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DTSTART;TZID=America/Halifax:20260521T163000
DTEND;TZID=America/Halifax:20260521T173000
DTSTAMP:20260614T184947
CREATED:20260507T203551Z
LAST-MODIFIED:20260509T185618Z
UID:9656-1779381000-1779384600@mccainartgallery.com
SUMMARY:Pop-Up Art Show: Artworks by Colin Smith\, Jenna Ross\, and Celia Gallardo
DESCRIPTION:Join us at the River Art Centre on Thursday\, May 21st for a Pop-Up Art Show made up of works by local Artists Colin Smith\, Jenna Ross\, and Celia Gallardo!\nColin\, Jenna\, and Celia were accepted into the 2026 Territorial Dialogue Residency\, a residency designed to foster artistic research and creation in a linguistically diverse environment. This program is a collaboration between the New Brunswick Arts Centre Association and the Centre des arts d’Edmundston\, with support from the Ministry of Official Languages.\nThis Pop-Up show will contain works created by Colin\, Jenna\, and Celia for everyone to come see!
URL:https://mccainartgallery.com/exhibitions/pop-up-art-show-artworks-by-colin-smith-and-jenna-ross/
LOCATION:River Art Centre\, 8746 Main St.\, Florenceville-Bristol\, New Brunswick
CATEGORIES:Exhibitions,Gallery Calendar,Homepage Event (max 3 events)
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DTSTART;VALUE=DATE:20260502
DTEND;VALUE=DATE:20260614
DTSTAMP:20260614T184947
CREATED:20260422T210134Z
LAST-MODIFIED:20260522T154245Z
UID:9545-1777680000-1781395199@mccainartgallery.com
SUMMARY:A Different Light: Photo-based works by Dianne Bos
DESCRIPTION:Opening: 2 May 2026\, 2:00 – 4:00pm \nArtist Talk: A walk through the show with Dianne at 2:00 to 2:30 pm \nEveryone is welcome and we have an elevator \nPadua Bio Div 5.3\, 2019 \nLeran Castle Door 1\, 2019 \nCap-Roig-11\, 2019 \nDianne Bos investigates light\, nature and perception using a wide range of distinctive photographic processes and tools. Her focused interest in analog techniques has integrated exploration with pinhole photography\, vintage cameras\, cyanotype\, photograms\, and most recently\, chlorophyll printing. She will be showing a selection of early pinhole work as well as images from her most recent Herbarium/ PhotoSynthesis series. \nDianne Bos\, has evolved various thematic bodies of work\, and merged technical innovations to create new visual hybrids. She makes innovative use of pinhole\, camera obscura\, installation\, and alternative photographic techniques to explore the world around us. \n‘The excitement\, for me\, lies not in reproducing something I can see\, but in revealing the imperceptible (and maybe only the imagined) using the physics of light and time and darkroom techniques.’ \nDianne Bos is an internationally-exhibiting artist based in Canada and France. She has presented her photography and installation work in solo and group exhibitions across Canada and internationally in the United States and Europe. Her work may be found in private\, corporate and museum collections including the Art Gallery of Hamilton\, ON; the University of Lethbridge Art Gallery\, AB; the Walter Phillips Gallery at the Banff Centre\, AB; the National Gallery of Canada\, ON and Canadian embassies in Paris and Belgium. In addition to her artistic practice in the visual arts\, Bos’ professional interests have extended into the field of music\, publishing\, and teaching.
URL:https://mccainartgallery.com/exhibitions/a-different-light-photo-based-works-by-dianne-bos/
LOCATION:New Brunswick
CATEGORIES:Current Exhibitions,Exhibitions
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DTSTART;VALUE=DATE:20260214
DTEND;VALUE=DATE:20260322
DTSTAMP:20260614T184947
CREATED:20260210T222151Z
LAST-MODIFIED:20260328T192934Z
UID:8997-1771027200-1774137599@mccainartgallery.com
SUMMARY:Sarah Petite\, The Line is the Canon
DESCRIPTION:“In 2015\, for the second time in my long practice\, I became impatient with the eternal rectangle. I began experimenting with shapes\, cut from plywood and intruded with meandering jigsaw ‘lines’. Everything the jigsaw does is like a line that can’t ever be erased. It’s the given\, the canon. The paint has to answer to it.\n\nA shape in my head becomes a sketch\, becomes a plywood cutout\, becomes a photograph\, becomes a more precise sketch\, printed out\, for plotting the painting – which sometimes takes a few days before I pounce. Gazing at the beautiful shape. The paint – its colours\, how it is applied\, how its expression responds to the shape\, is the project. \nIt’s true\, my paintings are about encaustic paint\, they reflect my fascination with its virtuosity\, and the beauty and richness to be found in its effects. The process itself is what has kept me loyal to this medium for many years.” Sarah Petite \nFor a YouTube introduction to Sarah\, Click Here \nBorn Pennsylvania\, U.S.A.\, Sarah grew up near Boston and then settled in Canada\, receiving Canadian citizenship in 1971. Sarah attended the Nova Scotia College of Art And Design\, graduating with a BFA in Painting and in 1985 she studied Art History (early Christian\, 12th century European\, 16th century Italian architecture)\, at the University of East Anglia\, Norwich\, England. Sarah is represented at Gallery on Queen\, Fredericton and is in major public and private collections in Canada. Having lived in various parts of Canada\, Singapore\, Italy\, and England\, she currently splits her time between Port Maitland\, Nova Scotia and Fredericton NB. \nSarah began encaustic painting\, and was largely self-taught. She won the Marie Hélène Allain Fellowship Award from the Sheila Hugh MacKay Foundation  in 2022 for her encaustic work. As part of its mandate to promote the visual arts in New Brunswick\, the SHMF recognises the accomplishments of mid-career New Brunswick artists who are engaged in the exploration and deepening of their creative endeavour. The jury was convinced by the accomplishments and perseverance Sarah demonstrates in discovering new directions through considered engagement with her materials and process\, revealing a practice that contributes to and is in discourse with modernist painting traditions. \nYour Content Goes Here \n“With encaustic\, ‘hot’\, or melted\, means ‘wet’. Beeswax and pigment are combined in a small can (tomato paste\, actually)\, melted down and dipped into. I use natural-bristle brushes whose long handles have been sawn off\, to allow them to stand ready in the paint without tipping the can over. The paint stays ‘wet’ for about ten seconds\, after which I must dip again\, or may begin to cut and sculpt\, using a variety of tools. The heat gun allows me to re-melt the paint right on the panel\, making for textural enhancements like troweling\, stippling or puddling”. Sarah Petite
URL:https://mccainartgallery.com/exhibitions/sarah-petite-the-line-is-the-canon/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Gallery Calendar,Past Exhibitions,Upcoming Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2026/02/Petite-letter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251004
DTEND;VALUE=DATE:20251109
DTSTAMP:20260614T184947
CREATED:20250802T164942Z
LAST-MODIFIED:20251114T144426Z
UID:8453-1759536000-1762646399@mccainartgallery.com
SUMMARY:Totality: David Hunter and James Wilson
DESCRIPTION:The show is open from October 4\, to November 7. The opening is on Saturday\, October 18 from 2pm-4pm \n\n<s/p>\n\nWe are pleased to invite you to a special guided tour of our current exhibition\, led by exhibiting artist\, David Hunter.\n\n\nThursday\, October 23 from 6:30pm-7:30pm\nThe Andrew & Laura McCain Art Gallery\, 8 McCain St\, Florenceville-Bristol\n\n\nThis tour offers a unique opportunity to gain insight into the artist’s creative process\, inspiration\, and the stories behind the works on display.\n\n\nAdmission is always free\, and all are welcome to attend.\n\nJames Wilson\nJames Wilson is a fine art photographer living and working from his home based studio in Hampton\, New Brunswick. His art works are in many public\, corporate\, and private collections throughout North America and Europe. He specializes in large format rural landscapes\, still-life\, and natural-light black and white studio portraits which he calls “Social Studies”. He has been teaching photography and mentoring people on the art of the medium internationally for 19 years\, with annual workshops in Mexico\, Italy\, and Japan. \n“…My approach to making these photographs was not as a scientist\, but as an artist. So I experimented slightly to explore different effects mostly through exposure changes and zooming in and out. \nProperly exposing the image of the corona of the sun around the moon would stay white like one would naturally expect as shown in this first image. (Leftmost) \nUnderexposing the image the corona would take on a much warmer look which some might find more appealing as shown in the image. (#2) \nThere was a point when the corona expanded and as I remembered it seemed to have a slight cyan colour. (#3) \nThis is a classic shot that eclipse photographers try to always get when the sun is slightly exiting its hidden stat behind the moon with a bright flare. It’s called the ‘Diamond Ring Shot’. (#4) \nThis image I took just after putting my solar eclipse filter back on the camera lens. It exaggerated the flaring of the sun coming out from behind the moon and added more drama to the event. (Rightmost)” -James Wilson \n“Total solar eclipses are very rare occurrences for any given spot on Earth…Prior to 8th April\, 2024\, the last total solar eclipse in central New Brunswick happened in 932! Therefore\, since the last total solar eclipse in Central NB has been more than 1000 years ago\, and that the path of 2024 totality went through Central Carleton County\, a special effort was mounted to bring this to the attention of the community and nation. However\, there was a potential problem: there was a 70% probability that it would be cloudy on the day of the eclipse. Therefore\, a project was started to send a stratospheric balloon above any clouds to observe the eclipse.” -David Hunter \nScience Engineering Team for the Total Solar Eclipse Balloon Project\nDavid Hunter\, BSc\, MSc\nIn his professional life he was involved in the development of high resolution X-ray digital mammography systems based on the material amorphous selenium. This work was conducted at the University of Toronto and the affiliated Sunnybrook Research Institute. He has had a long standing interest in physics\, astronomy\, meteorology\, and electronics\, which all contributed to the development of the Total Solar Eclipse Balloon Project. \nLewis Cobb\, MSc\nAn Electrical Engineer from the University of New Brunswick\, his career is in industrial microcontroller system design and he was involved in contributions pertaining to 3D modeling\, 3D printing\, and CNC routing. \nStephen Downward\, BCS\nA graduate of the University of New Brunswick\, he worked in communications\, programming\, and electronics. \nDr. Don Plewes\, Phd\nProfessor Emeritus from the Department of Medical Biophysics of the University of Toronto\, his contributions related to the engineering design of the project testing\, analysis and mathematics\, and general advice. \nTom Sisk\, MSc\nA retired Electrical Engineer who worked at NB Power\, Irving\, and Coleson Cove\, contributed to the engineering design of the project and payload\, as well as general advice. \nKen Strauss\, MSc\nA retired Electrical Engineer who worked with Comshare and Ontario Hydro made contributions related to the mechanical design and testing of the Balloon Solar Eclipse Project. \n\nUniversity of New Brunswick Student Engineering Team \n\nUNB Liaison and Faculty \n    Troy Lavigne\, Project Officer\, Electrical and Computer Engineering\, UNB \n    Andy Simoneau\, Chair\, Department of Mechanical Engineering\, UNB  \n\nUNB Engineering Student Project Group 1 \n    Roshan Peri \n    Savishta Rattun \n    Jacob Snider \n    Benjamin Thomson \n\nUNB Engineering Student Project Group 2 \n    Ethan Albert Garnier \n    Spencer Frederick Gowlett \n    Alex Thomas Johnson \n    Zachary Michael Titus \n\nUNB Engineering Student Project Group 3 \n    Olivia DeMerchant \n    Zachary Demerson \n    Matthew Snell \n    Zoe Devries \nTo learn more about the Total Solar Eclipse Balloon Project\, click the button below. \nLearn more!
