Shelley Mansel’s professional artistic career has spanned 20 years and has been devoted almost exclusively to painting the landscape. The landscape construct provides the foundation for her painting, yet each body of work has portrayed a specific sub-theme within this context, as evidenced in these past exhibits:
New Work (2019) Shelley Mansel/ Drew Klassen included water ripples, fires, and rainstorms.
Six Acres I (2013) and Six Acres II (2014) were pastoral landscapes with an inward forest focus.
Armature (2009) and Relics (2011) were explorations of shipwrecks and underwater landscapes.
Divining II (2007) found thematic and visual congruency among rivers, fences, and freeways.
Geothermal/Six by Two (2006) which examined the effects of natural and human forces upon a barren terrain, Ideas of Order (2005) which explored the aerial perspective of urban and rural alignments inherent in the man-made landscape.
Divining (2004) which depicted topographical views of river systems.
Her formal strengths with respect to draftsmanship, colour, composition, and luminosity support her ability to restrain the landscape to its most elemental forms and convey a conventional and idyllic portrayal of geography. Her paintings demonstrate a timeless and universal quality, yet the beauty
of each image also alludes to the inherent ephemeral nature of landscape.
Mansel excels within the landscape genre. She portrays rural environments which are distinctly Canadian and yet are invariably universal. Shelley Mansel is committed to an artistic practice which examines the natural world and how we, as artist and viewer within this realm of painted invention, can often visualize and find context for our own human reflection.