ANNE-MARIE KORNACHUK (b. 1969, Canadian)

Anne-Marie Kornachuk is a realist painter, best known for her paintings of women surrounded by reams of fabric. In her paintings the drama of the fabric takes the center stage. Working with oil and using traditional painting techniques, she is influenced by the theatricality of Baroque Art. The animated nature of the fabric speaks about the hidden internal dramas of her figures.

Anne-Marie is also known for her portraits of horses made to exact scale. Working with oil and using traditional painting techniques, she is influenced by the theatricality of Baroque Art. The horse, with its massive size, beauty and expressiveness can speak in poetic terms about emotion and experience. She meets every horse she paints, takes the reference photographs and measurements.

Kornachuk grew up in Winnipeg, Manitoba and completed her BFA at Concordia University (Montreal, QC) in 1993. Since graduation she has participated in numerous solo and group exhibitions in Canada, the US and abroad.

She lives in Lakefield, Ontario with her husband. She is an avid equestrian and a dedicated student of dressage, spending much of her free time training and having fun with her horse.

EDUCATION

1993

BFA, Concordia University, Montreal, Quebec, Canada

SELECTED EXHIBITIONS

2019

Skidmore Contemporary Art, The Longest Threads, Santa Monica, California, USA, solo.

National Stock Show, Coors Western Art Show, Denver, Colorado, USA, group.

2018

The Vendue: Gallery 26, The Feminine Now, Charleston, South Carolina, USA, curated, group.

National Stock Show, Coors Western Art Show, Denver, Colorado, USA, group.

Miller Gallery, The Women’s Show, Cincinnati, Ohio, USA, group.

Robert Lange Studios, Fool Me Once, Charleston, South Carolina, USA, curated.

2017

Marshall Gallery, International Guild of Realism Winter Salon Exhibition, Scottsdale, Arizona, USA, juried.

2016

The Vendue, Lions and Tigers and Bears, Charleston, South Carolina, USA, curated, group.

Gallery 1261, 11th Annual International Guild of Realism Exhibition, Denver, Colorado, USA, juried.

Nan Miller Gallery, Realism: A Moment in Time, Rochester, NY, USA, curated, group.

2015

Principle Gallery, 10th Annual International Guild of Realism Exhibition, Alexandria, Virginia, USA, juried, group.

Masterworks from the International Guild of Realism Exhibition Museum Tour, juried, group:

R.W. Norton Art Gallery, Shreveport, Louisiana, USA

Appleton Museum of Art, Ocala, Florida, USA

Albany Museum of Art, Albany, Georgia, USA (2016)

The Vendue, Fluent, Charleston, South Carolina, USA, curated, group.

Robert Lange Studios, 10, Charleston, South Carolina, USA, group.

C Parker Gallery, Love, Greenwich, Connecticut, USA. group, curated.

2014

Robert Lange Studios, 9th Annual International Guild of Realism Exhibition, Charleston, South Carolina, USA, juried, group.

C Parker Gallery, Yes She Can, Greenwich, Connecticut, USA. group, curated.

C Parker Gallery, Horsing Around, Greenwich, Connecticut, group, curated.

Principle Gallery Charleston, Women Painting Women, Charleston, South Carolina, USA, juried, group.

Buckhorn Fine Art Festival, Mystique, Buckhorn, Ontario, Canada, curated, group.

Represented by Richard J Demato Fine Arts Gallery, Art Hamptons, Long Island, NY, USA.

The Vendue, Here Now, Charleston, South Carolina, USA, curated, group.

Miller Gallery, Contemporary Figurative Invitational, Cincinnati, Ohio, USA, curated, group.

Richard J. Demato Fine Arts Gallery, Transcendental Feminine Fantasy, Sag Harbor, NY, USA, group.

Richard J. Demato Fine Arts Gallery, Get Real: New American Painting, Sag Harbor, NY, USA, group.

Represented by Chamberlain Fine Art, AD 20/21, Boston, MA, USA

Trias Gallery, I LOVE YOU, Oakville, Ontario, Canada, group.

Richard J. Demato Fine Arts Gallery, Pursuit of Passion, Sag Harbor, NY, USA, group.

Represented by Richard J Demato Fine Arts Gallery, LA Art Show, Los Angeles, CA, USA

2013

Robert Lange Studios, North vs. South, Charleston, South Carolina, USA, juried, group.