URL:https://mccainartgallery.com/exhibitions/totality-david-hunter-and-jamie-wilson/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2025/10/Totality-letter-size-poster.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250816
DTEND;VALUE=DATE:20250928
DTSTAMP:20260614T184947
CREATED:20250731T193843Z
LAST-MODIFIED:20251001T150040Z
UID:8414-1755302400-1759017599@mccainartgallery.com
SUMMARY:Flora
DESCRIPTION:Join us on Thursday\, September 4th at 5:30 pm for the opening – which will also be the pARTicipate Arts & Nature Festival kickoff event! Meet many of the artists\, some of whom will be teaching workshops at pARTicipate.\n“I like to make clothing\, and I like it when it has an interesting shape or texture. I draft all my own patterns and the pieces are often historical\, but sometimes not.  \nI enjoy the design challenges of working with secondhand and reclaimed materials\, and combining inspiration from different historical eras\, as well as the natural world. It’s always exciting to try a new material or learn a new technique\, and sometimes I make videos of my projects so I can share all the construction information in as much detail as possible”. Vincent Briggs \n“I have been a collector of seedpods for many years\, each with incredibly beautiful\, intricate forms and textures. These tiny seed vessels have been rich potential for creative exploration and have become the catalyst for my recent body of work. These smoke-fired vessels have been given over to the fire to breathe life into each piece\, the smoke and flame creating a quiet beauty\, richly marked with visual texture and colour.  \nIt is my intention that these vessels evoke a sense of hope and renewal\, a feeling of stillness and tranquility\, reminding the viewer of the beauty of nature”. Judy Blake \n“As a seamstress by trade and a passionate textile arts educator\, I have nurtured a lifelong love for all\nthings fiber-related. Over the last few years\, my daily art practice has increasingly zeroed in on bobbin\nlace making. This historic craft is on the verge of dying out in New Brunswick and it is my long-term goal\nto reintroduce it to the region and build a community of lace makers.\nI am currently studying bobbin lace traditions from all over the world\, learning multiple techniques\nthrough online classes and creating original lace artwork. Designing a lace piece begins with loosely\nsketching out ideas\, experimenting with composition\, and considering color. Then comes the precise\nmathematical planning needed to design a lace pattern\, like a puzzle that must be solved to ensure the\nthreads hold together and the picture takes shape as intended.\nThe process of bobbin lace making requires a profound level of concentration and attention to detail\, as\neach pair of threads is twisted and crossed in an exact order to keep the design intact and the colors in\nplace. Traditionally\, lace designers and lace makers were separate entities\, but I cherish the ability to bring\nboth roles together in my work. The whole process fascinates me\, from the initial spark of inspiration to\nthe final moment when I remove the last pins and hold up the completed piece\, an artwork made entirely\nof threads\, with more holes than solid mass yet still perfectly holding its form.\nThrough my work\, I aim to honor and preserve the rich tradition of bobbin lace\, while also bringing my\nown unique vision to life\, one thread at a time”. Cat Candow \nCaoife Garvey is an Irish textile artist and designer currently living in Fredericton\, New Brunswick. She specialises in weaving and felting techniques and works primarily with natural fibres such as linen\, paper\, wool and natural dyes. She uses thoughtfully chosen materials to create woven art pieces and fine craft accessories. Caoife is a graduate of the New Brunswick College of Craft and Design and currently works there as an instructor in the Foundation Visual Arts and Textile Design programmes. Her work has been shown in group exhibitions around New Brunswick and she has been the recipient of an Arts NB Creation Grant and the Charlotte Glencross Scholarship offered to an artist who is progressing in their professional development. \n“My recent artistic practice blends traditional craftsmanship and contemporary exploration\, using weaving and felting techniques to create works that are inspired by forms and textures observed in nature. I work with natural materials to create abstract\, geometric patterns through the strategic manipulation of distinct weave structures. Most notably\, I have been using yarn made from paper\, a ubiquitous material made from the cellulose of trees and plants\, to create weavings rich in texture and dimensionality. Building on this work\, I am expanding my practice by integrating more elements of the plants themselves. Milkweed seeds and fibres provide soft stuffing\, flax bast fibres are woven into fabric\, and petals and bark are used for natural dyeing. I am particularly drawn to how the textures and colours found in local flora can enhance the qualities of specific weave structure\, creating works that speak to both materiality and place”.  Caife Garvey \nWebsite: caoife@gmail.com Instagram: @Caoife.Garvey \nAlexa began blacksmithing in Florida in 1980. Banging on metal proved to be the perfect counterpoint to her career as a librarian. She has been moving her scrap pile northward ever since. Initially she produced small abstract sculptures for interiors. When she established Ladysmith Forge in Connecticut in 1991\, she learned to make hardware suitable for 18th and 19th century buildings. In 2006\, she immigrated to Canada. Today\, she and her wife live on a 125 acre farm in Mt. Hanley\, Nova Scotia. Alexa forges garden sculpture and private commissions under the watchful eyes of a small flock of sheep. Her work can be seen at the Tangled Garden in Grand Pré and occasionally at the Annapolis Royal Historical Garden and\, virtually\, on her website: AlexaJaffurs.com \n“My coloured glass flowers\, each a faithful replica of one of our Atlantic provinces floral emblems\, embody the range of habitats and regional identities of the Maritimes. They represent our character as well as being beautiful symbols of strength\, adaptation\, and unity. But even more important\, at a time where biodiversity is increasingly understood as central to our very survival\, these flowers and their distinct ecosystems remind us of a greater purpose: caring for our precious planet. Created on a specialized propane and oxygen torch to melt borosilicate glass. Solid rods and tubes are melted and shaped to create each piece of flora”. Heather McCaig \nAdam McNamara (he/him) is a wood artist known for his unique approach to wood carving\, drawing inspiration from the natural world and modern design elements. Employing power carving and fine carving techniques\, he achieves realistic detail\, resembling intricate paintings in wood. His creative process is deeply rooted in the world outside\, particularly local ecosystems and hidden treasures within them. Influenced by anatomical drawings from Darwin’s era and the impressionism movement in painting\, he infuses his pieces with themes of appreciating small creatures that hold our ecosystems together. Adam’s accolades include multiple exhibitions both locally and internationally\, charity campaigns\, and competitions over the years\, with recent collaborations include a commission by Timberland Canada for hurricane relief in Nova Scotia. Adam prioritizes sustainability by sourcing wood from forests or purchasing scraps from woodworkers\, repurposing all scrap to minimize waste. His self-taught journey pushes boundaries\, with each piece serving as a discovery of new techniques and practices\, contributing to the evolution of wood art. \n“I use natural materials—hand-dyed woolen fabrics and yarn—hooked into linen or burlap backing to create images in the same way that other artists use paint on a canvas. My inspiration often comes from nature\, the landscapes\, plants\, and animals that I see. However\, colour and form also have appeal\, and I strive to highlight them in my creations”. Caroline Simpson \nNationally acclaimed Canadian plant fibre artist\, Ralph Simpson has developed an innovative method of weaving and sculpting plant fibre into pleasing sculptural forms. He was raised in the fields and forests of New Brunswick along the Petitcodiac River and there developed a keen interest in plants. His personal motivation arises from a deep connection with nature and an implicit desire to promote environmental sustainability.  \n  \nCurrently\, he resides in Fredericton working full time in his studio there. Ralph chooses to work with locally sourced\, sustainable materials and forages his own plant fibres using environmentally sustainable methods. He prefers invasive\, introduced\, or naturalized plant species and also native plants if they are abundant. Ralph holds an MSc. from UNB in Forest Research Biology\, and a Diploma in Fine Craft from NBCCD. Informed by the sciences and his acquired technical expertise his intricately woven pieces reflect the fields and forests around him.  \nRalph is an award-winning artist with grants from Arts NB and Canada Council\, short-listed for the Salt Springs National Art Prize (2021) and his work has been accessioned into New Brunswick’s permanent art collection (2023). He exhibits his work locally and internationally\, attending residencies and giving workshops.  \nThe flora of New Brunswick informs his work and his creative process. His designs arise from his interpretations of nature and have evolved from traditional basketry\, to vessels\, and botanically themed sculptures. His process results in a contemporary manifestation of his connection with plants in their natural habitat. His work varies in form and style but what resonates in all his work is an underlying investigation into ways that plant materials can be used to spark interest and insight into the natural world. 
URL:https://mccainartgallery.com/exhibitions/flora-adam-mcnamora-alexa-jaffurs-caife-garvey-caroline-simpson-cat-candow-heather-mccaig-judy-blake-ralph-simpson-and-vincent-briggs/
LOCATION:Andrew & Laura McCain Art Gallery\, 8 McCain Street\, Florenceville-Bristol\, New Brunswick\, E7L 3H6\, Canada
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2025/07/Flora-letter-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20250531T140000
DTEND;TZID=America/Halifax:20250531T160000
DTSTAMP:20260614T184947
CREATED:20250530T155152Z
LAST-MODIFIED:20260522T154730Z
UID:8195-1748700000-1748707200@mccainartgallery.com
SUMMARY:Kindred Spirits\, the Lucy Maud Montgomery legacy by contemporary Canadian Book Artists and Book Illustrations by local artist Leland Wong-Daugherty
DESCRIPTION:<s/p> \n<s/p> \nYou are invited to the opening on Saturday\, May 31st from 2pm to 4pm.\nArtists Meg Clark and Leland Wong-Daugherty will be in attendance\, introductions begin at 2:30pm \nAdmission is always free\, and there is an elevator on site. \nKindred Spirits is a touring exhibition of book arts that honours the life and literacy legacy of Lucy Maud Montgomery. Presented by the members of the Canadian Bookbinders and Book Artists Guild\, the exhibition commemorates the 150th anniversary of Montgomery’s birth through original works that reflect her enduring cultural impact. \nLeland Wong-Daugherty is an illustrator\, natural builder\, and kite maker based in rural New Brunswick\, Canada. He lives off-grid in a home he designed and built himself\, alongside his wife\, Tegan\, and their four children. \n“The Faery Chronicles” book one is Leland’s second illustrated book. \n<s/p> \n<s/p>
URL:https://mccainartgallery.com/exhibitions/kindred-spirits-the-lucy-maud-montgomery-legacy-by-contemporary-canadian-book-artists-and-book-illustrations-by-local-artist-leland-wong-daugherty/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2025/05/Kindred-spirits-letter-size.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250426
DTEND;VALUE=DATE:20250525
DTSTAMP:20260614T184947
CREATED:20250424T170522Z
LAST-MODIFIED:20251114T144838Z
UID:8054-1745625600-1748131199@mccainartgallery.com
SUMMARY:"Shared Landscapes" By Diana Baldwin plus "Knock Knock and Other Prints" By Natt Cann
