Doris Hutton Auxier


Competing Sorrows


Tensions arise during times of social struggle and change between artists working in a reflective manner and those directly involved with political and social struggle. By charting the authors making of a body of work that sought to respond to larger social movement through reflective metaphor, a hindsight examination asks whether this was an act of social irresponsibility and avoidance or a way of query worth preserving. Theory can hold artists hostage to one way of working or expand to allow for immediate nuances of purpose. Several decades ago when postmodern cultural theory hit North American art world like a giant storm, it toppled many secure ways of knowing and reassuring meanings. Navigation in the dizzying, shifting and newly burned cultural landscape was difficult and exhilarating. Slashing and burning was noisy, busy and intense; it drafted art into its purposes leaving little room for quiet reflective painting. There were more effective art forms than paintings on a wall if the premium “purpose” of art was to be a vehicle for inciting social change. The working out of a reflective metaphor is explored as a viable option even during times of social change. Keeping open viable options for artists using their materials to embody reflection is necessary and desirable.


Doris Hutton Auxier is a US born painter who now lives and works in the Vancouver area. Auxier is Chair of the Art Department and Assistant Professor at Trinity Western University.
Auxier’s work deals with dignity and banality. The work seeks to position itself between the minute and the eternal. It has been said of her work, “Auxier unravels the surfaces of the material world to take the viewer into the energy and the life beyond the natural.”
Her paintings and drawings are represented in over 50 public and private collections. In the last couple of years she has had work chosen for the show, Highly Favored: Contemporary Images of the Virgin Mary, juried by Terrance E. Dempsey, S.J., Director of the Museum of contemporary Religious Art; and the show The Next Generation: Contemporary Expressions of Faith at the Museum of Biblical Art in NY. Patrica C. Pongracz and Wayne Roosa also feature her work in the book The Next Generation. Auxier also recently has had a solo show at the Lookout Gallery at Regent College, BC; and The Fort Galley in BC.
M.F.A., University of Norwich, M.A., University of Arizona. (GPA 4.)