The Life and Art of John Heward

Born in Montreal, Canada, on July 31, 1934, John Heward lived a life defined by a deep, multifaceted engagement with sound and form. He was a man of many disciplines, working as a sculptor, painter, percussionist, and musician. While his creative output was vast, much of his skill was developed through his own curiosity rather than formal training. He was self-taught in both his visual art and his musical pursuits, relying on an innate sense of rhythm and gesture to navigate his creative worlds.

Before fully committing to his life as an artist, Heward pursued academic studies, eventually earning a B.A. in English from Bishop’s University. This background in language and structure provided a quiet foundation for the expressive, often experimental nature of his later work. He remained connected to his roots in Montreal throughout his life, eventually passing away in the same city on November 6, 2018.

His dual identity as a visual artist and a musician allowed him to explore the intersections of sight and sound. Whether he was working with ink and pigment on canvas or navigating the complexities of contemporary music, Heward approached his craft with a singular, independent spirit. He moved through the art and music scenes of Canada and beyond, leaving behind a body of work that reflected a lifetime of disciplined, self-directed exploration.

Early Career and Professional Background

Before finding his footing in the visual arts, Heward spent time in London, U.K., during the late 1950s and the very early 1960s. This was the pre-swinging era, a period marked by the lingering presence of post-war rubble in the city. During these years, he worked in book publishing, a role that involved the practicalities of reading and the decision-making of saying "yes" or "no" to various texts. His work there included writing short biographies for individuals featured in publications, such as Norman Bethune and Norman McLaren.

Upon returning to Montreal, Heward began his formal practice as a painter in 1965. His involvement in the local art scene was deeply rooted in the community of artist-run centers. He was a member of Le Conventum and later spent several years involved with Optica, which at the time was transitioning from a photographic gallery into a more general-purpose space. These affiliations placed him at the heart of Montreal's evolving creative landscape.

Artistic Technique and Style

Heward’s approach to the canvas was defined by a restless, experimental spirit. He moved away from traditional boundaries, favoring a gestural abstraction that allowed for immediate, physical expression. His work often took on a raw, uncontained quality, as if the act of making the art was as important as the finished image itself. This sense of movement is particularly evident in his larger works, such as Gestes, structure et exploration from about 1972, where the composition seems to emerge from a series of spontaneous, rhythmic actions.

He often worked with materials in a way that challenged the standard presentation of painting. Rather than using traditional stretched frames, he frequently worked on canvas sheets that remained unstretched. He would staple these sheets directly to the wall, allowing the fabric to hang with its own natural weight and texture. This method stripped away the formal distance of a framed object, creating a more direct and intimate encounter between the viewer and the pigment.

In his more personal explorations, Heward turned toward expressive self-portraits. These pieces utilized ink and pigment to capture a sense of self through heavy, deliberate marks. Even when focusing on the human form, his style remained rooted in the experimental, using the fluidity of ink to navigate the space between representation and pure abstraction. His practice was a continuous dialogue between the controlled and the accidental.

Musical Career and Jazz Contributions

Beyond the canvas, Heward lived a life deeply connected to the rhythms of contemporary music and free jazz. He was a self-taught musician who found his voice through percussion, working primarily as a drummer. His approach to sound was tactile and varied, often incorporating the kalimba into his musical explorations. This rhythmic sensibility was not a side interest but a fundamental part of his creative identity, existing alongside his work as a painter and sculptor.

His presence in the recording studio was steady and enduring. Between 1985 and 2011, he participated in 16 different recording sessions, contributing his percussion to a wide array of improvisational works. In 2002, he recorded the album Adventures in the Looking Glass, a session featuring Tristan Honsinger and Jean Derome. These collaborations placed him at the center of a specific, experimental musical community, where the boundaries of structure and improvisation were constantly tested.

Exhibitions and Major Awards

John Heward’s presence in the art world was felt across many borders. His work traveled far from his home in Montreal, finding its way into galleries and museums throughout Canada and the United States. His reach extended even further, with exhibitions held in Europe and China. These international showings allowed his unique visual language to reach audiences in diverse settings, from the streets of Paris to the cities of Atlanta, Calgary, and Toronto.

His contributions to the arts were recognized by his peers through significant honors. In 2012, he was awarded the Paul-Émile Borduas Award, a distinction that acknowledged his long-standing commitment to his craft. His pieces have also found a place in permanent collections, including the Musée national des beaux-arts du Québec, ensuring his visual experiments remain part of the cultural record.

Where to See His Works Today

Finding the traces of John Heward’s visual language requires looking toward the institutions that have long supported the Montreal art scene. His paintings and expressive works have found a home within the Musée d’art contemporain de Montreal, ensuring his presence in the city's permanent cultural landscape. These pieces offer a way to encounter his specific approach to form and gesture within a formal museum setting.

Beyond the major museums, his art has been part of the life of various community-focused spaces. His work was featured in the McClure Gallery and has been exhibited at the Visual Arts Centre. These venues have played a part in presenting his experimental practice to the public. His reach also extended far beyond Canada, as his work was included in an exhibition at the Centre culturel canadien in Paris, reaching an international audience.