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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/
CATEGORIES:Events,Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2025/01/Woodstock-letter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250315
DTEND;VALUE=DATE:20250413
DTSTAMP:20260507T200021
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
ATTACH;FMTTYPE=image/png:https://mccainartgallery.com/wp-content/uploads/2025/03/15.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250426
DTEND;VALUE=DATE:20250525
DTSTAMP:20260507T200021
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
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2025/04/Cann-Baldwin-letter.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20250531T140000
DTEND;TZID=America/Halifax:20250531T160000
DTSTAMP:20260507T200021
CREATED:20250530T155152Z
LAST-MODIFIED:20251114T144904Z
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/
CATEGORIES:Exhibitions,Past Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250816
DTEND;VALUE=DATE:20250928
DTSTAMP:20260507T200021
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251004
DTEND;VALUE=DATE:20251109
DTSTAMP:20260507T200021
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/
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:20260214
DTEND;VALUE=DATE:20260322
DTSTAMP:20260507T200021
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/
CATEGORIES:Exhibitions,Gallery Calendar,Past Exhibitions,Upcoming Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2026/02/Petite-letter.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260328
DTEND;VALUE=DATE:20260426
DTSTAMP:20260507T200021
CREATED:20260314T130544Z
LAST-MODIFIED:20260506T134625Z
UID:9252-1774656000-1777161599@mccainartgallery.com
SUMMARY:Clay Marcos' Collection of Indigenous and Inuit Art
DESCRIPTION:sp \nThe Andrew & Laura McCain Art Gallery is honoured to present Dr. Clay Marco’s collection of Inuit and Indigenous art to the community. Originally from the Vancouver area\, Dr. Marco developed an appreciation for the art of the Haida Nation\, examples of which are featured in the west end of the gallery. Approximately twelve years ago\, Dr. Marco began collecting Inuit art during professional trips to Nunavut. He traveled to many communities over the course of more than thirty visits\, purchasing art in most of the locations where he worked or traveled. Many of these pieces are featured in the east end of the gallery. \nsp \nView Clay’s Book: Reflections of the NorthClay grew up in the Lower Mainland of British Columbia\, where he developed a strong connection to Haida Nation Art. He explains that the artists replicate his strong feeling of ties to the land\, and that draws his attention in completely. To Clay\, it’s some of the most beautiful art in the world! \nClay will be in attendance at the Gallery on Saturday\, April 25 at 2pm for the Closing Reception. \nIf you have any questions\, or wish to hear Clay speak about his collection\, it’s the perfect time to stop by the gallery. \n\nsp
URL:https://mccainartgallery.com/exhibitions/clay-marcos-collection-of-indigenous-and-inuit-art/
CATEGORIES:Current Exhibitions,Exhibitions,Past Exhibitions,Upcoming Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2026/03/Clay-Marcos.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260502
DTEND;VALUE=DATE:20260614
DTSTAMP:20260507T200021
CREATED:20260422T210134Z
LAST-MODIFIED:20260506T181116Z
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/
CATEGORIES:Exhibitions,Upcoming Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2026/04/D-Bos-Padua-Bio-Div-5.3--scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260521T163000
DTEND;TZID=America/Halifax:20260521T173000
DTSTAMP:20260507T200021
CREATED:20260507T203551Z
LAST-MODIFIED:20260507T203551Z
UID:9656-1779381000-1779384600@mccainartgallery.com
SUMMARY:Pop-Up Art Show: Artworks by Colin Smith and Jenna Ross
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 and Jenna Ross!\nBoth Colin and Jenna 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 both Colin and Jenna 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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