Heidi Thompson was born in Vernon, B.C. Canada.  After graduating high school she moved to Europe to study art.  From 1975-1979 she attended the University of Art & Design  in Zürich earning a Swiss Diploma for Professional Photography.  She then moved to Nürnberg and apprenticed with German painter Oskar Koller.  Koller recommended that she continue her art education at the Akademie der  Buildene Künste Nürnberg.  Thompson was accepted and spent one year under the guidance of Professor Ernst Weil,  However, seeking a more traditional art school, Thompson moved to Budapest to study painting with Professor Kokas Ignac at the Hungarian State University for Fine Art.  In 1982,  Thompson returned to Canada and worked as a freelance photographer, painter and book publisher.  She married Edward Thompson and had a family.  Currently, Heidi Thompson paints full-time and exhibits her work in Europe, Canada and the USA.


COLLECTIONS
2012     Senvest Canadian Collection
2007     Samuel Lallouz Private Collection, Montreal
2006     Mraz Collection, Toronto
2004     Private collection of Robert Keller, USA
2006     Corporate collection, Benefit Plan Administrators Inc. Mississauga

PUBLICATION & ARTICLES
2016     "OK Sunshine Airport Exhibition" / Okanagan Life
2012     Wrote  CALM FOCUS JOY: The Power of Breath Awareness
1995     Published Recapitulation - A Journey Life of Sveva Caetani
1992     Featured Artist, Okanagan Life, written by Charlotte Berglund
1989     Illustrated Little Bear Book
1989     Drawings, Galerie, Vancouver art magazine
1985     Illustrations for Reflections written by Brock Tulley
1980     Photographs, Professional Camera, May-June 1979
1979     100 Photographs - 
Zurich Chamber Orchestra

AWARDS & GRANTS
1996     VanCity Book of Excellence Award for Recapitulation
1984     B.C Cultural Project Grant through the Kelowna Art Gallery

STATEMENT

I am inspired by Impressionists Turner, Seurat, Van Gogh, Monet and Expressionists Gerhard Richter, Mark Rothko and Mark Tobey.  Contemporary artists who inspire me include Joseph Marioni and Natvar Bhavsar from New York. These artists, even when painting "realistically" break up their image into particles of light, colour and movement. Much of their work appears to be a glowing, unified field of energy.  

      For me, art is about energy.   I strive to create paintings that elicit an energizing experience,  Over the years I have developed a style I call “energy field painting”.   I found certain combinations of colour, light flecks and lines moving in an illusion of space trigger physical vibrations.  Maybe this "feeling" is what Kandinsky, who studied the physiological and spiritual attributes of colour. described as innere Klang or inner resonance.  Some viewers while standing in front of my monochromes have felt a flow of subtle sensations.  I've heard them comment... "I don't know what I'm looking at, but the painting makes me feel peaceful."  

      I believe that my energy fields have evolved alongside thirty-five years of Vipassana meditation practice.    Vipassana is a specific form of introspective "seeing" that focuses on reality felt via physical sensations.  Sensations underlie all experience – including art experience.  While painting,  I strive to express this felt reality; not the "reality" I see or imagine.  My hope is to create paintings that trigger sensations that energize and uplift the viewer.  Henri Matisse described this goal so beautifully about his own work,  “.. .to create paintings that have a calming and soothing effect on the mind.” 


EXHIBITIONS

2018     Arco Gallery, NY (Represented)
2016     Kelowna International Airport "OK Sunshine"
2016     Vernon / Headbones Art Gallery / "Ok Artists"
2016     Ottawa / The Cube Gallery "Blue - A Group Show" 
2015     Lake Country Public Art Gallery "They Tell You Where to Go"
2015     Vancouver International Art Fair
2015     Palm Beach Gardens / Onessimo Fine Art Gallery 
2014     San Diego / Alexander Salazar Gallery
2014     Vernon / Headbones Gallery
2014     Widen Switzerland / Halde Galerie (Represented)
2012     Vernon / Headbones Gallery (group)
2012     Montreal / Galerie D'Avignon (solo)
2012     La Jolla, CA / Alexander Salazar Contemporary Exhibits (solo)
2011     Armstrong Public Art Gallery / "Mind Space Energy" (solo)
2011     San Antonio, TX / Gallery Nord Exhibit "11/11/11"(group) 
2011     San Diego / Alexander Salazar Art Gallery (solo) 
2010     Atlanta / Bill Lowe Gallery "Bloom: The New Abstraction"
2009     Atlanta / Bill Lowe Gallery (group)
2009     Toronto / Lausberg Contemporary (group)
2009     Vernon / Gallery Vertigo (solo)
2009     Toronto / Varley Art Gallery (group)
2009     New York / Lana Santorelli Gallery (group)
2008     Montreal / Galerie Samuel Lallouz  (group)
2008     New York / Lana Santorelli Gallery  (group)
2008     Grand Forks / Grand Forks Art Gallery  (solo)
2007     Toronto / The Drawers - Headbones Art Gallery  (represented)
2005     Vernon / Vernon Public Art Gallery (group)
2000     Vancouver / Howe Street Art Gallery (represented)
1996     Vernon / Headbones Art Gallery (solo)
1994     Vancouver / Simon Patrich Art Gallery (represented)
1992     New York / Viridian Art Gallery (represented)
1991     Kelowna / Kelowna City Hall  (solo)
1991     Vancouver / Festival of the Arts (juried/group)
1989     Vancouver / Robson Square Media Centre (group)
1989     Vancouver / Community Arts Centre/BC Women Artists (solo)
1987     Vernon / Topham Brown Public Art Gallery (solo)
1985     Vernon / Topham Brown Public Art Gallery (solo)
1985     Grand Forks / Grand Forks Public Art Gallery (solo)
1985     Kelowna / Kelowna Public Art Gallery (solo)
1983     Vancouver / BC Festival of the Arts (juried/group)
1981     Hungarian / State University (group)
1980     Nürnberg / Kom Youth Centre (solo)
1980     Nürnberg Gallerie der Stadt (group)
1978     Zürich / Witikon Community Centre "Zürich Chamber Orchestra"



"Particle physics comes to mind when looking at each of these paintings, for they engage in a dialogue of form and content. There is no labeling or identification with conventional representation, nor is the shaping, or containment of form part of the language of Thompson’s art. Superficially they can be compared to Seurat’s pointillist paintings such as A Sunday Afternoon on the Island of La Grand Jatte (1884) for the particularization of matter ends up creating a kind of tonal vibration throughout."  

- John K. Grande, Canadian Art Critic / Heidi Thompson:There is No Answer

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