1994 – “The Meeting Place”, a 28 panel mural was chosen as the centerpiece of the First International Toronto Pow Wow, held at Toronto’s Skydome. This 16ft x 21ft “spirit shield” hung from the Skydome’s retractable roof above thousands of First Nations dancers, drummers, singers and other attendees.
• • 1995 – “Alpha-Omega, A 21st Century Vision Quest” was the centrepiece painting for 1995 Earthday celebrations at Toronto City Hall including being displayed under ultra-violet lights at centre stage during evening performances covered by national media.
• • 1997 – Ritchie’s “Heartfelt Remembrance Crests” were worn by more than 50,000 people attending memorial services for Princess Diana & Mother Teresa in 1997. Assisted by the Canadian government on Sept 1-3 1999 the crests were worn by those attending Swissair Flight 111 memorials in Nova Scotia and those attending the “Canada Loves New York” initiative of December 2001.
• • 1999 >> Updated 2006 – Wrote and published the popular e-book about the Woodland School art movement entitled, “Woodland Gold. A 21st Century Guide to the Woodland Art Movement”.
• • 2008 – Launched a comprehensive website at “Morrisseau.com” that blew the whistle on a country-wide forgery syndicate producing thousands of fake Norval Morrisseau paintings. Ritchie defended his assertions in multiple civil court cases filed to silence him.

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Featured poet and visual artist by Trafika Europe 8, ”Romanian Holiday”

TE8 - Front Cover

I’m thrilled to announce that I was featured both as a poet and a visual artist by the prestigious Trafika Europe 8, ‘’Romanian Holiday’’, published by Penn University Press, USA. The well-known writer, Andrew Singer, Director and Editor-in-Chief of Trafika Europe, selected my artwork ‘’Text and Time 91’’(belonging to my Archetypal Expressionism monochrome series) for the cover of this issue and some of my poems, translated in Romanian by Adrian Oproiu, have been also published, together with the works of fiction and poetry of other 7 major writers of the actual Romanian literature scene: Doina Ruşti, Claudiu Komartin, Mircea Cărtărescu, T O Bobe, Elise Wilk, Corina Bernic and Ioana Pârvulescu.


‘’It’s looking like a terrific collection of work’’, asserted Andrew Singer about ‘’Romanian Holiday’’ in one of his letters. He wrote in an interview: “We want to be your meeting point for cultures across the 47 Council of Europe countries, to showcase what is exciting in emerging voices, and explore issues toward a greater sense of belonging and, ultimately, a more shared identity in Europe”.

Trafika Europe is a cutting edge project imagined by Andrew Singer to highlight the new and fresh voices of the European literature and to offer them a generous global audience. The Essential New European Literature is the core idea of this this new platform for great European literature in English, supported by and affiliated with Penn University Press.

Andrew Singer

Andrew Singer

Andrew Singer, Director and Editor-in-Chief of Trafika Europe is a poet and fiction writer, literary editor and translator, essayist and reviewer, pen-and-ink artist and university instructor.

‘’Trafika Europe performs a unique service, helping to keep together, and actually helping to bind together, the diverse and often mutually unknown and unrecognized cultures of Europe through the most basic and effective means possible: the heart and the creative imagination. Literature is the great harmonizer, the road to the discovery of common roots and the prospect of a common destiny. Readers of Trafika Europe will benefit from the rich literary heritage of this great cultural sphere.’’ (Ervin Laszlo, founder and president of the Club of Budapest)

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Severin’s Choice: Adrian Samson


Artist Statement

Living and creating in the land of pure beauty, historic Transylvania, in the middle-east of Europe, where there is an amalgam of various and rich cultures, made me become aware and proud of the tremendous heritage I own, and made me feel responsible, as an artist, towards future generations.

My art is therefore the mirror of my childhood, with pieces of many images: the family I grew up in, the people I met, the castles from the surroundings, and most of all the symbolism of the ancient cultures and medieval Romanian history.

Please enjoy Transilvania Art, the website which promotes my art abroad, a concept that my daughter and I proudly created two years ago, in 2014, while participating in my first New York Artexpo!

