BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Andrew and Laura McCain Art Gallery - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://mccainartgallery.com X-WR-CALDESC:Events for Andrew and Laura McCain Art Gallery REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Halifax BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20210314T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20211107T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20220313T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20221106T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20230312T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20231105T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20240310T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20241103T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20250309T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20251102T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20260308T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20261101T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20270314T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20271107T050000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20200101T000000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Halifax BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20210314T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20211107T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20220313T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20221106T050000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20230312T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20231105T050000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20260214 DTEND;VALUE=DATE:20260322 DTSTAMP:20260417T080256 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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20251004 DTEND;VALUE=DATE:20251109 DTSTAMP:20260417T080256 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\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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250816 DTEND;VALUE=DATE:20250928 DTSTAMP:20260417T080256 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:20250712T140000 DTEND;TZID=America/Halifax:20250712T160000 DTSTAMP:20260417T080256 CREATED:20250613T192000Z LAST-MODIFIED:20250811T140121Z UID:8326-1752328800-1752336000@mccainartgallery.com SUMMARY:Indigenous Blue by Brian Francis DESCRIPTION:Artist Talk July 12\, 2025 starting at 2:00pm\nBrain Francis will be giving an artist talk about his paintings and the relationship between them and the cultural objects included in the show. Brian’s talk will be at  the beginning of his Opening on July 12\, 2025\, from 2:00-2:30pm. Brian inspired many in the community  the last time his work was in the Gallery during the group exhibition Napoigagon in 2023. Everyone is welcome to drop in to hear Brian’s talk\, admission is always free and we look forward to seeing you. \n View Brian Francis’ Opening SpeechIndigenous Blue\,  Brian Francis\nIndigenous Blue is a captivating art exhibit that celebrates the rich cultural heritage and spiritual\nsignificance of the color blue in Indigenous culture and traditions. This exhibit showcases the unique and\ndiverse artworks created by Indigenous artist Brian Francis that delve into the profound connections\nbetween blue and the intricate tapestry of Indigenous spirituality and worldview. \nIn many Indigenous cultures\, the color blue holds multifaceted symbolism\, representing the vast expanse\nof the sky\, the life-giving and cleansing properties of water\, and the mysterious depths of the spirit world.\nThrough his artistic expressions\, Indigenous Blue explores how this hue is deeply intertwined with\nthemes of peace and serenity. The color blue is often utilized in ceremonial contexts among Indigenous\npeoples\, serving as a powerful conduit for prayer\, meditation\, and vision quests. By bringing together a\ncollection of artworks that feature varying interpretations and uses of blue\, this exhibit endeavors to offer\nviewers a glimpse into the nuanced ways in which Brian harnesses the color to convey profound messages\, stories\, and teachings rooted in his culture and traditions. \nThe artworks on display not only reflect the external landscapes but also evoke the internal landscapes of\none’s soul\, inviting contemplation and introspection on themes of interconnectedness\, balance\, and\nharmony with the natural world. Moreover\, the color blue’s association with spiritual awareness and\nvision quests is a central theme woven throughout the exhibit. As visitors engage with pieces that draw\nupon the color blue to evoke meditative states\, evoke dreams\, and convey messages from the spirit world\,\nthey are encouraged to explore the depths of their own spiritual journey and embrace a sense of\ninterconnectedness with all living beings. As visitors immerse themselves in the visual journey of\n“Indigenous Blue\,” they are invited to contemplate the spiritual potency and cultural significance of this\nversatile color. Through this exhibit\, we seek to honor and celebrate the artistic brilliance and spiritual\ndepth embedded within Brians artwork\, fostering a greater understanding and appreciation for the \nenduring beauty\, wisdom and spirit encapsulated in the color blue. \nThrough Indigenous Blue Brian aims to create a space that honors and celebrates the profound spiritual\nlegacy of his culture while fostering cross-cultural understanding and appreciation for the universal\nthemes of peace\, serenity\, and spiritual enlightenment that resonates within us through the color blue. The\nexhibit serves as a testament to the enduring beauty\, wisdom\, and resilience of Indigenous cultures worldwide. URL:https://mccainartgallery.com/exhibitions/indigenous-blue-by-brian-francis/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2025/06/Francis-letter.