DESCRIPTION:Shared Landscapes by Diana Baldwin\nDiana Baldwin is a printmaker working from her home studio in Port Williams\, Nova Scotia\, Canada. She was introduced to printmaking by The Mahone Bay Printmakers. With the Guidance of Ed Porter\, Professor Emeritus NCCADU\, etching became her main focus and passion. \n<sp/> \nKnock Knock and Other Prints by Natt Cann\nNatt Cann is a Canadian visual artist whose projects of print hone upon the haunting of lands – ideologies and industries keeping afloat Canadian notions of colonial heritage and their degradations. Natt’s aim is to share Atlantic centric discussions of commorancy\, climate\, and past snuffed economic aspirations amidst the celebrations of current peoples\, politics\, and newfound practices. \n“I am a printmaker focusing primarily on etching. My subject matter includes still lifes and landscapes. \nI have a particular interest in how landscapes are affected by the changing seasons and the passage of time. Agricultural and manmade patterns on the land are also fascinating to me. On my daily walks\, bike rides\, or time spent gazing out the window\, my attention will often be caught by a snatch of colour\, interesting pattern\, or texture. This becomes inspiration for future projects. \nI enjoy the etching process and the many steps it takes to get the finished print. It gives me time to settle in and think about how I will achieve the end result. It also allows for the possibility of experimentation. I am constantly learning how this process can be adapted to aid in the interpretation of my ideas. \nI find myself excited by what is offered by the blank plate at the beginning of a project. There is always hope and expectation at what will come off the press at the end of the journey.” \n-Diana Baldwin \n<sp/> \n<sp/> \n<sp/> \n“Knock Knock continues my interests as an ongoing explorative series into the 21st-century capitalist rental system\, an admission that many will never own a house\, a stark reminder of the loss of architectural heritage\, and the urgent need to address the housing crisis. The body of work is a collection of primarily Atlantic doors\, impressionable Victorian brownstone and Gothic Revival abodes captured in lens based means and mono-printed through photochemical transfers. Their texture and design imparts a sense that they are vanishing in favour of their replacements\, undeniably featureless podium developments designed for those who can’t yet afford them. \nYet\, amidst the seriousness of the art’s statement\, a pleasantness and authenticity stands bold amongst the collection. The colour and variation of the nearly 200 and growing mono-prints\, bring to the audience the nostalgia of home on the east coast and what it means to own or not own a house in today’s world.” \n-Natt Cann
URL:https://mccainartgallery.com/exhibitions/shared-landscapes-by-diana-baldwin-plus-knock-knock-and-other-prints-by-natt-cann/
LOCATION:Andrew & Laura McCain Art Gallery\, 8 McCain Street\, Florenceville-Bristol\, New Brunswick\, E7L 3H6\, Canada
CATEGORIES:Exhibitions,Past Exhibitions,Upcoming Exhibitions
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DTSTART;VALUE=DATE:20250315
DTEND;VALUE=DATE:20250413
DTSTAMP:20260614T184947
CREATED:20250315T145607Z
LAST-MODIFIED:20250424T163608Z
UID:7961-1741996800-1744502399@mccainartgallery.com
SUMMARY:Denise Violette-Michaud: Petite Forêt
DESCRIPTION:Opening 15 March 2025\, 2-4pm\, Introductions at 2:30pm\nEveryone is welcome\, there is an elevator on site\, admission is always free\nAbout the Artist \nDenise Violette-Michaud is a textile and ceramic artist who lives and works in Drummond\, New Brunswick. Denise grew up surrounded by fabric as her mother was a furniture upholsterer\, and she has continued to be drawn to textiles; their textures\, colours\, and patterns. They are part of her DNA\, her artistic medium of choice\, and it is by working with them that she forages the link between art and craft. \nDenise explores her emotions and the intensity of life through creation; it is a vital need for her. By transforming and incorporating objects with a previous life\, she weaves their history into a new existance. \nIn Her Own Words: The Story Behind Petite Forêt \n“In 2019\, I took part in an artistic residency at Fundy National Park\, where I was able to contemplate the beneficial effects of nature\, which led me into a state of reflection. From these reflections\, I created a sculpture whose theme is the tree that heals over time. \nIn the course of this creation\, I discovered a fascination for the work of representing trees and plants through the use and transformation of textiles. I dye them\, tear them\, sew them\, burn them\, glue them\, cut them\, embroider them; the means are infinite\, it’s a work that takes me into innovative terrain and offers me more and more interesting technical possibilities. \nRecycling fabric is an asset in the creative process and in my research. I give them a new life\, the result becoming the main material in the creation of my three-dimensional works. \nExploring certain techniques\, I use fabrics to create illusory tree trunks that refer to the trees I see on my walks in the forest. I look for textures and colours given by natural elements; rust\, leaves\, rotting elements of nature\, different earths; I compose 3D works with fabrics modified by these dyes. I also work with clay\, which allows me other 3D possibilities. \nThe research and the path I’ve been able to pursue in creation continue to nourish my desire to continue on my path. \nMy horticulture training has only scratched the surface of this plant world. A new sense of urgency has arisen: I want to learn more about plant biodiversity and the importance of trees in my life. \nThe Petite Forêt installation of tree trunks made of recycled fabrics highlights the importance of biodiversity. It’s the result of my observations of the clear-cutting of our natural mixed forests\, which have been replaced with monoculture softwood plantations\, creating homogenous secondary forests that are less rich in biodiversity. The habitat of natural forest flora\, birds and animals has been degraded and the use of herbicides is commonplace. When I travel along some of the roads in our province\, I notice this sense of relentlessness and I am saddened by the lack of respect that the forestry industry has for the environment.” \n– Denise Violette-Michaud
URL:https://mccainartgallery.com/exhibitions/denise-violette-michaud-petite-foret/
LOCATION:Andrew & Laura McCain Art Gallery\, 8 McCain Street\, Florenceville-Bristol\, New Brunswick\, E7L 3H6\, Canada
CATEGORIES:Exhibitions,Past Exhibitions
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DTSTART;VALUE=DATE:20250125
DTEND;VALUE=DATE:20250309
DTSTAMP:20260614T184947
CREATED:20250121T163600Z
LAST-MODIFIED:20250424T163643Z
UID:7850-1737763200-1741478399@mccainartgallery.com
SUMMARY:Woodstock Art Club 70th Anniversary Show 1955-2025
DESCRIPTION:Opening 25 January 2025\, 2-4 pm\, Introductions at 2:30 pm\nEveryone is welcome\, there is an elevator on site\, admission is always free\nSusanne Hansen \nGuest Curator \nThe Andrew & Laura McCain Art Gallery has a mandate to support and present artists through exhibitions that celebrate the visual arts and artists locally\, provincially and nationally. The 70th anniversary of  the Woodstock Art Club is a milestone that the Gallery is thrilled to celebrate through this exhibition. \nThe show was made possible by the dedication of Susanne Hansen\, current president of the Woodstock Art Club\, who partnered with gallery director Jennifer Stead to curate the exhibition; locating\, selecting\, borrowing and gathering the 126 artworks that are hanging in the gallery. \nThis collection of art is evidence of the sustained interest in visual art demonstrated by the residents of Woodstock and the Upper Saint John River Valley and they speak to the interests\, aspirations and ideas that motivated their makers. This exhibition expresses the dedication each artist showed to developing their talent and demonstrates the contribution the Club has made to the cultural life of the area. \nAn exhibition such as this is not possible without the generosity of the lenders and their willingness to share their precious artworks with the larger community and accept a blank spot on their walls for a few weeks. \nA sincere thanks to everyone who made the show possible and in particular to curator\, Susanne Hansen. \nKaren Birnie \nChair of the Gallery Board of Directors \nThe Woodstock Art Club \nThe original twenty one members met for the first time in September 1955 united by their interest in visual art and in finding quality art instruction to further their skills and knowledge. In October they held their first fundraiser tea and invited a former Woodstock resident\, artist Margery Rogers Donaldson to teach the first class. A graduate of visual art at Mount Allison University\, student of Molly Lamb Bobak and instructor through the University of New Brunswick extension program\, Donaldson taught members of the Club into the 1980s.  \nOver the years\, the club brought together artistically curious individuals to inspire and support fellow members\, develop their art practices\, while supporting their creative growth and expression through regular meetings\, classes\, presentations and exhibitions. Margery Donaldson introduced the club to plein-air landscape and floral tradition in oils and she guided the students to always paint from life and to “never copy”. Donaldson\, as a professional artist\, was also able to fulfill the club members repeatedly expressed wish to be informed about contemporary developments in the art world. \nMeticulous records were kept of attendance\, dues\, costs and events; membership was one dollar annually and a nickel per meeting. Mrs. Dorothy Clark was the first Secretary\, Bonnie Smith\, President\, May Hanson was the Treasurer and Grace Holyoke was in charge of press coverage. Very quickly the Club became active in the community\, contributing to the cultural life of Woodstock\, creating opportunities for the members while looking outside the community for further enrichment. The Club took out memberships at the Beaverbrook Art Gallery\,  arranged for their first exhibition at the Carlyle Hotel and hosted the Nova Scotia Artists Association Annual exhibition there in 1957. When the Woodstock high school produced the musical Oklahoma\, in 1959/60\, members Lucile Kougle\, Grace Holyoke\, Marion Morgan\, Marguerite MacLauchlin\, Edna Leach\, Gladys Smith and Evelyn Rogers painted the 16 by 24 foot backdrop. In the mid sixties\, Gladys Smith wanted to do some redecorating in her bedroom and invited the art club members to paint murals on her walls of the historical areas of Woodstock that were going to be affected by the flooding from the construction of the new dam in Mactaquac. In the late eighties the members took on the management of the Art Competition and Display at the Woodstock Old Home Week Hobby Show. \nIn the 1950s through the 1990s\, the Club organised workshops from a variety of professional artists and teachers\, most from Saint John and Fredericton but occasionally from Ontario and Maine. They included Robert Benn\, Molly Boback\, Ted Campbell\, Denis Cliff\, William Forrestall\, Bridget Grant\, Art Cunanan\, Don Cyr\, Don Fletcher\, Florence Hughes\, Herzl Kashetsky\, Ann Kittredge\, Ron Legere\, R.J. Love\, Kay Macartney\, Alex McGibbon\, Erin O’Shea\, Claude Picard\, Alfred Pinsky\, Fred Ross\, Dylys Taylor-Sabine\, Janice Wright-Cheney and Audrey York. The visiting artists were billeted and fed by a different member each evening and Denis Cliff\, an artist  instructor from Toronto\, said he “enjoyed the best hospitality of his career in Woodstock and wished he didn’t have to leave”.  \nAfter starting with oils\, the club was introduced to drawing basics\, pastels\, acrylics\, collage\, screen printing and different subjects through charcoal portraits\, life drawing\, modernism\, abstraction and chinese brush techniques. In the mid 1990s\, the club members decided to have an intensive week-long workshop in watercolour with Saint John artist Ray Butler that greatly influenced the direction of the group.  \nIn 1994 Margery Donaldson gave her last workshop for the WAC\, leaving a little portrait in the guestbook. William Forrestall and Robert Ben donated their demonstration artworks at the end of their workshops and to this year\, the members each draw a name annually and have the artwork hanging in their homes for one year. \nThe enthusiasm and dedication of the club members is recognised by this entry in the guest book: “To members of the club\, thank you for being the inspiration that started me painting again last fall. It was seeing your work that became so overpowering that I had to take my brush up again\, and in doing that\, added so much more joy to my life” Audrey York\, Houlton Maine. \nThe club continues today welcoming new members – five in 2024\, bringing the overall total to one hundred and sixty one members. They meet monthly and if you are interested in joining the WAC\, please leave your contact information at the front desk and we will be sure to pass them on to the President\, Susanne Hansen. \nWAC Original Members\n\n\n\n\nClark\, Dorothy\n1955-1997\n\n\nConnell\, Mrs A B\n1955-1956\n\n\nCougle\, Lucy\n1955-1965\n\n\nCreighton\, Mrs F O\n1955-1956\n\n\nHanson\, Maye\n1955-1957\n\n\nHolyoke\, Grace\n1955-1957\n\n\nHomer\, Deez\n1955-1956\n\n\nKetchum\, Dorothy\n1955-1956\n\n\nKinins\, Joan\n1955-1956\n\n\nLeech\, Edna\n1955-1987\n\n\nLeech\, Helen\n1955-1957\n\n\nLovely\, Mrs Herman\n1955-1956\n\n\nMcLauchlin\, Laura\n1955-1956\n\n\nOlmstead\, Patty\n1955-1956\n\n\nRogers\, Evelyn\n1955-1976\n\n\nRowan\, Mrs\n1955-1956\n\n\nSimms\, Laura\n1955-1959\n\n\nSmith\, Bonny\n1955-1959\n\n\nSmith\, Gladys\n1955-1973\n\n\nWinslow\, Charlotte\n1955-1985\n\n\nWishart\, Dr Frank\n1955-1956\n\n\n\nWAC Current Members\n\nArt Club 2024Standing\, left to right: Juanita Power\, Catherine Kuijpers\, Suzan Carsley\, Jennifer Oakes\, Janelle Newcomb\, Anna Maria Dickinson\, Susanne Hansen\, and Ann White Sitting\, left to right: Karen Bragdon\, Elizabeth Radford\, and Brenda Bradley WAC Member Biographies and membership dates\n\n\n\nAdams\, Barbara\n1987-1988\n\n\nAiton\, Linda\n1973-1974\n\n\nAnderson\, Randi\nCirca 1996\n\n\nAntworth\, Ada\n1983-1985\n\n\nBaird\,Jean\n1978-1987\n\n\nBarrett\, Melissa\n1990-1991\n\n\nBeaulieu-Snowden\, Bernice\n1996-1998\n\n\nBell\, Christine\n1987-1991\n\n\nBernard\, Guy\n1988-1989\n\n\nBeukeveld\, Margaret\nCirca 1997\n\n\nBerry\, Ann\n1962-1968\n\n\nBlue\, Miss Louise\n1971-1972\n\n\nBohan\, Delores\nCirca 1996-1998\n\n\nBouma\, Judy\n1986-1988\n\n\nBowlin\, Mary\n1962-1992\n\n\nBradbury\, Winnie\n1987-1988\n\n\n\n\n\n\n\nBradley\, Brenda\n1999-Present\n\n\n“Originally from Montreal\, I moved to the Woodstock Area in the 1980’s and subsequently enrolled in a watercolour class with Susanne Hansen and then joined the Art Club in around 2002. This group of artists\, who came together once a month\, were welcoming and supportive. The club organized workshops and general discussions which I found stimulating\, helpful and encouraging.  