Luciana Benzi writes of Loi....

Loi Hathaway was a long time friend and for a long time I represented her in my art gallery, Art Dialogue, as well as curating some of her exhibitions in other venues.
It may seem difficult to accept one’s ability to separate feelings of friendship from a fair professional assessment of a friend’s work, particularly when the friend’s work is making art. Art has so many contradictory dimensions these days. With Loi there was never such a conundrum. Her painting talent was so clear and sure that one immediately perceived the artistic and technical quality of what she produced.

Loi had a lifelong commitment to art. Her chosen medium was watercolour, a difficult medium to control with any degree of spontaneity and originality. Loi succeeded through her dedication to this medium and because of her continuous exploration of different subject matter.

Her floral renditions were always fresh and lively, true expressions of the beauty of nature. Collectors in many parts of the world cherish these paintings. I shall never forget the excitement of discovery when officials of a Japanese institution saw her works and bought twelve floral paintings to send to Japan.

Loi, however, was not content with her success with flowers and figurative painting. She liked the challenge presented by something more demanding, both in terms of technical ability and public appreciation.

Artifacts in Toronto museums provided her with strong inspiration. She embarked on a series of paintings thematically composed. Pieces of period ceramic on display at the George R. Gardiner Museum of Ceramic Art became the subjects of her paintings. Sometimes she would focus on a single piece realistically painted in all it’s minute detail. At other times she would create a little environment with several figurative pieces. Later she moved on to the Bata Shoe Museum and there too, created impressive portraits of some of the most extraordinary and beautiful footwear contained in that museum. When she tackled The Museum of Textiles, she chose to concentrate on their collection of Chinese children’s festival hats. Her paintings of these exquisite works of meticulous, diligent stitching, became colourful masterpieces of detailed painting in watercolour.

Loi’s transition from one subject matter to another was never hesitant or forced. Whatever she decided to paint conveyed the impression of her sure, innate talent, her innovative spirit and full knowledge of the medium.

Loi played a significant part in the Toronto art scene and left a substantial legacy of art to be enjoyed by many in the future.

Luciana Benzi
ART DIALOGUE,
Toronto, July 2006