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20250531T140000 DTEND;TZID=America/Halifax:20250531T160000 DTSTAMP:20260417T080256 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: \n \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 \n 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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250426 DTEND;VALUE=DATE:20250525 DTSTAMP:20260417T080256 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 \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 \n \n \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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250315 DTEND;VALUE=DATE:20250413 DTSTAMP:20260417T080256 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:20250125 DTEND;VALUE=DATE:20250309 DTSTAMP:20260417T080257 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/ 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:20240713 DTEND;VALUE=DATE:20240901 DTSTAMP:20260417T080257 CREATED:20240628T205855Z LAST-MODIFIED:20240901T180808Z UID:7198-1720828800-1725148799@mccainartgallery.com SUMMARY:Ted Michener DESCRIPTION:The Andrew & Laura McCain Art Gallery is pleased to be hosting a solo exhibition of New Brunswick artist\, Ted Michener. \nMichener has been painting for seven decades and currently has his seaside studio in St Andrews\, New Brunswick. His exhibition will be concurrent with exhibition “Working With Clay”\, three ceramic artists\, Andrew McCullough\, Michael Wood\, and Elsa Valiñas.\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.\n \n\nMeet the artist\n \n   Ted Michener has had a daily painting practice for most of his life. The vitality and colourful images found in his work reflect his surroundings and for many years\, his seaside home. Trained as a teenager at the Doon School of Fine Arts in Kitchener\, Ontario during six summers\, he was fortunate to have studied with several renowned artists including A.J.Casson\, Jock Macdonald and Carl Schaeffer.  \nAfter graduating with honours from the Ontario College of Art and Design\, he free-lanced out of Toronto\, and collaborated with Mendola Ltd. an artist’s agency in New York City for many years. For some time Ted taught at his Alma Mater in the evenings as well as Central Tech and Sheridan College in Etobicoke. \nMichener was an illustrator for many years\, working for The Toronto Star\, The Globe and Mail\, TV Guide\, and Readers Digest. Aside from being the recipient of many editorial and commercial art awards\, Ted has received a Canada Council Grant to teach in Bacalar\, Mexico and also received an Artist in Residency through The Masterworks program in Bermuda.  \nHe is currently represented by the Cobalt Gallery in St. John\, The Breakwater gallery in Eastport Maine\, and also shows many works through The Gables Restaurant and Gallery in St Andrews. Ted is a member of the Ontario Society of Artists\, The Federation of Canadian Artists\, The Association of Canadian Cartoonists  and a creative fine arts  group dubbed “Dash”\, which consists of eight New Brunswick artists working in a variety of mediums. Just to keep his hand in and the pressure on\, he gleefully draws editorial cartoons for The St Croix Courier\, a local community paper\, and has been doing so for three decades. URL:https://mccainartgallery.com/exhibitions/ted-michener/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2024/08/Pottery-creek2020.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20240525T080000 DTEND;TZID=America/Halifax:20240706T170000 DTSTAMP:20260417T080257 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/ 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:20240406 DTEND;VALUE=DATE:20240519 DTSTAMP:20260417T080257 CREATED:20240406T133034Z LAST-MODIFIED:20240801T201319Z UID:6905-1712361600-1716076799@mccainartgallery.com SUMMARY:Collections: Petit Mode and Sherman Jewellery DESCRIPTION:Opening Saturday April 6\, 2-4pm.\nIntroductions at 2:30 by Clare McCain\, Trudy Gallagher and Tracy Austin. Everyone is invited to drop by\, admission is free and there is an elevator.\nThis exhibition brings together the art work of alumni and faculty from the fashion department of the New Brunswick College of Craft & Design and an exquisite private collection of costume jewellery by the mid-century Montreal designer\, Gustave Sherman.