Trias Gallery, Oakville, Ontario, Canada, group.

Miller Gallery, Contemporary Realism Invitational 2, Cincinnati, Ohio, USA, curated.

Richard J Demato Fine Arts Gallery, Women Painting Women, Sag Harbor, NY, USA, juried, group.

2012

Trias Gallery, Toronto, Ontario, Canada, group.

Art Gallery of Peterborough, Triennial 2012, Peterborough, Ontario, group.

Burlington Art Centre, Burlington Art Centre Auction, Burlington, Ontario.

2011

Toronto International Art Fair, Toronto, Ontario, Canada.

Miller Gallery, Contemporary Realism Invitational, Cincinnati, Ohio, USA, curated.

Burlington Art Centre, Burlington Art Centre Auction, Burlington, Ontario.

Represented by Trias Gallery, Toronto Art Expo, Toronto, Ontario.

2010

Miller Gallery, Leaving Eden, Cincinnati, Ohio, USA, solo exhibition, catalogue.

Burlington Art Centre, Burlington Art Centre Auction, Burlington, Ontario.

Miller Gallery, 50 Years, 50 Artists, 50 Paintings, Cincinnati, Ohio, USA, group.

Miller Gallery, Artistic Stimulus II, Cincinnati, Ohio, USA group.

2009

Miller Gallery, The Holiday Show: size matters- small works, Cincinnati, Ohio, USA, group.

C4 Contemporary Art, Post-Human: The Representation of the Human Body in the Age of Mimesis, Los Angeles, California, USA, curated.

Represented by Trias Gallery, art09 International Art Fair, Toronto, Ontario.

Varley Art Gallery, Varley Art Gallery Auction, Unionville, Ontario.

Miller Gallery, Artistic Stimulus, Cincinnati, Ohio, USA.

Burlington Art Centre, Burlington Art Centre Auction, Burlington, Ontario.

2008

2008 Miller Gallery, Objects of Desire, Cincinnati, Ohio, USA, group.

Trias Gallery, Anne-Marie Kornachuk: the eve series and Donald Liardi: bronzes, Toronto, Ontario.

Miller Gallery, Temptation: Capolongo and Kornachuk. Cincinnati, Ohio, USA.

Trias Gallery, OSA in the GTA, Toronto, Ontario, group exhibition.

Peterborough County Court House, Artists of The Art School of Peterborough: Selected Teachers and Students, Peterborough, Ontario, curated.

2007

Miller Gallery, Objects of Desire, Cincinnati, Ohio, USA, group.

Miller Gallery, It’s Show Time, Cincinnati, Ohio, USA, group.

Toronto International Art Fair, Toronto, Ontario, Canada.

2006

Woodstock Art Gallery, Voices, Woodstock, Ontario, group, juried.

Trias Gallery, Airs Above The Ground, Toronto, Ontario, solo exhibition.

Toronto International Art Fair,Toronto, Ontario, Canada, catalogue.

2005

Toronto International Art Fair,Toronto, Ontario, Canada, catalogue.

Sailor’s Valentine Gallery, Nantucket, Massachusetts, USA, group exhibition.

Trias Gallery, Toronto, Ontario, group exhibition.

2004

Toronto International Art Fair, Toronto, Ontario, Canada.

Sailor’s Valentine Gallery, Nantucket, Massachusetts, USA, group exhibition.

Lieutenant Governor’s Suites, Current: Members of the Ontario Society of Artists, Toronto, Ontario, Canada, group exhibition, juried, catalogue.

Trias Gallery, Toronto, Ontario, Canada, group exhibition.

2003

Russell Gallery of Fine Art, White Lies, Peterborough, Ontario, Canada, solo exhibition.

Pearl Conrad Gallery: Ohio State University, Exhausted Goddess, Mansfield, Ohio, U.S.A. duo exhibition, curated.

Sailor’s Valentine Gallery, Nantucket, Massachusetts, USA group exhibition.

Toronto International Art Fair, Toronto, Ontario, Canada.

Abbozzo Gallery, Go Figure, Oakville, Ontario, Canada, group exhibition, curated.

Galerie St. Laurent + Hill, Figures, Ottawa, Ontario, Canada, group exhibition.

Russell Gallery of Fine Art, Coast to Coast, Peterborough, Ontario, Canada, group exhibition.