Members worked in a variety of media and have a variety of levels of art experience and background from absolute novice to art teachers and a  University Art professor.” \n\n\n\n\nBragdon\, Karen\nc.2000-Present\n\n\n        “Karen is a native of Woodstock who has been interested in art for most of her life. She began attending art class in the early 90’s and started to take her work more seriously. She joined the Woodstock Art Club and was the secretary for over 10 years.” \n\n\n\n\nBragdon(Oldenburg) Kaye\nCirca 1995\n\n\nBroad\, Cynthia\nCirca 1997\n\n\nBrown\, Marion\n1990-1991\n\n\nBschaden\, Christopher\nCirca 1996-1997\n\n\nBuckingham\, Marilyn\n1993-1994\n\n\nBull\, Milton\nCirca 1992\n\n\nCampbell\, Twinnie\n1993-1997\n\n\nCarr\, Pauline\n1956-1957\n\n\n\n\n\n\n\nCarsley\, Suzan\nCirca 2011-Current\n\n\n“After moving from Montreal to the Woodstock area in 2011\, I happened upon the Art Club exhibiting a craft market in downtown Woodstock. \nThis was my first contact with any art group in New Brunswick. \nI inquired about membership and joined soon after. Over the last 13 years it has been wonderful to be a part of a group of like-minded artists getting together\, whether to paint\, do a workshop or participate in a potluck.” \n\n\n\n\nChase\, Cathy\nCirca 1997\n\n\nClarke\, Mary (Mrs G F)\n1956-1967\n\n\nClements\, Maureen\n1990-1991\n\n\nClitheroe\, Louise (Daishe)\n1975-1997\n\n\nColwell\, Winnie\n1977-1983\n\n\nDeutch\, Angie\n2020-2021\n\n\n\n\n\n\n\nDickinson\, Anna Maria\n2024-Present\n\n\n“It was an honour to be invited to join the Woodstock Art Group in February of this year 2024. I had doubts\, was I good enough to be a member of this extraordinary group of amazingly talented artists. They welcomed me and I thank them for the opportunity to be a part of the group. I have enjoyed our paint get-togethers and our potlucks; I have even enjoyed trying different mediums – water colour & the linocut technique.” \n\n\n\n\nDickinson\, Robert\n1987-1988\n\n\nDoherty\, Sarah\nCirca 2012\n\n\nDoiron\, Phil\n1987-1991\n\n\nDow\, Caroline\nCirca 1992\n\n\nDukeshire\, Eileen\n1987-Present; Life Member\n\n\nDunbar\, Adeline\n1987-1994\n\n\nDunfield\, Christopher\n1994-1997\n\n\nEllis\, Alice\n1989-Circa 1991\n\n\nField\, Donald\n1987-1997\n\n\nFlewelling\, Lillian\n1987-1990\n\n\nForrest\, Pauline\n1974-1977\n\n\nFoster\, Louise\n1988-1991\n\n\nFox\, Edna\n1975-1984\n\n\nGibson\, Terry\n1989-1990\n\n\nGilliland\, Marjorie\n1975-1976\n\n\nGreen\, Charlotte\nCirca 1997\n\n\nGriffith\, Velma\n1987-1990\n\n\nHacklesperger\, Armin\n2015-2020\n\n\n\n\n\n\n\nHansen\, Susanne\n1986-Present\n\n\n“I have always had an interest in art. My mom said I was born with a pencil in my hand! Throughout my preteen and teen years I painted in oils using “How to” books my parents provided. \n In my twenties I started art classes in Houlton with Esther Faulkner. She introduced me to charcoal\, pastel\, ink\, and watercolour. \nIn 1986 I was invited to join the Woodstock Art Club. The WAC offered many and varied workshops through the late 80’s and 90’s and I attended every class offered. Along with the WAC workshops\, I travelled to week long workshops throughout New Brunswick\, Nova Scotia\, and Maine.  \nIn watercolour\, acrylic\, oil\, linocut\, intaglio\, pastel\, and egg tempra – doing life\, portrait\, landscape\, seascape\, abstract\, still life – in recent years I have tried wood carving and pottery. My love is landscape (water\, rocks\, and trees) in watercolour. \nMaking art is as necessary to me as eating and sleeping.” \n\n\n\n\nHanson\, Harold\n1956-1957\n\n\nHanson\, Patti\nCirca 1956-1957\n\n\nHarold\, Marie\n1992-1997\n\n\nHavens\, Carol Ann\n1995-1996\n\n\nHavens\, Shelley\n1995-1996\n\n\nHaywood\, Jean\n1994-1997\n\n\nHemphill\, Donna\nCirca 1996-1998\n\n\nHow\, Heather\n1994-2023\n\n\nJohnson\, Cathie\n2021-2022\n\n\nJohnston\, Wendy\n1994-1997\n\n\nJung\, Moon Hee\n2002-2004\n\n\nKearney\, Lucille\n1990-1991\n\n\nKing\, Janet\nCirca 1996\n\n\n\n\n\n\n\nKittredge\, C. Ann\n1988-Present\n\n\n“C. Ann Kittredge is a mixed media artist who hailed from Ontario and lived in Woodstock for 34 years\, during which time she was a member of the Woodstock Art Club. She retired from teaching drawing\, design\, and printmaking courses for the University of Maine Presque Isle\, and has since returned to her childhood home. She says that she came late to the formal study of art\, and had a “first life” in science\, studying and teaching science for many years. Her art often reflects this background. She continues to be fascinated by the connections between art and science; much of her imagery arises from a lengthy consideration of issues and phenomena which reside in that area where science\, art\, and spirituality overlap.” \n\n\n\n\nKuijpers\, Catherine\n2024-Present\n\n\n“I believe art\, in its myriad forms\, is innate to humanity. We are much stronger with it. Bringing us together through that which makes us drop our jaws in awe\, it gives us pause to contemplate and provides a tactile way of expressing ourselves in a medium other than voice. Sometimes beautiful\, full of curiosities; or art can be difficult to view and challenging. It always has been and always will be something that connects us all and can bring on an intrinsic emotional response. I am passionate that art should be kept in education and is a tool for therapy that has helped me to heal. It has an uncanny power to heal children and adults alike. \n Catherine’s passion and skill in poetry and drama is parallel to an equal passion for the art forms upon which the Woodstock Art Club was formed 70 years ago.” \n\n\n\n\nLarkin-Roy\, Ann\n1987-1990\n\n\nLavoie\, Vera\n1987 -2005\n\n\nLawson\, Ada\nCirca 1992\n\n\nLutes\, Deborah\n1995-1996\n\n\nMacFarlane\, Wanda (Glass)\n1995-1998\n\n\nMacMillan\, Margaret\n1956-1964\n\n\nMartinson\, Bobby\n\n\n\nMartinson\, Noreen\nCirca 1998\n\n\nMcAllister\, Debra\n1998-2023\n\n\nMcCarthy\, Linda\nCirca 1990\n\n\nMcEwen\, Murray\nCirca 1996-1997\n\n\nMcGuire\, Ginette\n1987-2010\n\n\nMcGuire\, Irene\n1987-2005\n\n\nMcKeen\, Meredith\n1995-1996\n\n\nMcLauchin\, Marguerite\n1956-1976\n\n\nMcLaughlin\, Heidi\n1988-1989\n\n\nMcLellan\, Loretta\n1997-1998\n\n\nMea\, Maryann\n1991-2023\n\n\nMilbury\, Aileen\n1987-1997\n\n\nMiller\, Beverley\n1990-1991\n\n\nMonteith\, Heidi\n1987-1988\n\n\nMoore\, Mary\n1970-1971\n\n\nMoore\, Vean\n1971-1985\n\n\nMorgan\, Marion\n1958-1974\n\n\nMorrison\, Jim\n1993-1997\n\n\nNeilson\, Donna\n1987-1988\n\n\nNeilson\, Gladys\n1992-1996\n\n\n\n\n\n\n\nNewcomb\, Janelle\n2024-Present\n\n\n        I moved to New Brunswick in 2019. I painted regularly but missed having the \nopportunity to get feedback and share experiences with other artists. Except on the \ninternet\, I didn’t even know where to shop for art supplies and was disappointed when I could not enjoy the tactile pleasure of choosing my materials. \n        In 2023\, I dropped in at the River Art Centre to inquire about locating art supplies. There I met Susanne Hansen and my search was rewarded not only with finding materials but also with being introduced to a large community of local artists. \n        Susanne’s enthusiasm for and connection to the galleries and art focused events in the area was the inspiration that led me to get involved in: “En Plein Aire”\, a 2023 event benefitting The Big Brothers\, Big Sisters organization; the Small Works show at ALMAG also in 2023; becoming a member of the Creek Village Art Gallery in 2024. I am grateful to Susanne for inviting me to join the Woodstock Art Club and thrilled to be able to participate in the club’s 70th anniversary exhibition. \n\n\n\n\nNicholson\, Eugene\n1990-1997\n\n\nO’Hagan\, Mrs L\n1962-1963\n\n\nO’Halloran\, E. Ann\n1987-2017\n\n\nPalin\, Marion\n1970-1978\n\n\nPalmer\, Barbara\n1987-1988\n\n\nPayne\, Blanche\n1983-1985\n\n\nPerry\, Geraldine\n1994-1998\n\n\nPeterson\, Bernice\n1987-1992\n\n\nPhillips\, Bernard\n1989-1991\n\n\nPhillips\, Brenda\n1997-2017\n\n\nPickard\, Joanne\nCirca 1999-Circa 2001\n\n\nPolches\, Jennifer\n2024-Present\n\n\nPolchies\, Wendy\nCirca 1994-1997\n\n\nPoulin\, Beverley\nCirca 1990\n\n\n\n\n\n\n\nPower\, Juanita\n2024-Present\n\n\n“I have been working with paper crafts for over twenty years as a hobby to create gifts for family and friends\, starting with cards and scrapbook mini albums for special events. My hobby has now evolved into creating flowers\, houses\, decorations for doors and centrepieces. I am a recent member of the Woodstock Art Club\, being invited to join in 2024. I am looking forward to the continued success of the art club and learning new skills from the many talented artists in the club.” \n\n\n\n\nProsser\, Lori\n1994-1995\n\n\n\n\n\n\n\nRadford\, Elizabeth\n2015-Present\n\n\n        “Artwork came into my life as an adult student in The Interior Design program at College in Vancouver.  I learned to draw\, draft\, understand colour theory and render my project designs. (Residential and commercial) Paint materials included watercolour\, acrylic\, gouache\, ink and felt pens. \n        Subsequent workshops in Vancouver and Victoria included linocuts\, intaglio\, textile design and egg tempera. Following a move to New Brunswick\,  the Woodstock Art Club provided collaboration with other artists\, workshops\, and a social aspect which was welcome. The New Brunswick College of Art and Design classes in Fredericton created an opportunity to further develop drawing techniques.” \n\n\n\n\nRoss\, Mary\n1956-1971\n\n\nSalmon\, Cynthia\n1997-2000\n\n\nSchurman\, Helen\n1956-1959\n\n\nShaw\, Rayma\n1990-1991\n\n\nShaw\, Sonya\nCirca 1998\n\n\nSmith\, Lorraine\n1972-1974\n\n\nSquires\, Mrs F C\n1956-1957\n\n\nStanley\, Henni\nCirca 1996\n\n\nStockford\, Marie\n1970-1992\n\n\nSullivan (Berry)\, Ann\n1962-1968\n\n\nTapley\, Bud\n1987-1991\n\n\nTompkins\, Irene\n1993-1995\n\n\nWallace\, Mildred\n1988-1997\n\n\nWallace\, Vivian\nCirca  1996\n\n\nWebb\, Alice\n1987-1989\n\n\nWells\, Robert\n1987-1997\n\n\n\n\n\n\n\nWhite\, E Ann\nCirca 2012 -Present\n\n\n“I have been a member of the Woodstock Art Club for about 10 years. I had just completed watercolour painting lessons from Susanne Hansen and was happy to join this group of talented artists. I was exposed to other mediums and techniques of various art forms. \nAbout 5 years ago when looking for an abstract painting for my home\, I became interested in fluid acrylic pours. I really enjoyed the freedom of this method and the interesting finished product. I also enjoyed sharing this art form by facilitating classes. As well as pouring on canvases\, I created coasters by pouring on wood and applying a resin finish. \nI continue working in watercolour as well.” \n\n\n\n\nWiggins\, Charlene\n1993- Circa 1995\n\n\nWilkinson\, Connie\n1991-1992\n\n\nWilson\, Emily\n1993-1994\n\n\nWilson\, Paula\n1993-1994\n\n\nWilson\, Shirley\n1989-1990\n\n\nWinslow\, Marion\n1960-1985\n\n\nWood\, Brenda\n1990-1997\n\n\nYerxa\, James\n1990-1991
URL:https://mccainartgallery.com/exhibitions/woodstock-art-club-70th-anniversary-show-1955-2025/
LOCATION:New Brunswick
CATEGORIES:Events,Exhibitions,Past Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240905
DTEND;VALUE=DATE:20241103
DTSTAMP:20260614T184947
CREATED:20240901T170504Z
LAST-MODIFIED:20260523T183713Z
UID:7318-1725494400-1730591999@mccainartgallery.com
SUMMARY:Thaddeus Holownia: of a Feather
