Philip was born in Edmonton Alberta in 1955. He was awarded a bursary to attend on- going art classes at the Edmonton Art Gallery from the age of eleven and received instruction from Ron Kostyniuk in 1970. His formal art education came from the Alberta College of Art, Calgary and he received his Bachelor of Arts in painting in 1980.
He studied under the direction of instructors Ron Moppett, Katie Von der Ohe, Jim Ulrich and Don Kottman. The following year he gave his first one man show at the Muttart Gallery, Calgary. The Canada Council Art Bank purchased a painting and he was represented by Virginia Christopher Gallery. In 1982 he studied photography with Arthur Nishimura at the University of Calgary. At the same time he apprenticed in art conservation at Monro Restorations, Calgary. In 1984 he attended summer session at the University of California, Santa Cruz. He continued his training as art conservator at Museum Services, San José, California.
In 1986 he returned to Canada and started a conservation studio Fine Art Restoration in Victoria B.C. He became a member of the Pacific Conservation Group, and Canadian Conservation Associates. His major contributions in art conservation include St. Ann’s Academy, the collection of Michael C. Williams bequest to Maltwood Art Museum, Ted Harrison wall murals University of Victoria, the restoration of the drawing room ceiling of Craigdarroch Castle, Victoria (1995-2007) and the paintings of Fredrick Varley, Lawren S. Harris, J.E.H MacDonald, and Emily Carr for the Victoria Art Gallery.
In 1992 Philip took a hiatus to travel to Germany with a 15th century painting he had restored, delivering it to the Landesmuseum, Muenster. From there he continued to France and painted for six months the environs of Languedoc, Narbonne. He then went to Israel and established Gallery Gallill in Nahariya, then on to Cyprus, where he set up studio near Paphos and guest lectured at the Cyprus College of Art in Lemba. The collective paintings from this period were shown by Cadogan Gallery in London, England. He returned to Vancouver Island and eventually designed and built an in-home art studio in Chemainus B.C.
Philip enjoys continued success with his developing style and is presently represented by several British Columbia, Alberta and Ontario galleries.
Philips works are in many private and corporate collections including; Michael C. Williams, Vancouver Hotel, Harbour Towers, Amadon Group, Victoria Pub Company, Scotia Bank, Canada Council Art Bank, and the Brentwood Bay Resort. He continues to contribute to several benefit auctions such as the Eric Charman Gala for the Pacific Opera, the Monterey School Young Artists program, S.A.L.T.S benefit, Richard Eaton Singers, Edmonton, and the Chemainus Theatre.
My search has been one of seeking the 'elegance of simplicity. Of late, I have made several significant strides towards that goal. First is the principle of color economy based on a personal theory of tones and chromatic scale that I have been mulling over for two decades. This basically states that a color is best determined by noting its effect when it is in proximity to a color of like and/or opposite value, thereby creating triads or trios of neighboring zones. Next is the economy of space: the seamless union of multiple perspectives and the soft contours of form merging into a geometric playground. Last is creating compositions as a stage for metaphysical metaphors, including now and then a little bit of practical fun.
Philip, his wife Enma and their two sons reside in Chemainus on Vancouver Island, B.C. A graduate of the Alberta College of Art, Calgary in 1980, he has shown his work locally and internationally in Victoria, Vancouver, Toronto, Calgary, Santa Cruz, London, Cyprus and Israel. In his new works he continues to create in color both subtle and vibrant, paintings draught in bold linear design.
I am a conceptually based sculptor, mixed media and installation artist. I also draw and paint often recycling images I have found or have seen in my head. To me, waste is just lack of imagination. This belief carries beyond the boundaries of my art production and permeates most aspects of my life. Everything I encounter presents possibilities for my art; from obsolete circuit boards to my father’s shoe, to broken chainsaws and old ice skates, all materials present a possibility to resolve an idea. Most of my home and studio, and much of everything in them, is recycled.
Over the past 35 years the artists has been living and working on Salt Spring Island with both functional and sculptural stonework. These newest paintings bridge the gap between the real/ imagined, natural/ deliberate, physical and spiritual.
Few would argue that Norval is one of the most important artists this country has ever produced, native or otherwise.
The exact year of Norval Morrisseau's birth is not known, but is thought to be between 1931 and 1933 in Northwestern Ontario. Norval started to paint in 1959, after he received a “vision” telling him to do so. He was the first Ojibwa to break the tribal rules of setting down Indian legends in picture form for the white man to see.
Morrisseau was dubbed the "Picasso of the North" by the French Press in 1969 and is considered one of the most innovative artists of the Century.