2002

Brad Cooper Gallery, Nude In The Post-Modern, Tampa, Florida, U.S.A. group exhibition, juried.

St. Mary’s University Art Gallery, Posers: The Work of Greg Denton, Eliza Griffiths, Anne-Marie Kornachuk, Tony Scherman, Marion Wagshal and Janet Werner, Halifax, Nova Scotia, Canada, group exhibition, curated, catalogue.

Sailor’s Valentine Gallery, Nantucket, Massachusetts, USA, group exhibition.

2000

Russell Gallery of Fine Art, Performance Anxiety, Peterborough, Ontario, Canada, solo exhibition.

Varley Art Gallery, Into Body, Unionville, Ontario, Canada, group exhibition, juried.

Higashi-Futami, Florart 2000, International Art Exhibition, Hyogo-ken, Japan, group exhibition, juried.

Pratt and Whitney Canada (Living Arts Centre in Mississauga), Perspectives 2000, Mississauga, Ontario, Canada, group exhibition, juried, catalogue.

John B. Aird Gallery, Art & Healing: 126th Annual Open Juried Exhibition, Toronto, Ontario, Canada, group exhibition, juried.

San Jacinto College South, 12 x 12 x 12 x 2000: National Small Painting and Sculpture Competition, Houston, Texas, U.S.A. group exhibition, juried, catalogue.

1999

Pratt and Whitney Canada (Living Arts Centre in Mississauga), Perspectives 1999, Mississauga, Ontario, Canada, group exhibition, juried, catalogue.

1998

Galerie McClure Visual Arts Centre, Entertaining Thoughts of Disaster, Westmount, Quebec, Canada, solo exhibition.

Observatoire 4, Rationnelles/Irrationnelles- Pertinentes/Impertinents, Montreal, Quebec, Canada, group exhibition.

1996

Galerie Action Art Contemporain, Careful, Saint-Jean-Sur-Richelieu, Quebec, Canada, duo

exhibition.

1995

Observatoire 4, Grand Illusions, Montreal, Quebec, Canada, duo exhibition.

RELATED EXPERIENCE

2019

Book cover, “Il Silenzio Che Rimane”, Matteo Ferrario, Harper Collins Italia, Milan, Italy.

People’s Choice Award, National Stock Show, Coors Western Art Show, Denver, Colorado, “Tête-à-tête”.

2014

ARC Salon 2013/2014 finalist

Cover artist, Buckhorn Fine Art Festival, Buckhorn, Ontario

2012

Inaugural artist, Association with the Museum of Realist Art, Boston, MA, USA.

2010

Book cover, “Es geschah an einem Sonntag”, Valerie Wilson Wesley, Diogenes Publishing House, Zurich, Switzerland.

2008-2012

Executive Director, Art School of Peterborough, Peterborough, Ontario.

2007-present

Teaching, private.

2008

Teaching, Lakefield College School, Lakefield, Ontario.

Curator, Artists of The Art School of Peterborough: Selected Teachers and Students, Peterborough County Court House, Peterborough Ontario.

About Face: Students of the Art School of Peterborough, Art Gallery of Peterborough, Peterborough, Ontario.

2006

Teaching, Lakefield College School, Lakefield Ontario.

2006-2007

Teaching, Art Gallery of Peterborough, Peterborough, Ontario.

2006-Present

Teaching, Art School of Peterborough, Peterborough, Ontario.

2005

Jury, Voices, Woodstock Art Gallery, Woodstock, Ontario.

2003

Exhibition Chair, About Water, Toronto, Ontario.

2003-2004

President Ontario Society of Artists.

2002

Exhibition Chair, Fragile, Toronto, Ontario.

2001-2003

Vice-President Ontario Society of Artists.

BIBLIOGRAPHY

“Anne-Marie Kornachuk”, The Guide Artists Magazine, issue 19, September 2018, p 32-43.

Peter De Kuster, The Heroine’s Journey of Anne-Marie Kornachuk, August 21, 2018

https://theheroinejourney2016.wordpress.com/2018/08/21/the-heroines-journey-of-anne-marie-kornachuk/

Andrea Hillo, “The Artists of Kawartha”, Andrea Hillo Publisher, Canada

Veronica Winters, “16 Contemporary Women Artists”, American Art Collector, issue 149, March 2018, p. 70-79

“Celebrating Women Artists”, Southwest Art, vol. 47, October 2017, p. 92-99

Laura Gomez, “Anne-Marie Kornachuk”, Klassik International Magazine, January 19 2018.