DESCRIPTION:The Andrew & Laura McCain Gallery welcomes Thaddeus Holownia back to exhibit a body of work inspired by birds. Timed to open on the weekend of pARTicipate Arts & Nature Festival\, the works in the exhibition bring together not only science and the arts\, but feature a long time creative collaboration by the photographer with his friend and fellow artist\, Nova Scotia poet\, Harry Thurston. \nOpening\, artists’ talk and book launch\nThursday\, September 5\, 2024\, 5:30-7:30 pm\nEveryone is welcome\, admission is free.\nThe artists will  give an informal talk about their collaboration\, \ntheir art and the third collaborator\, Gay Hansen. \n\nBLUE JAY\n   Cyanocitta cristata\nUnseen in summer\, woods-deep\,\ncome fall\, you return\,\ncasting voices\, your own\nand others you mimic.\nNot blue at all\,\nyour feathers\nbequeath only blue\nlight to the eye.\nClever corvid\,\nyou may change a life!\n— with a beat of your wing\,\na call we must heed.\nBook Launch\nof a feather is the third book in a trilogy that includes Ova Aves and Icarus\, Falling of Birds. Conceived as a tribute to the teacher\, naturalist\, and ornithologist Gay Hansen — Holownia’s late partner and Thurston’s long-time friend\, the collection combines Thaddeus Holownia’s photography of bird feathers with the poetry of Harry Thurston. \nHeart of the Bird \nThese photographs are of study mounts prepared by Gay Hansen—teacher\, naturalist and ornithologist\, and the late partner and muse of Thaddeus Holownia.  \nA graduate of Acadia\, Gay was a lecturer and lab instructor in biology at Mount Allison University\, in Sackville\, New Brunswick\, for 39 years (1979–2018). During this time\, she conducted labs in multiple fields. Her great passion\, however\, was Ornithology.  \n“I think that it is essential to educate people about birds—they are extremely important in ecological\, environmental\, cultural and recreational realms\,” she once said. “Ornithology is one of the few fields of Biology where citizen science makes significant contributions.”  \nGay was also a talented craftsperson\, notably as a weaver\, and she combined her scientific expertise and her artistic skills in taxidermy\, to create a collection of study mounts.  \nThere is an assumption in our time that there is an unbridgeable gap between the Arts and the Sciences. \nIn fact\, there is compatibility\, even interdependence\, between these two spheres of human endeavour. As Harvard biologist\, Edward O. Wilson\, observes in Consilience\, The Unity of Knowledge: “Neither science nor the arts can be complete without combining their separate strengths. Science needs the intuition and metaphorical power of the arts\, and the arts need the fresh blood of the sciences.”  \nThese photographs would not have been created without Gay’s skills as an ornithologist and taxidermist deployed originally for the purpose of passing on her knowledge and love of birds to her students\, and generations of students to follow.  \nThe feather—described as “a remarkably refined and complex apparatus … that\, among other uses\, enabled highly sophisticated flight”—besides its functionality is unarguably beautiful. That is what one feels when first looking at these photographs\, ‘How beautiful they are!’  \nIt seems no accident that Holownia’s photographs are of breast feathers—of the heart of the bird. 
URL:https://mccainartgallery.com/exhibitions/thaddeus-holownia-of-a-feather/
LOCATION:Andrew & Laura McCain Art Gallery\, 8 McCain Street\, Florenceville-Bristol\, New Brunswick\, E7L 3H6\, Canada
CATEGORIES:Exhibitions,Past Exhibitions
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DTEND;TZID=America/Halifax:20240810T170000
DTSTAMP:20260614T184947
CREATED:20240803T155658Z
LAST-MODIFIED:20260523T183725Z
UID:7304-1720866600-1723309200@mccainartgallery.com
SUMMARY:Working With Clay: McCullough\, Wood\, Valiñas
DESCRIPTION:The Andrew & Laura McCain Art Gallery is pleased to be hosting an exhibition of works from New Brunswick ceramicists Andrew McCullough\, Michael Wood\, and Elsa Valiñas.\nTheir exhibition will be concurrent with an exhibition of the paintings of Ted Michener.\nThe Opening will be on July 13\, 2024\, 2-4 pm. The artists will be in attendance & introductions start at 2:30.\nEveryone is welcome\, admission is free and there is an elevator.\nArtist Statements\nAndrew McCullough\nAs a potter\, I capture the magical possibilities of working with clay by using contrasting elements of striking modern designs and the raw natural qualities of the material. For me\, my pieces to act as a time capsule\, sharing with others a little bit about me and the how I see the world.
URL:https://mccainartgallery.com/exhibitions/working-with-clay-mccullough-wood-valinas/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2024/08/IMG_7293.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20240525T080000
DTEND;TZID=America/Halifax:20240706T170000
DTSTAMP:20260614T184947
CREATED:20240524T204206Z
LAST-MODIFIED:20260408T183838Z
UID:7128-1716624000-1720285200@mccainartgallery.com
SUMMARY:Shadows and Tall Trees\, Stephen Hutchings
DESCRIPTION:Opening 31 May\, 2024 from 5-7 pm \nArtist Stephen Hutchings will give a talk starting at 5:15 about his art practice and answer questions about the work in the gallery.  Everyone is welcome\,  admission is always free and refreshments will be served. \nArtist statement  \nMy landscape paintings and drawings and prints are\, in equal measures\, both objective and subjective: they not only describe the world I know\, but they also describe the world as I want it to be. I combine a resemblance to the external world we live in with the inner world of my emotions\, my expectations and my hopes. \nIn my work\, I engage with ideas about personal identity\, mystery\, revelation\, and the infinite. Areas of rich dark are combined with areas of intense light\, playing off of each other\, acting as larger metaphors that refer to both ourselves\, (as individuals and as part of a society) as well as to the world around us. \nThis exhibition brings together recent and new work representing a range of subjects\, from trees to clouds\, as well as extremes of sizes: Theatre of Trees is massive at 8’ x 40’ while the four Ghost Tree paintings are much more intimate at 12” x 12” each. Stephen Hutchings
URL:https://mccainartgallery.com/exhibitions/7128/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2024/05/2024_4SH_Shadows-Tall-Trees-Poster.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231021
DTEND;VALUE=DATE:20231119
DTSTAMP:20260614T184947
CREATED:20231024T213253Z
LAST-MODIFIED:20250207T162653Z
UID:6320-1697846400-1700351999@mccainartgallery.com
SUMMARY:Mel Hamilton: Reframing Perspectives
DESCRIPTION:Opening celebration: Friday\, 10 November 2023 5 – 7 pm. \n  \nReframing Perspective is about creating work from an authentic female experience. My previous furniture work was informed by the male woodworking perspective shown in books exhibitions and other collections. I was taught that woven elements were used to add comfort. For this body of work I purposely looked to women for design inspiration and to reclaim the use of soft sculptural materials. \nOver 100 years ago Annie Albers\, Benita Otte\, Gunta Stolzl and Otte Berger were weaving students at the Bauhaus in Germany. Their use of pattern\, color and commitment to experimentation pave the way for Modern Art and Design. Works by these four artists directly inspired each piece in this series. \nWeaving techniques and designs have been reimagined here in three-dimensional furniture pieces where the wood structures support the patterns and lines of soft material. These works illustrate the dynamic motion of a woven line and show that material can have both a physical and emotional weight. \nMelanie Hamilton is an Atlantic Canadian craftsperson in visual artist. She specializes in finely crafted objects using solid wood and woven materials she studied at the center for furniture craftsmanship in Maine and Sheridan College in Ontario. She also holds a fine arts degree from Mount Allison University majoring in photography. Wooden leg Studio has been featured in such Publications as Home and Cabin\,  East Coast Living\, Popular Woodworking and Canadian Woodworking.
URL:https://mccainartgallery.com/exhibitions/mel-hamilton-reframing-perspectives/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/10/IMG_3611-scaled.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231021
DTEND;VALUE=DATE:20231119
DTSTAMP:20260614T184947
CREATED:20231024T212258Z
LAST-MODIFIED:20250207T162823Z
UID:6324-1697846400-1700351999@mccainartgallery.com
SUMMARY:Brigitte Clavette: The Mysterious Soul of Objects
DESCRIPTION:Opening celebrations of The Mysterious Soul of Objects scheduled 10 November  2023\, 5 – 7 pm \n \n \n \nThe artworks in The Mysterious Soul of Objects are from a series  created over the past few years under the name of “futile abundance”. “I cast in sterling silver or bronze discarded foodstuff\, found animal parts\, and along with these I hammer or “raise” small vessel forms that I call skins. These become the palette or inventory that I use to create still lives or tableaux that invite the gourmand to the table. I am interested in the tension between attraction and repulsion. These platters or tableaux give a living space to the mysterious objects I create. Objects whose function is not always clear. Objects that invite the viewer for some kind of connection or communion. These objects may invite contemplation or curiosity”. Brigitte Clavette \nHead of Jewellery and Metal Arts\, and an instructor at the New Brunswick College of Art and Design from 1985 to 2017\, Brigitte Clavette currently teaches part-time and devotes herself to her artistic practice. She is the 2022 winner of the Governor General Saidye Bronfman Award for excellence in fine crafts\, and is a member of the Royal Canadian Academy of the Arts. She received the Excellence Award and the Strathbutler Award from the Sheila Hugh Mackay Foundation of New Brunswick in 2006. Her work is included in the permanent collection of the National Gallery of Canada\, Ottawa\, the Royal Ontario Museum\, Toronto\, The Victoria & Albert Museum\, London England\, the New Brunswick Museum\, Saint John as well as being included in the contemporary silversmithing collection of the Art Gallery of Guelph\, Ontario
URL:https://mccainartgallery.com/exhibitions/brigitte-clavette-the-mysterious-soul-of-objects/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/10/IMG_3587-scaled-e1698179829591.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230916T103000
DTEND;TZID=America/Halifax:20231014T170000
DTSTAMP:20260614T184947
CREATED:20230826T195102Z
LAST-MODIFIED:20260523T183747Z
UID:6546-1694860200-1697302800@mccainartgallery.com
SUMMARY:Napoigagenn: Brian Francis\, Tara Francis\, Starlit Simon
DESCRIPTION:Brian Francis\nAuthor\, Poet\, Photographer\, Director-Producer Brian Francis of Elsipogtog First Nation is painting his visions\, dream images that come to him and he is compelled to embody them with paint. Well known as an international award winning filmmaker and musical entrepreneur\, he has produced\, directed and has written over 70 award winning documentaries.  Most recently Brian released his first book\, Between Two Worlds- Spiritual Writings and Photographs. \n“I think my work in The Sacred Space goes  beyond being Indigenous or non-Indigenous. It  goes deeper into the heart of who\nwe all are as people. It goes beyond historical and political rhetoric\, it isn’t about Indigenous rights or Native politics. My artwork serves\nto unite ancient souls that dwell within all of us that oftentimes get bogged down by daily stresses of life\, regardless of who we are as people. The ancestorial space that is occupied by the ones who were here before us \,It is up to us to acknowledge and honour them and it is where we must seek guidance whilst here in this plane. The Sacred Space is within our hearts a place we often forget to look when we seek answer. Perhaps the lesson in that may be that we may be afraid of what it is we will find when we look deep within the confines of our souls. But reality is \, these are the answers we need.” \nTara Francis\n\n\n“My work is a form of prayer\, and it’s healing for me just in the very act of doing it\,” says Tara Francis\, a contemporary Mi’kmaw artist from the Elsipogtog First Nation\, now based in Shediac\, N.B. \n“A youthful portrait taken from a black and white photo of my Maternal Grandmother Lucretia McLaughlin.  This is one of two portraits I have created\, the first being a portrait of my Paternal Grandmother Louise Francis. (which is now part of the Beaverbrook Art Gallery’s permanent collection)  The stories of these women’s lives and the legacy of their dedication and nurturing kindness to their families and communities are truly an inspiration.   \nI grew up next door to my Granny Lucretia  and it was her support and encouragement that led me to pursue a career in art.  These portraits are part of a series entitled That Which has Shaped me. Made possible in part by a Creation Grant from ArtsNB. \n\nStarlit Simon\nStarlit Simon is Mi’kmaw from Elsipogtog First Nation and a full-time PhD candidate at the University of New Brunswick in the Faculty of Education.  She can often be found highway hunting for porcupine roadkill where she harvests the porcupine quills to create her art. “As I continue through the process of research and academia\, I am often grappling with myself\, my Indigenous world view\, my Mi’kmaq language\, and with the western world view and the English language.  It often takes me a significant amount of time to operate and understand how to walk\, work and communicate in the western world\, because when I do\, I abandon who I am at my core\, a Mi’kmaq woman from Elsipogtog [The River of Fire].  This art piece is symbolic of that internal struggle that many Indigenous scholars can attest to also feeling\, not just in their graduate studies but throughout their undergrads and in high schools as well.  This piece is a reminder that there is a way to apply two eyed seeing as is the term that was in our language and world view from very long ago.  Where you walk with one foot in both worlds. “\, Starlit Simon.
