Richard Michelle-Pentelbury
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(two novels)
→ ADMISSION
→ TRANSITION
https://www.amazon.com/author/richardpentelbury→ Spiral Dynamics for Theatre - The Colour of Character.doc (morpheustheatre.ca)
→ 50 Years On... Pretoria Boys High Class of 1970: Our Stories: Pretoria Boys High, The Class of 1970 at: Amazon.ca: Books
→ Blog: MrP’sWords (a series of one-page essays): https//mrpswords.blogspot.com/
Mr. P's Words→ Various academic papers, predominantly in SAGE Journals, (Society for Gifted and Talented), University of Calgary
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→ Calgary (Alberta): various works
→ Basel: single work
→ Miami (Florida): single work
→ Nanaimo (Vancouver Island): solo exhibition
→ New York: single work
→ Sidney (Canada): single work
→ Sooke (Vancouver Island): various works
→ Thunder Bay (Ontario): various works
→ Venice: single work
→ Zurich: single work
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Art:
→ 2021- Gallery Ring , Merit Award: Blue North
→ 2023- Artistic Excellence, Circle Foundation
→ 2023- Gallery Ring, Merit Award: Destiny?
→ 2023-American Art Award: Passing Through Too
→ 2023-World Art Award: De Historia et Veritate
→ 2024-Masterful Mind Award; Circle Foundation
→ 2024-Gallery Ring, Emerald Award: Plains of Abraham
→ 2024-Art Collectors Choice Award
→ 2025-Premier Artist Prize, Contemporary Art Station
(for awards in other disciplines see website)
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Awarded in each of the practices of art, academics, acting, theatre directing (musicals and plays,) writing, and in teaching too, an integrative imagination infuses R. Michelle-Pentelbury's paintings.
Trained in Renaissance oil-glazing (in the late 1970’s by Canada's Master Anthony Thorn,) Richard’s metaphysical images most regularly deploy oils as a medium.
But, contrasted to Thorn’s abstracts, Richard prefers working on highly detailed canvases, as well as using different stylistic methods, to depict his assimilative inclination. Born and raised in Africa, he is now a full-time artist, and lives on Canada’s Vancouver Island.
Since art speaks independently to each of us, in differing voices during our times with it, we evidently bring our own lives to its presence. The esoteric depends on one’s knowledge; the spiritual depends on one’s resonance; the feeling, or reaction, is in the moment.
As such, the medium, the skills applied, and the intentions of the imagery may well be in one's own translation. Depictions of the metaphysical, in these terms, are an ongoing invitation to a dialogue.