Adrian Samson


“Adrian Samson’s painting art starts from two quintessential elements of the Romanian ancestral civilization: wood and stone. The painter brings out their symbolical value, their inner coded messages, which have been praised in the poetry and the music for centuries, since Romanian language has been spoken in that area of European culture. “ (Academician, prof. Dan Grigorescu)


At “Eforie” Adrian Samson opened his first private view in Bucharest, displaying works of art that belong mainly to his latest cycle of oil paintings and coloured drawings, entitled “Roots”. The theme in itself sprang naturally, once he had finished the previous cycle, “Fortresses”. Adrian Samson definitely knows when and where to make use of the abstract Expressionism. His art exhibition was an evidence of thoroughness of the artistic approach, which undoubtedly ranks Adrian Samson among the artists whose art deserves lively interest in and further special consideration.”
(M. Ispir, “Arta” no.10, 1989)


“With a homogenous selection and talking about an artist who researches into the essence of a thematic cycle, in that case “The roots”, Adrian Samson definitely joins that segment of our art, which is beyond any conceptual and stylistic limits of the postimpressionist traditions and mentalities, thus classifying among the co-authors of the pictorial autonomy. “The root” gets the meaning of an archetype regained mainly if it is judged, as a symbol, in comparison to another possible cycle, the one of the fortress in Deva. The genuine idea of root in its widest meanings interferes with the idea of a historical root, full of optical, ethical and ethnic significations.”
(Virgil Mocanu “România literară”)


“Similar to the medieval miniaturist, who used to scrape off the manuscript page just to add different texts and calligrams and turning the sheet into a very complex web, conventionally called “palimpsest”, Adrian Samson considers the virgin field of the paper as a privileged “locus”, a territory of superposition, confrontation or dislocation, as well as deconstruction and separation of the layers of the emotional memory. There is an overlap of physiognomies, visions, areas of the dark and subconscious, alternating with beams of light, in a tensed attempt, in fact a terrible struggle and a transposition of those elements in a pictorial code, often hard to be visible, an evanescent and equivocal one. Quite often, the painter divides the mirror of the image into two or more centres of interest; a main one, which is the existential kernel of the idea expressed by the artwork and some secondary ones, that aim to complete the main one. With regard to chromatic, the distribution of colour in various directions and bifurcations, erasures and metamorphoses are meant to intensify a substance that is equally tectonic and fragile, appropriate to that extremely exquisite issue, a real challenge for any artist. If we interpreted Adrian Samson’s creations, “The Memories” and “The Houses”, according to a grid purposely oriented to emphasize the symbols, we would undoubtedly decipher sacred signs, but also some relating to the depth of the human existence, such as the individual kept prisoner in the implacable mechanisms of the history or the myths of construction, of creation as a primordial archetype.“
(George Vida, Art Reviewer, Deputy Director of “G. Oprescu” Institute of Art History and Theory of the Romanian Academy)





Born on the 12th of August 1955, in Deva city, Hunedoara county, Romania, Adrian Samson is a visual art teacher at “Sigismund Toduta” Art High School.

He graduated “Alexandru Ioan Cuza” University, Iasi (1978) as well as Arts and Design University, Cluj Napoca.

He has been a honorary member of the painting department of the Romanian Fine Arts Union since 1986.


– International Artexpo – New York – 2015, 2014.

– Gallery “Forma”-Deva-2014.

– International Visual Arts Expo, Art Gallery Forma, Deva, Hunedoara county – 2012.

– National Artexpo, Bucharest – 2011.

– National Artexpo “Sofianu Center”, Rm.Vâlcea, Vâlcea county – 2011.


-Hunedoara Municipality Gallery-2009.

-“Helios” Gallery-Timisoara-2009.

-“Axa Art” Gallery-Timisoara-2008.

-“Cupola” Gallery – Iasi-2008.

– National Artexpo, Romanian Parliament, Bucharest – 2006

-International Art Biennial, Arad, Arad county – 2005, 2003.

– Moldavian Artexpo, Chisinau – Bacau – 2003.

– Painting and Sculpture Romanian Biennial “Sala Dalles”, Bucharest – 1988, 1986, 1984, 1982, 1980.

– “Forma” Art Galleries – Deva-1988,2000,2006.

-“Eforie” Gallery – Bucharest-1989.

– “Arta” Gallery – Bacău-1984.

-Fine Arts Galleries-Deva-1980,1982,1984.

-National Drawing and Engraving Artexpo “Sala Dalles”, Bucharest – 1982.

-“Cronica” Galery –Iasi-1978.