URL:https://mccainartgallery.com/exhibitions/napoigagenn-brian-francis-tara-francis-starlit-simon/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/08/Piping-Plover-final-scaled-e1693075883793.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230603T103000
DTEND;TZID=America/Halifax:20230722T170000
DTSTAMP:20260614T184947
CREATED:20230624T134125Z
LAST-MODIFIED:20230823T190246Z
UID:6209-1685788200-1690045200@mccainartgallery.com
SUMMARY:Tell me a Story: Five Acadian Artists
DESCRIPTION:The Andrew & Laura McCain Art Gallery is full of spring colour and summer joy this month as the exhibition of five renowned and celebrated Acadian artists – one sculptor and four painters – share their art with our community. The art works are on loan to the gallery through their art dealer\, Daniel Chaisson\, of the gallery ART/ARTIST in Dieppe. From the playful descriptions of life on the Acadian shore in the work of Yvon Gallant\, to the vibrant dynamism of the palette knife abstractions by Louise LeBlanc\, stories abound in the art of these five artists. Together their narratives explore and describe humorous moments\, acknowledge history\, ephemeral states\, balancing acts and decisive moments. The power and impact of colour\, textures and gesture are vital means of expression for the artists\, whether they are investigating their world\, their imagination or their process. The only sculptor in the show\, Marie Hélène Allain\,most famous for her monumental stone works\, is presenting six sculptures from a series of 35\, that are assembled from rock\, alder wood\, copper and bronze. Tall\, figure-like constructions\, acknowledge the history of the alder tree in the development of Acadian society while talking about her faith and the place of the individual in community. \n6.G.Goguen_Fond_orange_ligne_bleueGeorge Goguen Louise LeBlanc\, Cndn\, UP_TIMIST\, Sans titre #1\, 2020\, oil on canvas11.Y.Gallant_Drapeaux_en_berne2.M.Parent_Ce_long_voyage_a_l’interieur17.M.H.Allain_Altruisme
URL:https://mccainartgallery.com/exhibitions/tell-me-a-story-five-acadian-artists/
LOCATION:Andrew & Laura McCain Art Gallery\, 8 McCain Street\, Florenceville-Bristol\, New Brunswick\, E7L 3H6\, Canada
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/06/IMG_1002-scaled.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20221008
DTEND;VALUE=DATE:20221113
DTSTAMP:20260614T184947
CREATED:20220219T134713Z
LAST-MODIFIED:20230207T221443Z
UID:5097-1665187200-1668297599@mccainartgallery.com
SUMMARY:Violet A. Gillett: Fine Art and Original Craft
DESCRIPTION:“My aims – what they are – are not perhaps high. I do not think of my art works – as it seems is the fashion nowadays – as having a socially significant message – unless [it is] in trying to tell in my work\, of beauty I have felt or observed\, and so to bring it to the attention of others\, [so it] does good to mankind and has some social value. If what I have said in my art\, or have fostered in my teaching\, carries into the world a sense of greater happiness and beauty in my day\, then all my aims will be gratified.”\nViolet Gillett \nOpening and Book Launch\nSaturday\, October 8\, 2-4 pm at the Gallery \nViolet A. Gillett\, Painting With Words\nArtist\, Author and Educator \nAuthor JoAnne Rivers\, in collaboration with all the descendants of Violet Gillett\, has penned a life story\nabout this important\, multi-talented Maritimer that will kindle a glorious and lasting impression for everyone.\n“A number of accolades\, including becoming a Member of the Order of Canada in 1976\, reflects the great esteem in\nwhich both she and her work were held over the course of an active\, influential\, and distinguished career. Ultimately\, Vi Gillett’s hard work and quiet determination fundamentally reshaped art in New Brunswick; a remarkable\naccomplishment and enduring legacy.” \nPeter J. Larocque Art Curator\, New Brunswick Museum \nAs the founding director of Fine Art at the Saint John Vocational School\, Gillett gave influential guidance to young Fred Ross and many others. With Walter Abell and Miller Brittain she was a pivotal force in the Maritime Push. Upon\nretirement Violet Gillett returned to her family home in Perth-Andover\, New Brunswick where\, with her sister Beatrice Rivers they developed a highly successful arts and crafts business catering to visitors from across Canada and the United States. Little has been written about this East Coast renaissance artist. “Painting With Words” tells the inspirational story\, from her childhood memories arriving at Market Slip in Saint John in 1909\, her early employment with Banting and Best at the time of their insulin discovery\, through the many\, and variety of artworks she created – even after losing her sight. By combining personal correspondence with published stories from the Atlantic Advocate and a generous collection of images\, Painting With Words chronicles a life well lived. For those who know Violet Gillett’s work\, this book will enhance their appreciation of her life’s many accomplishments. For those meeting her for the first time\, many delightful and surprising encounters await within this book’s covers. JoAnne Rivers
URL:https://mccainartgallery.com/exhibitions/violet-gillett/
LOCATION:New Brunswick
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2022/02/violet-plein-air.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220903
DTEND;VALUE=DATE:20221002
DTSTAMP:20260614T184948
CREATED:20220802T144442Z
LAST-MODIFIED:20220804T184227Z
UID:5575-1662163200-1664668799@mccainartgallery.com
SUMMARY:Miniature Worlds - Sara Brinkhurst
DESCRIPTION:What is the fascination with the world of miniatures? There is something so compelling about tiny objects – not just the skill involved in making something so small and detailed\, but the complete uselessness of them determines them as objects of desire for purely ornamental reasons. The possibility to make or own a tiny piece of furniture or art that we would never normally have room for\, or possibly afford\, allows us to create our own perfect worlds. Worlds that can be packed up and fit in one box! \nAfter retiring in 2021\, I revisited an old hobby. Exploring and unpacking boxes of minis that I had collected over the years brought back a rush of desire to start creating again. These pieces are the results of explorations into different scales and effects\, ranging from 1:12 to 1:144 (a dollhouse for a dolls house). Some contain a mixture of made and bought items (many of which have been adapted); others contain all original items made by my own hand using wood\, metals\, fabrics\, clays\, paint and a lot of glue! \n\n  \n\nSara Brinkhurst\nBorn in England\, Sara graduated from the University College for the Creative Arts in Kent. She won several competitions and awards before graduating with a BA First Class Honours in Silver/Gold Smithing and Jewellery Design in 2007. \nShe emigrated to Canada in 2008\, where she has continued to explore creative pursuits. These include working in precious metals\, theatre costume design and making\, writing and anything else that involves research and hand skills. After retiring as Director of Sunbury Shores Arts & Nature Centre in 2021\, she revisited a life-long passion for miniatures. Inspiration to finish some old projects quickly led to the creation of several new explorations in the world of mini. Sara is a Juried Member of the Nova Scotia Designer Crafts Council and Craft New Brunswick. \nArtist Statement\nMy journey through the mini world started when I was around 10. I loved finding small objects and turning them into something else\, and could spend hours making little pieces of furniture or accessories – from toothpaste cap vases\, to string-framed paintings\, to toothpick and jam jar lid tables. I have always enjoyed researching history around furnishings\, clothing\, household objects and living styles. As an adult\, a degree in jewellery design and making vastly improved my hand skills. Finally all these elements have come together to allow me to create and build as I have always been driven too. The focus required to work at this scale is all engrossing and addictive. For me\, it is playing at its finest – and an escape to fascinating little worlds where anything can happen.
