This is Audrey Capel Doray

Audrey Capel Doray (born 1931) is a Canadian artist full of zip in a variety of mediums—painting, printmaking, electronic art, murals, and films. In auxiliary to her solo and help exhibitions, her proceed was exhibited at the 6th Biennial Exhibition of Canadian Painting at the National Gallery of Canada in 1965. A serigraph Diamond is held in the Tate Gallery London and the National Gallery of Canada. Her feint is described in North American Women Artists of the Twentieth Century as combining “robust social criticism in imitation of her own remarks of humanist theory” and dealing afterward pop art and the feminist archetype, themes of “perpetual pursuit and endless transition”, and the interplay of sound and light.

Born Audrey Capel in Montreal, she studied art from the age of 15 in classes at the Montreal Museum of Fine Arts below Arthur Lismer. She after that continued in Good arts at McGill University below Lismer as skillfully as John Lyman and Gordon Webber. After graduating from McGill in 1952, she taught art in Montreal schools and completed further feat with Jacques de Tonnancour. In 1956 she spent a year in Europe, studying etching at Atelier 17 in Paris later than Stanley Hayter. His book New Ways Of Gravure introduced Doray to the art of printmaking. She next studied lithography at the Central School of Arts & Crafts in London.

In 1956, she married the artist and medical illustrator Victor Doray. On their reward from Europe they contracted in Vancouver where Audrey taught for two years at the Vancouver School of Art. She held her first solo accomplish at the Vancouver Art Gallery in 1961. She plus exhibited in 1964 at the New Design Gallery, the first gallery to play a part contemporary art in Vancouver, which adjoined an arts space that presented conscious theatre, films, concerts, lectures and poetry readings.

Audrey and Victor Doray were instrumental in founding the Intermedia Society in 1967. Inspired in ration by the ideas of Marshall McLuhan, it was a place for artists from merged disciplines to meet and collaborate and was financed partly by grants from the Canada Council . Intermedia remained an influential force in the artistic animatronics of Vancouver for the next decade. Among the initiatives it spawned were the Video Inn (a repository and disagreement of video art) and the Western Front Society. The 2008 exhibition Idyll at the Morris and Helen Belkin Art Gallery, featured Doray’s multimedia works from this period, with the catalog describing her as “a traveler of interactive and multimedia art that incorporated computers.”

Following her solo shows at the Vancouver Art Gallery at the New Design Gallery, she showed at Simon Fraser University in 1966, the Bau-Xi Gallery in Vancouver, and at the Jerrold Morris Gallery in Toronto. Her take action was as well as exhibited in the 6th Biennial Exhibition of Canadian Painting at the National Gallery of Canada in 1965. By the late 1960s Doray became known for her transparent plastic kinetic-audio-light sculptures exhibited both in Canada and the United States.These multi-sensory haptic-like works she connected to art educator Viktor Lowenfield’s teaching of sharpness by touch in his book, Creative and Mental Growth.

Art in America featured Audrey’s Hexagon. This is a six-panelled polarized lively kinetic audio installation that they considered inherent in the electronic medium. An interview afterward her in Vanguard in 1978, set next to her solo exhibition that year at the Bau-Xi Gallery, discussed her proceed in murals, animated film, electronic art and the themes of interest and continual flux in her paintings.

The Doray’s time-honored a summer retreat upon Savary Island, and Audrey became increasingly drawn to landscape painting and environmental issues. By the 1980s she and her husband were both alert in campaigns to keep the old enlargement forests of Canada’s West Coast and participated in art projects for the Stein, Carmanah and Tsitika valleys. In 2014, she was one of the artists shown at the West Vancouver Museum in the exhibition The And of the Land: Perspectives on Landscape by Artists from British Columbia.

Doray’s undertaking is in the enduring collections of the National Gallery of Canada in Ottawa, the Vancouver Art Gallery and the Morris and Helen Belkin Art Gallery in Vancouver, and the Confederation Centre Art Gallery in Prince Edward Island. Her serigraph Diamond is held in the Tate Gallery London and the National Gallery of Canada. Her law is as a consequence held in several private and corporate collections, including an electronic mural commissioned by Mazda Motors in 1973 and paintings commissioned by the Waterfront Centre Hotel in Vancouver in 1991. Continuing her lifelong incorporation in interactivity and motion her most recent achievement is a multi-media installation titled Here and Beyond exhibited at the Macaulay & Co. gallery in 2014 behind a score by David Hykes.