1978,1984- The exhibition of Fine Arts Union Deva,”The House of Arts”,Bucharest;
1980-The “Voronetiana” exhibition;1984- The creation camp -Anina,Caras Severin; 1987-The Creation camp -Lazarea,Harghita;1988-The Biennal exhibition of drawings – Arad; 1988-The creation camp-Magura,Bacau; 1989- The exhibition “Homage to the farmers”,Bacau,Onesti,Botosani;1989-The creation camp – Lugoj, Timisoara;1977-The National Art Show-room,Resita;1998-The Creation camp – Geoagiu; 1998,1999-Intrernational exhibition,Resita-The exhibition “Romanian painters from Hunedoara”- Quimper, France; 2003,2005-The International Drawing-room “Delta”Gallery,Arad;2003-“The Moldova’s Drawing-room,Arad, the “Delta”Gallery; 2005,2008- Art Museum,Arad; 2009-“Axa art” Gallery-Timisoara;2010-Romanian Parliament-Bucharest;2012-Râmnicu Vâlcea.


1981-Hyvinkaa(Finland);1990-The Institute of the Study of Art Language – Bruxelles,Belgium;1990-The French Community Cultural Center; 1990 – Grenoble,France – Paintings for the Town Hall patrimony;1990-The Romanian Embassy-Paris,France;1944,1998-Arras,France; 2010-2011 – Mini Print International – Barcelona; 2019 – European Parliament – Bruxelles

Nominated for the Romanian U.A.P.awards for painting-2010.
Honorary citizen of Deva-2011.

Artworks in private & state collections

• private collections in Romania, France, Holland, Germany, Austria, Belgium, UK, Sweden, Australia, Denmark, Italy & U.S.A.

• museal collections in Romania

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The Birdman

Text and Time 114 (Birdman)

Text and Time 114 (Birdman)

New work belonging to the Archetypal Expressionism series: Text and Time 114 (Birdman), oil on canvas, 70×90 cm, 2016.
The composition was inspired by an ancient Assyrian-Babylonian bas-relief. They thought that the Birdman archetype has been created by the god Enki to establish culture and give civilization to mankind.

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My special guests for the 12th issue of Levure littéraire, Paris

Rodica Draghincescu, founder of Levure litteraire

Rodica Draghincescu, founder of Levure litteraire

In some years the multilingual and multidisciplinary e-magazine Levure littéraire, Paris,
founded by the outstanding French born Romanian writer and thinker Rodica Draghincescu, became one of the hot cores of the global culture, nominated this year for the prestigious Rive Gauche Prizes, together with some of the of the best cultural magazines in France. The awarding ceremony will be soon, on the 30th of May, 2016.


As one of the editors of the magazine, I have the pleasure to share with you the launch of the 12th issue, focused on the theme ‘’The Camps of Resistance and Fields of Consciousness’’:


My special guests for this issue are:

-the American writer Norman Lock ( an interview and an excerpt from a future novel):



-the American/ Iranian visual artist Farhad Bahram:


– the Romanian visual artist Mircea Roman:


– the Nigerian writer Linda N. Masi:

– the French/Romanian musician Lea Yoanna Adam:

Léa-Yoanna Adam

– the Czech visual artist Michal Trpak:


– the American visual artist Harriette Lawler:

– the Romanian visual artist Gabriela Cristu:


– the American philosopher and writer Slim Fitzgerald:


– the Romanian visual artist Dany Madlen Zarnescu:


-the American/ Japanese visual artist Harumi Abe:

-the Romanian visual artist Ciprian Udrescu


‘’Intended as a ethical and aesthetic ferment, Levure is a space for creative initiatives and thoughts, without financial support, without hegemonic pretences, which favours the quality and originality of the constructive Act of Culture. In these times of economic crisis, and particularly of extreme moral crisis, when Peace, Education and Culture are being marginalized, since it is no longer in fashion to cultivate humanism, Levure persists in seeking with you the path to a secret bridge, toward a peaceful place conducive to meditation, beyond the barbarity and vulgarity of everyday life. With the intention of remaining in the tradition of the universal spirit of the Enlightenment!’’(Rodica Draghincescu)

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Archetypal Head

Text and Time 113 (Archetypal Head)

Text and Time 113 (Archetypal Head)

New artwork of Archetypal Expressionism, my new awarded art concept/movement: Text and Time 113 (Archetypal Head), oil on canvas, 70×90 cm, 2016. The composition is inspired by an old archetype from the Tassili culture, Northern Africa.

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