URL:https://mccainartgallery.com/exhibitions/small-worlds-sara-brinkhurst/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Upcoming Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2022/08/Taylor-scaled-e1659637994463.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220903
DTEND;VALUE=DATE:20221002
DTSTAMP:20260614T184948
CREATED:20220514T184158Z
LAST-MODIFIED:20221011T204144Z
UID:5413-1662163200-1664668799@mccainartgallery.com
SUMMARY:Shared Shots: A Community Photography Show
DESCRIPTION:The Opening will be on Saturday September 3\, 2022 from 2 – 4 pm \nIntroductions at 2:30 \nAll welcome \n  \nMade possible through the generous support of the
URL:https://mccainartgallery.com/exhibitions/shared-shots/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2022/07/ComPho_web-site-slider.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220716
DTEND;VALUE=DATE:20220828
DTSTAMP:20260614T184948
CREATED:20220219T142433Z
LAST-MODIFIED:20221011T204246Z
UID:5108-1657929600-1661644799@mccainartgallery.com
SUMMARY:Suzanne Hill: Hands of the Horsemen
DESCRIPTION:Opening: July 16\, 2-4 pm. Introductions and artist talk at 2:30 pm. All welcome. \n   \nHands of the Horsemen brings together works from different periods of the artist’s long career. Loaned from the collections of the New Brunswick Museum\, The Beaverbrook Art Gallery\, private collectors and the artist’s studio\, this exhibition places the artist’s most recent work in the context of 20 years of her art and confirms her continued interest in the androgynous and anonymous figure.  \nAlways creating a subtle and evocative space from the surface area upon which she works\, Hill’s figures seem to be extracted\, scratched\, pasted\, torn or collaged into being.  In exquisite contrast with her very direct method of working\, her figures are delicately suspended\, poised in time and motion. They are figurative gestures that have agency and exist with consequence. Hill’s figures seem to metaphorically struggle with the singularity of experience\, wrestling as does the artist with existential questions while formally engaging with a line\, an edge\, a frame or their own shadow.  When writing about the body of work\, Singular from the mid 2000s\, Peter Larocque observed that “while we may live in social situations and may interact\, to lesser or great degrees with others\, ultimately\, we remain as parallel singularities delineated by the borders of our own perception and will”. \nSuzanne Hill lives in Rothesay\, N.B. A graduate of Mount Allison and McGill Universities\, she has exhibited nationally and internationally.  For many years she taught art in the public Schools in Saint John.  Her work has been the inspiration for cross disciplinary creative productions with poet Ann Compton and the Atlantic Ballet. Hill has worked tirelessly for the advancement of the visual arts and has had a significant voice in the cultural affairs of the province. She has served on the Artsnb Board\, the Board of Directors of the NB Museum\, and the Sheila Hugh Mackay Foundation. She was the 1999 recipient of the SHMF Strathbutler Award\, and 2016 recipient of the NB Lieutenant-Governor General’s Award. Her art is in the New Brunswick Art Bank\, the Canada Council Art Bank\, UNB\, NB Museum\, the Beaverbrook Art Gallery\, the University of Maine\, the Governor General of Canada\, the Canadian War Museum and the Department of External Affairs. Recent exhibitions include Unstable Boundaries\, 2019\, Spicer/Merrifield Gallery\, The Work Before\, 2021\, Sunbury Shores Art and Nature Centre and the Saint John Airport. \nSuzanne Hill will give an artist talk at 2:30 pm on July 16\, 2022 accompanied by her long time gallery dealer and friend\, Peter Buckland. Everyone is welcome – Admission is free – refreshments will be served. \n   \n 
URL:https://mccainartgallery.com/exhibitions/suzanne-hill/
LOCATION:New Brunswick
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2022/02/IMG_5268-scaled-e1657917605920.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220430T080000
DTEND;TZID=America/Halifax:20221108T170000
DTSTAMP:20260614T184948
CREATED:20200808T205544Z
LAST-MODIFIED:20221012T141553Z
UID:3507-1651305600-1667926800@mccainartgallery.com
SUMMARY:Closing November 8\, 2022: Call for Exhibition Proposals for 2023-2024 seasons
DESCRIPTION:Update: Thank you for your submissions. The Selection Committee has been delayed. We will be in contact after selections have been made.\nContemporary professional artists and curators with a proposal are invited to apply.\nhttps://mccainartgallery.com/artists/
URL:https://mccainartgallery.com/exhibitions/open-call-for-exhibition-proposals-for-2021-2023-seasons/
LOCATION:New Brunswick
CATEGORIES:Events,Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2020/08/IMG_6322-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220423
DTEND;VALUE=DATE:20220522
DTSTAMP:20260614T184948
CREATED:20220409T192506Z
LAST-MODIFIED:20220528T135833Z
UID:5364-1650672000-1653177599@mccainartgallery.com
SUMMARY:Frank Allison: Paintings and Drawings
DESCRIPTION:Born in Saint John\, N.B.\, Frank Allison (1883-1951) studied painting under Wilfred Molson Barnes and Maurice Galbraith Cullen at the Art Association in Montreal; John F. Carlson\, Woodstock\, New York; George Elmer Browne in Europe. He worked for the Bank of Montreal in Saint John\, and by 1906 had transferred to Ontario and Montreal. He traveled extensively and found his subjects in many countries. Toward the end of WWI\, he was working for the Bank in London England and was closely associated with Canadian painter James Wilson Morrice. Although he painted a variety of subjects\, he had a special interest in architecture and is perhaps best known for his watercolours. \nPeter Larocque\, Curator at the New Brunswick Museum has observed that Allison is remembered for his impressionist-inspired landscapes filled with light\, mood and atmosphere\, and his accomplished watercolours\, which show his technical mastery of this very demanding medium. \nWatercolour painting has always been appreciated by artists for its portability and in the 19th century in Europe\, when landscape subjects were favoured by many artists\, art exhibitions displayed comparable numbers of watercolours and oils. However\, by the turn of the 20th century\, this ratio changed so that the number of watercolours submitted for exhibitions declined rapidly. In 1925 when the Canadian Society of Painters in Watercolour formed\, the medium received renewed interest\, regaining some of the stature it had lost. \nDuring the 1920s and 1930s\, the Canadian art scene in central Canada was focused on the Group of Seven and the idea of a unique “Canadian” art. The Maritimes\, however\, held strong ties to New England and Great Britain\, and so it was within this tradition that Allison found himself. \nAllison exhibited with the Royal Canadian Academy exhibitions between 1915 and 1941; at Montreal Museum of Fine Arts Spring Shows between 1915 and 1939 and was a life member of the American Water Colour Society. Among his solo shows during his career was one for his watercolours at the T. Eaton Company Gallery in Montreal in November of 1933 when The Montreal Star critic noted\, “Mr. Allison’s subjects are principally the streets and buildings of old towns and\, more particularly\, towns in the south of Europe. The pictures are mostly large watercolours\, painted with much breadth and freedom\, full of the gay colour and sunlight of places in Spain\, Italy\, southern France and Morocco.” \nAllison’s art is represented in the collections of Mount Allison University\, Sackville\, N.B.; Y.W.C.A.\, Saint John\, N.B.; New Brunswick Museum\, Saint John; City of Saint John\, N.B.; Milliken University\, Decatur\, IL.; Decatur Inst. of Civic Art; Art Inst.\, Springfield\, IL.; and many private collections. His niece\, Mrs. Doreen (Allison) Tuomola of Toronto has kindly loaned her collection for this exhibition.
URL:https://mccainartgallery.com/exhibitions/frank-allison/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2022/04/Ruin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220423
DTEND;VALUE=DATE:20220522
DTSTAMP:20260614T184948
CREATED:20220219T154941Z
LAST-MODIFIED:20220528T135722Z
UID:5112-1650672000-1653177599@mccainartgallery.com
SUMMARY:With the Grain: Carving Students' Show
DESCRIPTION:Marty by Max Hutchison \nJames Buxton has been teaching carving classes at the River Art Centre for many years. His students have created many beautiful works that we look forward to sharing with you. \nFeatured carvers include: Lloyd Borowski\, Paul Dean\, Arline Gordon\, Wendy Hall\, Susanne Hansen\, Max Hutchison\, Roseanne Hutchison\, Bessie Nicholson Langille\, Mark McCauley\, Judy McGuire\, Scott O’Brien\, and Rudy Stocek \nOpening\nSaturday\, April 23\n2-4 pm \nIntroductions at 2:30 pm
URL:https://mccainartgallery.com/exhibitions/carving-students-show/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2022/02/Marty.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220417
DTSTAMP:20260614T184948
CREATED:20211210T024159Z
LAST-MODIFIED:20220513T184056Z
UID:4985-1644019200-1650153599@mccainartgallery.com
SUMMARY:Alanna Baird
DESCRIPTION:Radial SymmetriesThis work revolves around the Pentaradial symmetry of a Sea Urchin shell. Pentaradial being a five sectioned symmetry found in nature that revolves around a central point. The simplest example being the Starfish and its five legs. Alanna Baird has been exploring this patterning through several different mediums and dimensions. The printmaking is often her initial exploration in surface patterns. \nThanks to funding through ArtsNB\, I was able to create a body of work in lost wax cast bronze. Using some of my own ceramic work from the 1990’s as forms\, I cast wax into these shapes and then altered the wax by cutting holes; exploring the symmetry as well as the strength of this new-to-me material. The bronze was cast in a foundry in Quebec\, but the chasing (grinding of sprues and polishing of surface metal) and patination (colour) completed in Alanna’s studio. \nThe Calligraphic sculpture in plastic represents a second ArtsNB grant funded project. The initial intent was to use 3D printing to change the scale of my work. Computer design is not something I enjoy\, the hands on fabrication of things is what I love. I became fascinated with a hand held 3D pen\, and the clear plastic it could extrude. Light and air flowing through this new body of work\, shadows cast. Although the plastic in the exhibition is too fragile to sell\, I intend to work farther in this technique. \nI am inspired by what I find on my daily walks on the sea floor\, the inter tidal zone of the Bay of Fundy reveals it’s treasure to me. Treasure to me is not gold coins\, but rather glimpses of things that catch my eye. Part historical – pipe stems\, china shards\, even stone weapons of a very early age\, and part natural environment – resident as well as invasive species included. Often fragments\, shells with their interiors exposed\, sea urchin shell pieces which reveal the complexity of their “construction”. \nI am a materials based artist. I enjoy exploring the material I have to work with. Mastering techniques\, learning how to work with it\, what it’s limits are\, figuring out what I can do with it. I often work with recycled materials. Invasive species like the Lionfish have entered my view. I am currently working on a printmaking project involving the Golden Star Tunicate\, an invasive species along this coastline. – Alanna Baird \nCurated by Brigitte Clavette and Jennifer Stead. \nMeet Alanna\nSaturday\, April 16\, 2-4 pm at the Gallery
URL:https://mccainartgallery.com/exhibitions/alanna-baird/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/png:https://mccainartgallery.com/wp-content/uploads/2021/12/Alanna-Baird-portrait.png
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211009
DTEND;VALUE=DATE:20211114
DTSTAMP:20260614T184948
CREATED:20210907T181553Z
LAST-MODIFIED:20220303T211755Z
UID:4743-1633737600-1636847999@mccainartgallery.com
SUMMARY:Irene Tompkins: Bouquets and flowers
DESCRIPTION:A celebration of watercolour paintings by Carleton County artist Irene Tompkins.