Veronica Winters Art Blog “17 Contemporary Women Artists: the best of real and surreal painting”, November 22, 2017.

John O’Hern “Graceful Movements: Collector’s Focus Art of the Horse”, American Art Collector, May 2017, issue 139, p. 74-78.

Cover, Tri-State Horse, March, 2017, Vol. 21

“Anne-Marie Kornachuk”, Post-Modern Times, Vol. 1, Number 3, p. 4-11.

Veronica Winters (editor), “Art Lessons In Realist Drawing, Painting and Beyond”, UltraMax Publishing, LLC, USA.

Eric Ernst, “Art review: The Magic of Realism at RJD Gallery”, Hamptons Art Hub, 13 April 2014.

Michael Fazackerley, “Artist Spotlight: Anne-Marie Kornachuk”, kawartha Now, March 2014

Artsy Editorial, “Dressing the Art”, Artsy, January 2, 2013

“North versus South”, American Art Collector, vol 97, November, 2013, p. 151.

Cover, Dan’s Papers, October 25, 2013

Marion Wolberg-Weiss, “This Week’s Cover Artist: Anne-Marie Kornachuk”, Dan’s Papers, October 25, 2013.

Karen S. Chambers, “Realism that will disturb, delight you”, Cincinnati Enquirer, October 10, 2013.

Artsy Editorial, “Blogworthy: Women Painting Women”, Arsty, September 23, 2013.

Anne-Marie Kornachuk, “Interpreting States of Being”, International Artist, August/September 2013, p. 78-85.

“The Art Lover’s Guide to Collecting Fine Art in Canada”, American Art Collector, vol.84, October 2012, p.101.

Gil McElroy, “Gil McElroy in Oshawa, Bowmanville, Peterborough”, Akimbo, 2 March, 2012.

Mary McGillis, “Local artist at Ohio gallery”, The Peterborough Examiner, 22 October, 2010.

“Kornachuk’s Considering Eve at Cincinnati gallery”, The Peterborough Examiner, 04 October, 2008.

Stephanie Dickison, “Stunning”, Surface and Symbol Magazine, October 2006.

Joelle Kovach, “Learning to draw changed artist’s life”, The Peterborough Examiner, 28 September 2006.

Alice Burdick, “Poser’s”, Arts Atlantic, vol.20, no. 1, Spring 2003, p.55.

Mathew Reichertz, “Poser’s: The work of Greg Denton, Eliza Griffiths, Anne-Marie Kornachuk, Tony Scherman, Marion Wagshal and Janet Werner”,exhibition catalogue, St. Mary’s University Art Gallery, 2002.

Elisa Barnard, “Poser’s Intriguing”, The Halifax Herald Ltd., 22 November 2002

Kathryn Hayward, “Down the Street: Sightings”, Elm Street Magazine, Summer 2000, p.14

Calendrier Cultural: Accident, le travaille d’Anne-Marie Kornachuk. SRC Vancouver (c.b): Ce Soir, 13 March 1997.

Gilles Lévesque, “La Galerie Action art actuel présente *Careful (prudence)”, La Canada Français Week-End, 26 June 1996, B-7.

Henry Lehmann, “Two shows about preservation: one in jars, another in our memories” Mirror, vol.11, no. 10, 10 August 1995, p.17.

AWARDS AND GRANTS

2017

Director’s Choice Award, International Guild of Realism Winter Salon Exhibition, Marshall Gallery, Scottsdale, Arizona, USA

2010

Exhibition Assistance Grant, Ontario Arts Council

2008

Mid-Career Artist Grant, Ontario Arts Council

2001

Exhibition Assistance Grant, Ontario Arts Council

2000

Prize of Excellence (Excellent Art): Higashi-Futami, Florart 2000, International Art Exhibition, Hyogo-ken, Japan

Merit Award: San Jacinto College South, 12 x 12 x 12 x 2000: National Small Painting and Sculpture Competition, Houston, Texas, U.S.A

COLLECTIONS

The Andell Inn, Kiawah Island, South Carolina, USA

Government of Ontario

Peterborough Regional Health Centre

Private: Canada, US, England, Europe

EXCERPTS FROM PUBLICATIONS

Anne Marie Kornachuk paints highly mysterious tableaus of an ambiguous narrative, emphasizing voluminous folds of fabric and small hints of human figuration to illustrate emotion as products of internal and highly private dynamics. Creating landscapes of shadow and light through the manipulation of the material that drapes the body beneath, the artist is able to impart both emotional drama and theatricality almost entirely through gesture and impulse.

