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Creating classical realist artwork for modern times.
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Biography

 
 

Artist Alexandrea Nicholas-Jennings...

has been designated “Signature Status” from the Portrait Society of America. Alexandrea has also been selected as a “Featured Artist” for Nitram Charcoal. Her self portrait “The Fortune Teller” is published in “The Best of Drawing Magazine” (2024) and Boynes Artist Award granted her winning status for the topic “RED” (Dec 2023). She exhibited two paintings at the Salmagundi Club and one drawing that received the Gwynne Lennon Prize (2023). She has recently exhibited at Dacia Gallery in New York City in the Women Artists Group Exhibition (2023). As a result her work was selected for publication in American Art Collector Magazine (March 2023). She has just been accepted as a member of the Salmagundi Club of New York and is exhibiting there for the second time in 6 months. She won ‘The Best of Portrait’ in The Portrait Society of Canada competition entitled ‘The Miracle of the Portrait’ (2022). Displayed two artworks in the Ghost Image exhibit at the Salmagundi Club in New York City (2022). Was featured in a group exhibit at the Dacia Gallery in New York City (2022). Alexandrea was selected to be published in the book entitled “Masterpieces” by The Guide Artists 2022. She was a Finalist in the 2021 Portrait Society of America Members Only Competition. She has as won the Gold Medal at The Robert McLaughlin Art Gallery in the spring of 2019. She also received the Bronze Medal from The Society of Canadian Artists at The Paper Mill Gallery in Toronto, 2019. She was named as a Finalist in the 13th International ARC Salon Competition(2017). In addition she was a double finalist in December 2017 in the Portrait Society of America Members Only Competition. She had a drawing published in "Strokes of Genius 8" and a half page advertisement in Southwest Art Magazine. She is just getting started. In the past she has appeared in American Artist Magazine (2012) and her self portrait is featured on the package cover for Nitram Charcoal Batons. Speaking professionally is a passion of hers and she recently gave a lecture entitled “ From Academic to Imaginative Realism” at The Robert McLaughlin Art Gallery for The OAA - 2020. Her work was accepted by The Principle Gallery in Alexandria, Virginia that was juried by Teresa Oaxaca in 2016. Alexandrea is only looking forward and not back as she has acquired the new mantra:

“The question isn't who is going to let me; it's who is going to stop me?” - Ayn Rand

Academically trained as a classical realist for the past nine years Alexandrea is a very proud alumna of The Academy of Realist Art in Toronto. She has also studied at The Grand Central Atelier in NYC over the past few years. It is through this academic training that she has gained her understanding of the subtleties found in nature from her dedication to working primarily from life.

Alexandrea has been a passionate member of the Portrait Society of America since 2007 and has benefited greatly from the lectures, demonstrations and comradery of the event. As an Alumni member, she looks forward to each annual conference with anxious anticipation never to be disappointed.

Alexandrea earned an Honours Bachelor of Fine Arts degree from the University of Western Ontario in London. It is at Western University that she also earned an Honours Specialist in Art Education after attending Daemen College in NY State for her Honours Bachelor in Art Education. Needless to say, art has been a pivotal part of her life from her first Light Up Drawing Board, to Fashion Plates and Spirograph. Putting a pencil to paper and a brush to canvas serves as the proverbial air she needs to survive.

Alexandrea continues to hone her skills in life classes at the ARA in Toronto and the Grand Central Atelier in NYC. Her personal work has taken a drastic turn after suffering a devastating set of personal losses, as she inspects 'the self' (in her “Alex in Wonderland” series) after that first plunge down the rabbit hole. This body of work is deeply personal, whimsical and spiritual all at once, while facilitating a pastel colour palette, vintage icons and antiquities. The brushwork is often looser in these paintings than that found in her academic work, lending itself to the fantastical nature of Wonderland.