URL:https://mccainartgallery.com/exhibitions/irene-tompkins-bouquets-and-flowers/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/11/irene-tompikins-standing-2021-scaled.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210828
DTEND;VALUE=DATE:20211003
DTSTAMP:20260614T184948
CREATED:20210625T225543Z
LAST-MODIFIED:20220303T205716Z
UID:4278-1630108800-1633219199@mccainartgallery.com
SUMMARY:Currents
DESCRIPTION:Deanna Musgrave and Amy Ash\nThe energy that passes through or between us\, the memory of water\, a pulse\, a charge\, a conduit\, a body in motion\, a cycle. \nCurrents links the recent work of Amy Ash and Deanna Musgrave through their shared interest in the poetics of water\, memory and the unseen. Quiet explorations of biofields\, sensation\, and connection resonate from the works that comprise Currents. Watermarks and brushstrokes become tidelines\, evidence of time and transformation brought on by an interaction of forces. \nThrough conduits of both representational form and abstract composition the artists encourage reflection\, interaction\, and personal change. Both Ash and Musgrave work fluidly between dedicated studio practices and social engagement. While Ash creates opportunities for collaboration and shared meaning-making as an act of collective care\, Musgrave works with individuals through energy healing techniques. \nTogether\, through diverse embodied methodologies\, Ash and Musgrave hold space for connection\, reparation\, and transformation. \nAmy Ash \nAmy Ash is an interdisciplinary artist engaged with collective care through processes of shared meaning-making. Her practice flows from curatorial projects and writing to teach-ing\, socially engaged action\, and hands-on making. Blurring the lines between disciplines\, they trace connectivity through the intersections and overlaps between memory\, learning\, and wonder\, to incite curiosity. Amy has exhibited and curated programmes internationally\, with projects commissioned by National Gallery London (UK)\, The NB International Sculpture Symposium (NB)\, Beaverbrook Art Gallery (NB)\, and Platform Centre for Photographic and Digital Arts (MB). She is an instructor with the New Brunswick College of Craft and Design\, writes regularly for CreatedHere Magazine\, Visual Arts News\, and is a member of the International Associ-ation of Art Critics. Amy lives in Menahqesk/Menagoesg/Saint John\, New Brunswick\, with her wife Alex\, along with their dog and cat. Of settler ancestry\, they are a grateful guest on the unsurren-dered and unceded territory of the Wolastoqiyik\, Mi’kmaq\, and Peskotomuhkati peoples. www.amyash.ca @amy_ash_ Pronouns: She/They can be used interchangeably. I have no preference.  \nDeanna Musgrave \n“Musgrave’s work has been a fixture in the Saint John and New Brunswick art community for over a decade. Her paintings are immediately recognizable; ethereal and vibrant\, they encapsulate traits that many artists struggle to balance. They are objectively beautiful yet wrought with complex symbolism and capture a narrative while remaining vehemently abstract.” ~Christiana Myers\, “Peer Review: The Best Art of 2018\,” The East\, December 2018\n \nDeanna Musgrave is best known for her large-scale public artwork such as\, “Cloud” (2015) and “Tropos” (2019) whichare both over 40’ wide and part of the collection of the University of New Brunswick. Her works inspire contemplation and are a response to her endless seeking of the unseen\, metaphysical and mysterious. \nEarly on in her career\, she was selected by the Beaverbrook Art Gallery in 2007 for the Studio Watch Award which aimed at introducing promising new artists to the public and later included in “Off the Grid: Abstract Art in New Brunswick” at the Beaverbrook Art Gallery in 2014. Her work has been enthusiastically reviewed by the New Brunswick media\, and she has won numerous grants and awards from the Canada Council for the Arts\, New Brunswick Arts Board\, Mount Allison University and the University of New Brunswick. She holds a Bachelor of Fine Arts from Mount Allison University (2005) and a Master of Interdisciplinary Studies from the University of New Brunswick (2019). Outside of her artmaking\, she works in guidance through hypnosis\, energy clearing and other mysterious practices to assist. She is based out of Menagoesg (Saint John\, New Brunswick\, Canada). \nArtist Statement – Deanna Musgrave“For visual artist Deanna Musgrave\, art and healing are interwoven. This is why\, transformation is the crux of her work and the reason she found home in Saint John\, [New Brunswick]\, a historic working-class city on the Bay of Fundy. This place possesses energy she describes as having “an ancient quality that brings together polarity.” It is polarities that inhabit Deanna’s vision. Her work is an interaction that seeks unity\, exuding energy in the process\, much like the current transformative renaissance happening here in the old port city.” (1) \n“[Her] work has been a fixture in the Saint John and New Brunswick art community for over a decade. Her paintings are immediately recognizable; ethereal and vibrant\, they encapsulate traits that many artists struggle to balance. They are objectively beautiful yet wrought with complex symbolism and capture a narrative while remaining vehemently abstract.” (2) \n“Often working on the studio floor\, using liquid paints to surround\, unify and pool around areas of information\, Musgrave succeeds in defying a traditional concept of perspective. Her compositions unfold almost three-dimensionally\, enveloping the viewer with information from above\, straight on and below.” (3) \n“Water is the starting point for each of Musgrave’s works. With a blank canvas placed on the floor of her studio\, she selects objects of significance: of sentimental\, aesthetic\, or symbolic meaning\, to place on top of the canvas. She sprinkles\, sprays\, or pours water over the object to capture an impression of the form in pigment. The impression made by the water is like a memory of the object on the canvas. \nUsing water in the process is as important to Deanna as her subject matter. Her world view is closely tied to the power of water and its relationship to experience and memory. Deanna’s work considers and articulates the theories of homeopathy: the ability of water to remember substances once mixed in it; cymatics: the patterns formed when a substance like water or sand is vibrated; and akashic field theory: the theory that information can exist and be transmitted through energy fields. \nThe result is a highly dynamic and fluid expression of memory\, story\, and a deep connection to water. Outside of her art\, Deanna studies and practices dowsing: practiced since the 15th century to locate underground water systems. More recently dowsing has been adapted to locate areas of stress or trauma on the human body as a means of healing.” \nAll aspects of Deanna’s connection to water speak to a single idea: that information\, knowledge\, and experience can exist and be transmitted in many different ways. She believes that revolution can be ignited from person to person and that can happen in many different forms.” (4) \n\n~Shannon Webb-Campbell\, “Arts Higher State: The Vision and Practice of Deanna Musgrave\, Created Here Magazine: Psyche\, Volume 11\, 2020.\n~Christiana Myers\, “Peer Review: The Best Art of 2018\,” The East\, December 2018\n~Stephanie Buhmann\, “New Brunswick Studio Conversations\,” Billie Magazine V.2\, Spring 2017\n~Donna Wawzonek\, “Deanna Musgrave: Stirring Large Conversations with Grande Impressions\,” National Water Centre Blog\n\nArtist Statement – Amy AshMemoryscape I\, 2021: \nSometimes the important places in our lives can define us as much as the people with whom we find kinship. As much as we inhabit places\, so do they hold a special spot\, a resonance\, within us. Specific landscapes\, eco-systems\, architecture\, or townships can feel like a visceral extension of ones self. The attachment could be micro\, macro\, sensorial\, drenched in memory\, or exist within a dream—maybe you’ve been there a hundred times\, maybe you have yet to visit. \nMany thanks to those community members who heeded the call\, contributed a photograph that helped Amy Ash build the collage included in this exhibition. \n“The series Mettle uses copper as both a key material in the work and allegory—its material qualities becoming symbolic of resilience. Copper is a super-conductor of electricity\, and the stan-dard by which all other conductivity is measured. Within my practice it has become a conductor of meaning. Copper is a memory shape alloy. It will always ‘remember’ its orig-inal form\, and\, when pressurized\, will invariably revert to its original shape. Copper is also within our biological make-up\, closely linked to memory dysfunction. When threatened by the elements\, copper will produce a patina\, or verdigris. This greenish tarnish acts as a weather buffer to preserve the integrity of the copper below its surface—an exquisite cop-ing mechanism. By adding copper sulphate crystals both to the metal’s surface and the paint’s pigment\, the crystals continue to grow and morph as they respond to the climate\, a metaphor for personal transformation brought on by external forces.” Amy Ash \n“Touching Visions is an exploration of the body as an archive of sensation\, experience\, and action. The work is created through repetitive labour-intensive and experiential means\, such as stitching\, documenting performative actions\, recording my body in plaster and my voice in looped improvised song. It marks the first time I have used my own image in my work.” Amy Ash
URL:https://mccainartgallery.com/exhibitions/currents/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/06/deanna-musgrave-amy-ash-scaled.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210724
DTEND;VALUE=DATE:20210822
DTSTAMP:20260614T184948
CREATED:20210508T210611Z
LAST-MODIFIED:20220303T221801Z
UID:4155-1627084800-1629590399@mccainartgallery.com
SUMMARY:Isolated // Together
DESCRIPTION:Curated by the Beaverbrook Art Gallery\, fourteen New Brunswick artists have designed wearable facemasks as part of the project\, Isolated // Together\, commemorating the cultural impact of masks during this pandemic.
URL:https://mccainartgallery.com/exhibitions/isolated-together/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/05/Lentz-scaled.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210710
DTEND;VALUE=DATE:20210822
DTSTAMP:20260614T184948
CREATED:20210625T221111Z
LAST-MODIFIED:20220303T230923Z
UID:4273-1625875200-1629590399@mccainartgallery.com
SUMMARY:Barbara Safran de Niverville
DESCRIPTION:Vanitas by the Sea / Vanitas par la merBarbara Safran de Niverville explores the vigour of growth where native plants and garden escapees mingle. Discarded domestic objects punctuate intricate vegetation that seems to hover in the dark ground. The title of the exhibition references the still life genre of painting popular during the Baroque period in western art history. Vanitas portray highly realistic\, symbolic objects such as flowers\, porcelain and silver dishes\, fruits and vegetables. Together on a tabletop\, the objects are a reminder to the viewer of the hubris of mankind and the inevitability of mortality. Barbara has reinterpreted this point of view recognizing in her work the subtle influence of the present pandemic and its parallels to the plagues in Europe during 17th and 18th centuries. She has chosen to include objects in her work that are worn with use\, but seem to possess an aura of their past significance while the shadow land they now inhabit evokes the mysterious resilience of the uncultivated growth found between a beach and a forest – abandoned land that survives in spite of humanity’s seeming indifference. \n“Using a combination of natural and synthetic materials\, my mixed-media panels represent a metaphor for the hybrid quality of the natural world.  I question our concept of wilderness and reveal the flux between Nature and Culture and the tension between growth and decline. My current work explores outcast and forgotten areas of landscape that retain traces of human use.  Essential to my process is experimentation\, through digital photography\, drawing\, and the testing of new combinations of art techniques with industrial products”. \nVanitas Vivace is a short experimental video based on the painting Vanitas Chicory\, on exhibit with this series. Elements from the painting leave the panel’s surface\, become air born and dance to an original soundtrack.  Barbara’s husband Peter de Niverville animated the film with music composed by their daughter\, Abigail de Niverville. It is available to be viewed on Vimeo. https://vimeo.com/568608152/bb5d5ef7f8 \nA Prix Éloize finalist in 2018\, Barbara has exhibited landscapes across Canada in twenty-six solo shows and numerous group projects in the United States and Iceland. In 2014\, she completed her Masters of Fine Arts degree at the Art Institute of Boston.
URL:https://mccainartgallery.com/exhibitions/barbara-de-niverville/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/06/deniverville1-213x213-1.jpeg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20210626T103000
DTEND;TZID=UTC:20210717T170000
DTSTAMP:20260614T184948
CREATED:20210508T200722Z
LAST-MODIFIED:20220303T235615Z
UID:4145-1624703400-1626541200@mccainartgallery.com
SUMMARY:Naturalis | Renata Britez
DESCRIPTION:Renata Britez is a multidisciplinary emerging Canadian artist\, originally from Brazil\, who is currently based in Fredericton\, NB. In 2020\, she completed a degree in the NBCCD Textile Design Program and first brought her work to the Andrew & Laura McCain Art Gallery at Small Works 2018. \nNaturalis demonstrates the diversity of her practice\, her commitment to traditional techniques\, ethics and sustainability in her production of materials as well as her artistic interest in working in both two and three dimensions. Subtle stories of her journeys in both art and life are paralleled in the mythic journeys and states she evokes though her sculptures and wearable art. Mothers\, daughters\, strife\, survival\, and conquest hint at the personal journey the artist embarked upon when she moved to Canada in 2014.\nPersephone\, a stylish garment of felted silk and wool\, dyed the passionate red of Brazilwood\, presents a sculpted and embroidered garden. Presented in a wearable form thick enough to warm and protect while referencing a myth of seasonal renewal and a mother-daughter story of compromise and lives lived at a distance. \nMarked\, two wall hangings whose subtle quilting describes the topography and streets of Fredericton\, are coloured by detritus the artist collected on the ground. The works are re-presented acts of discovery\, investigation and agency while making the reality of one’s choices “leaving its mark” tangible. \nMarks and the act of mark making is evident throughout the art in the exhibition as is the colour palette\, derived as it is from the actual colours of New Brunswick. Renata’s artistic training began here\, and it appears that a key collaborator and muse has been the province of New Brunswick. Sourcing and creating natural dyes and paints for all that she creates\, Renata starts each project literally at ground level. \nArtist in Residence\nBetween June 14 and 26\, 2021 Renata has been in Florenceville-Bristol for a residency at the River Art Centre to further her project called Maritime Colours (supported by a grant from ArtsNB). For this project Renata is researching\, cataloging\, and mapping pigments from plants and minerals found in the Atlantic Provinces of Canada. Supported by the New Brunswick Arts Board and the Andrew & Laura McCain Art Gallery Artist in Residence Programme\, she is working on a series of paintings using natural pigments that are foraged and processed in Carleton County.\nThis programme is supported by the Carleton North Community Foundation. \n  \n \n \n 
URL:https://mccainartgallery.com/exhibitions/renata-britez/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/05/horsemen.jpeg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20210515T103000
DTEND;TZID=UTC:20210619T170000
DTSTAMP:20260614T184948
CREATED:20210422T181907Z
LAST-MODIFIED:20210906T215350Z
UID:4051-1621074600-1624122000@mccainartgallery.com
SUMMARY:Kathy Tidswell
DESCRIPTION:Colours of NatureKathy Tidswell has a long career of working with textiles in a variety of creative ways. Her materials include paint and dye\, machine stitching\, as well as cloth that is found or created. The artist identifies two areas of exploration in the artwork included in the exhibition: Wall Quilts and Thread Stitching. In both bodies of work\, the artist continually turns to Nature for inspiration. \n“I strive to recreate nature’s beauty realistically in my work. Often inspired by my own photographs\, I use hand painted and commercial fabric to create a wall quilt or paint a scene on fabric and bring it to life using thread\, working with a domestic sewing machine. The needle becomes my paintbrush as I move the fabric freely. While my artistic medium is primarily thread\, my painted fabric backgrounds support the production of landscapes and life-like three dimensional images of birds\, wildlife and portraits. My wish is to transport the viewer to a unique place\, whether it is a forest stand\, a beach delivering the glories of a morning sunrise\, or a backyard hosting our joyous songbirds. \nTrees are special to me and have always featured very much in my work. Perhaps I have been influenced by my years working for the Canadian Forestry Service or perhaps it is my love of texture and dimension. Whatever is the case\, trees have offered me many inspirations.” Kathy Tidswell
URL:https://mccainartgallery.com/exhibitions/kathy-tidswell/
LOCATION:New Brunswick
CATEGORIES:Exhibitions,Past Exhibitions
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