Richard Wallin

Kamloops, British Columbia, Canada

Biography

Richard A. Wallin (b. 1949) is a Kamloops, British Columbia-based artist whose practice spans graphite, pastel, contC, acrylic, and oil on paper and canvas. Working in a loose, painterly style, Wailin's work is characterized by expressive brushwork, an intuitive approach to composition, and a sensitivity to surface and material. His paintings and drawings often incorporate elements of collage, text, and printmaking, creating layered visual narratives that balance abstraction and representation.

Wallin studied at the Kootenay School of Art and later at Kwanden University in British Columbia, where he developed a broad foundation in drawing, painting, and contemporary studio practices. Over several decades, he has maintained an active studio practice, exploring the expressive possibilities of mixed media while remaining deeply engaged with the traditions of drawing and painting.

His work has been exhibited in local galleries and selected public institutions throughout British Columbia. While some works are held in public collections, the majority reside in private collections, having been acquired through commercial galleries and direct sales from the artist.

Living and working in Kamloops, Wallin continues to produce work that reflects a lifelong commitment to experimentation, observation, and the expressive potential of mark-making.

 

Statement

It has always been intriguing to me that everything is an energetic vibration. From our thoughts, the planet we live on, the universewe are part of, everything vibrates. Fast and slow, large and small, negative and positive, everything is moving. The materials that make up these vibrating partides are very small. Electrons, neutrons and protons can only be seen with the most sophisticated instruments. The redly fascinating thing for me is the spaces between basic elements relative to the size of the elements is massive. The energy in that space holding those elements together is what l am struggling to understand. What is it and how does it operate? How can that energy be visualized? Or even if it has to be. Perhaps it only needs to be inferred or referenced .

The space between the notes in a musical composition is as important as the notes themselves. The emptiness between between the notes binds the composition together utilizing time. That timing is as important in visual art as it is in music. The spaces between the brushstrokes, the values, the colours and the edges is what holds the image together. It creates the tensions that fascinate us.

I am not bound by any particular method or modality. I work in graphite, charcoal, pastels, acrylics and oils. I sometimes use elements of collage and printmaking. I utilize knowledge from artists past and present who have explored before me always honouring their craft and explorations. I try to stay intuitive and open in my work. Hopefully my enthusiasm comes through to the viewers.

I keep asking questions hoping for some answers. I've realized over the years that the answers are important but it's the journey that is paramount. Perhaps the inquiry is the answer itself. The space between the notes