Eric Ernst, “Art review: The Magic of Realism at RJD Gallery”, Hamptons Art Hub, 13 April 2014.

For pure deliciousness, there’s Anne-Marie Kornachuk’s “Colour Field”. A nude woman with her back turned from the viewer gathers up a length of golden satin to drape around her bare shoulders. The painter has captured the way light plays on the folds of fabric and even the heft of it in a true virtuoso performance.

Karen S. Chambers, Cincinnati Enquirer, October 10, 2013

Lastly, however, there’s this painting. Okay, so I’m violating my own injunction and talking about something from the majority end of the aesthetic spectrum, but it needs saying. It’s an oil and gold leaf on canvas piece by Anne-Marie Kornachuk entitled Leaving Eden: Vertigo and it representationally depicts the image of a fallen horse, shown either just as the fall has occurred or maybe as just as it is set to righting itself again. Kornachuk has breathtakingly caught the fear in the horse’s eyes and all the muscular tension of a powerful creature in distress. Visually isolated from any context, tightly focused, and beautifully rendered, there’s much to see, here — much to learn from the animal, from (to borrow from the poet Michael McClure) the meat that we are.

GIL MCELROY in Oshawa, Bowmanville, Peterborough, Akimbo, 03/20/12

As soon as I walk in the room, I am stunned. Like seeing the man who stole your heart after being away for three years, it’s a sudden thunk, a drop of your whole core.

It is not the size of the paintings, but of course that has to be a part of it, doesn’t it? No, it is the work. The woman gripping her white dress below her hip in a sexy sway. Another turning away, straining against a poppy red dress emblazoned with a Phoenix. The paintings are powerful and sensual, in an in-your-face manner but yet with a subtle touch. The dichotomies fill me with sheer joy and yet I am dizzy from overstimulation. I feel the need to simultaneously run and sit down. I am thrilled and exhausted. I haven’t felt this way in years.

The works are thanks to Anne-Marie Kornachuk, and like a song that manages to sum up everything you have ever thought about life, I am completed besotted and feel like a sudden evangelist — everyone must know about this talented artist.

Stephanie Dickison, “Stunning”, Surface and Symbol Magazine, October 2006

Anne-Marie Kornachuk’s oils on wood and canvas were also notable for their fine atmospheric detail. All of her paintings depicted figures, sometimes just partially, in close-up and usually reclining. No faces were shown, but the bodies, clothed in red-satin pajamas and awkwardly posed, are provocative.

Study in Red (Kerry) was an example of one of Kornachuk’s exquisitely detailed figure studies. Deeply creased clothing and flesh contrast with a melancholy under-lit background. Small sections of exposed flesh and particularly vulnerable looking; soles of feet display strange, usually hidden wrinkles, and the back of the neck is unprotected. The texture of the clothes and flesh are lushy rendered and transmit a sense of imminent danger.

Alice Burdick, “Poser’s”, Arts Atlantic, vol. 20, no.1, Spring 2003, p.55.

Anne-Marie Kornachuk’s paintings beckon to be explored close-up. The subtly transparent skin of her subjects and the clarity and complexity of the velvety fabric that she portrays are mesmerizing visual textures. Kornachuk begins each painting by roughly blocking in the composition. She then builds up the surface with successive layers of glaze scrubbed and rubbed on with a brush and her fingers. Kornachuk works close to the canvas, carefully modulating fold and form so that the image retains its coherency even when viewed at close range. At this close distance, body and fabric become abstract references to organic forms, and the eye glides over these shapes as it travels through the picture. The process of their production calls for these paintings to be experienced at a similar distance, whereby we can easily verbalize the subject matter as we approach but then become caught up in their abstract sense of volume and space.

Mathew Reichertz, “Poser’s: The work of Greg Denton, Eliza Griffiths, Anne-Marie Kornachuk, Tony Scherman, Marion Wagshall and Janet Werner”, exhibition catalogue, St. Mary’s University Art Gallery, 2002.