\nThe Designers\nLaura Macfarlane\nNightfall\,  2023\nTaffeta\, cotton fabric for the vest\, taffeta ribbon\, chain\, and buttons \nEcho (Jing) Chen\nLonely Planet\, 2023 Echo (Jing) Chen\nHorsehair canvas\, bemberg lining \nNicole Daigle\nThe Meadows Road\, 2023\nSilk brocade\, cotton\, velvet\, kasha lining \nSherry Kinnear\nAsymptomatic\, 2023\nSynthetic fabrics\, leather\, metal\, paint\, beads\, sequins\, thread\, wire\, human hair \nGustave Sherman\nGustave Sherman\, Jewels of Elegance \n“Costume” or “Fashion” Jewellery was popularised in the 18th century with the development of a hard lead glass called paste and marcasite\, small cut pieces of faceted steel or pyrite set in silver\, which became affordable alternatives to precious stones. By the mid 20th century\, French designer Coco Chanel declared “that really elegant women were those who could mix together different jewellery\, real and fake\, suitable for each occasion … with the aim to complete an outfit.” This lent greater legitimacy to non-precious jewellery\, with designers conceiving new styles\, using new materials and discovering new possibilities with colour. Restrictions during WWII to certain metals changed the production of jewellery as much as it did fashion. Changing lifestyles for women\, who were increasingly part of the workforce\, the influence of Hollywood glamour and the weakening of European influences in general during the war years\, led to the production of the first completely American look of dressy costume jewellery. \nBetween 1947 and 1982\, Canada’s most renowned costume jeweller\, Gustave Sherman\, pioneered the manufacturing of high quality\, Canadian made costume jewellery that rivalled the best being made at that time. Using the finest Swarovski crystals and later their beads and plating he became known for his sophisticated three dimensional designs\, unexpected colour combinations\, shape and style of crystal\, and quality settings. \nSherman Jewellery has always been synonymous with quality. Sherman designed styles which were intricate and complex\, full of contrasting lines\, shapes and colour. His pieces required large numbers of crystals all of which were prong set by hand and the settings double plated. Another characteristic of Sherman design is the three-dimensionality achieved through his use of layers and domed structures.  He offered a range of prices by creating different sized pieces and it isn’t uncommon to have one item from a set signed and the others left unsigned.  The cuff bracelet was a unique Sherman design\, there are three in Clare McCain’s collection\, and they have always been the most desirable pieces.  \nOne of the reasons he was so well known across Canada was because he sold his work through all the large department and luxury jewellery stores like Birks\, Eatons and Peoples but also in jewellery stores in smaller centres across the country. \nGustave Sherman was a son of first-generation parents who fled Lithuania to escape persecution. Although he had no formal creative training\, in 1947 he worked as a jewellery salesman\, eventually opening Sherman Costume Jewellery in Outremont\, Montreal. By the 1950s the company was thriving and Sherman was Canada’s most recognized costume jeweller. URL:https://mccainartgallery.com/exhibitions/collections-petit-mode-and-sherman-jewellery/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2024/04/Collections-new-layout.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20240302T080000 DTEND;TZID=America/Halifax:20240330T170000 DTSTAMP:20260417T080257 CREATED:20240307T183520Z LAST-MODIFIED:20240801T201339Z UID:6854-1709366400-1711818000@mccainartgallery.com SUMMARY:New Brunswick Art Collecion 2023 Acquisitions DESCRIPTION:Opening March 2\, 2-4 pm\nFormerly known as the New Brunswick Art Bank\, and renamed Collection Art NB\, the provincial art collection was started in 1968 and is a permanent collection of art by New Brunswick artists belonging to the province. There are currently 906 artworks by 395 artists and this exhibition features the most recent acquisitions purchased in 2023. If you’d like to browse the full collection\, go to Collection ArtNB. Like other provincial collections\, the art is shown in New Brunswick government buildings\, offices\, schools and other public buildings. \nTwenty one artists from around the province are represented in the 2023 Acquisitions show. \nAudrey Arsenault \nMaryse Arsenault \nAlanna Baird \nRemi Belliveau \nJon Claytor \nNate Gaffney \nChelsea Gauvin \nMario LeBlanc \nFabiola Martinez \nAnnie France Noel \nMaja Padrov \nRoula Patheniou \nMelanie Parent \nShane Perly-Dutcher \nJared Peters \nGarry Sanipass \nRalph Simpson \nColin Smith \nDawn Steeves \nAnna Torma \nJanice Wright-Cheney \nDavid Szako URL:https://mccainartgallery.com/exhibitions/new-brunswick-art-collecion-2023-acquisitions/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2024/03/IMG_4853-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20240120T080000 DTEND;TZID=America/Halifax:20240224T170000 DTSTAMP:20260417T080257 CREATED:20240116T221321Z LAST-MODIFIED:20240801T201400Z UID:6783-1705737600-1708794000@mccainartgallery.com SUMMARY:Mountain of Wonder and Tangles of Truth: Kathy Hooper\, a retrospective DESCRIPTION:Kathy Hooper’s remarkable career spans six decades of curiosity and creation\, and demonstrates what it means to confront our fear and our delight in equal measure. Leading by example\, she bravely honours the fullness of life\, including the winding pathways where life’s joy and distress intermingle. Across her prolific multi-disciplinary art practice\, social and environmental activism\, and in her personal life\, she approaches the world with earnest integrity and wonder.  \nHooper’s imprint on the New Brunswick arts ecosystem has been revolutionary. A highly acclaimed multidisciplinary artist\, she has been awarded the province’s highest honours in the visual arts\, and her work can be found in public and private collections around the world—she has eight works in the National Art Bank alone. \nIn art and activism she meaningfully delves into often-overlapping explorations of identity\, feminism\, multi-species entanglements\, socio-political structures\, climate crisis and violence. Unbound by any one media\, Hooper moves fluidly between painting\, clay sculpture and functional ceramics\, various forms of printmaking\, wood carving\, embroidery\, poetry and prose. She lives art; nurturing her incredible gardens\, and enlivening her domestic spaces.  \nYet\, it is her ritual of drawing which propels her creative process. Often beginning with just a line\, her drawings are largely unplanned and spark with immediacy. She refers to the powerful moment the artwork takes over\, as though she becomes a conduit for creativity\, rather than its author. \nIn an artist statement for a 1969 solo exhibition which toured the Atlantic provinces\, Kathy Hooper wrote:  \n“I want to say how infinitely beautiful\, how ugly\, how funny\, and how exciting the world is. I want to stretch as far\, and dig as deep as I can. I want to say that there is nothing I know for sure except that — there is nothing I know for sure.” “I would love to reach the land and trees I love so much from where they are\, not always from where I happen to be.” \nKathy Hooper\, 1979 \n“Often we feel that we can impose on the landscape\, but in fact we make very little impression in the end.” \n“What happens behind the land\, trees\, and water we ‘see’ so easily? We don’t ‘see’ what is really there” \nKathy Hooper\, 2010 \n“The special moments —when your best work happens— is when you allow the painting to take over. The painting becomes you.”\n \nKathy Hooper\, Sept 13th 1995\, Times Globe URL:https://mccainartgallery.com/exhibitions/mountain-of-wonder-and-tangles-of-truth-kathy-hooper-a-retrospective/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2024/01/Earth-Sky-1969-oil-on-canvas-48-x-36-Edit-Edit-Edit.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231021 DTEND;VALUE=DATE:20231119 DTSTAMP:20260417T080257 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/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/10/IMG_3611-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231021 DTEND;VALUE=DATE:20231119 DTSTAMP:20260417T080257 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/ 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:20230930T100000 DTEND;TZID=America/Halifax:20230930T140000 DTSTAMP:20260417T080257 CREATED:20230928T212136Z LAST-MODIFIED:20240803T162434Z UID:6682-1696068000-1696082400@mccainartgallery.com SUMMARY:Truth & Reconciliation Day at the Gallery DESCRIPTION:Join us on September 30th for National Day of Truth & Reconciliation at the Gallery. Starting at 10am we will be here to learn\, experience\, and become better allies to our Indigenous family. All are welcome with openness. URL:https://mccainartgallery.com/exhibitions/truth-reconciliation-day-at-the-gallery/ LOCATION:Andrew & Laura McCain Art Gallery\, 8 McCain Street\, Florenceville-Bristol\, New Brunswick\, E7L 3H6\, Canada CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/09/Sept-30.jpg ORGANIZER;CN="Jennifer Stead":MAILTO:info@mccainartgallery.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20230727T080000 DTEND;TZID=America/Halifax:20230909T170000 DTSTAMP:20260417T080257 CREATED:20230624T194319Z LAST-MODIFIED:20230922T212324Z UID:6289-1690444800-1694278800@mccainartgallery.com SUMMARY:Altered Land\, paintings by Judith Berry DESCRIPTION:Opening Thursday July 27\, 5:30-7:30 \n\n\nArtist Statement\n\n\n\n\n\nI consider these paintings to be landscapes\, although the objects in them often appear more manufactured than organic. Each work employs an aspect of illusion\, a reference to three-dimensional space. Yet\, upon examination\, the forms depicted seem to be composed of nothing other than paint itself\, or perhaps a related material\, such as modeling clay. Appearing tactile\, elements of the paintings twist and transform\, becoming buildings\, targets\, ropes\, sticks\, bubbles\, and areas of flat colour. There is a sense of movement that challenges the weight and solidity of the objects depicted. Larger forms are often composed of a multitude of small\, repeated elements\, creating works that are both detailed and minimalist. \nA few of the paintings in this show came from a recent experiment in which I made very small works\, then used them as templates for larger paintings. This led me into new territory. While I was working on them\, the small paintings hung next to the larger ones\, creating a back-and-forth dialogue between the larger and smaller images. The small paintings function as identification cards\, or explanations\, for the larger ones. I am presenting these pairs as asymmetrical diptychs to create a slightly humorous relationship between the pieces\, inviting comparison and scrutiny. \nThe paintings also contain references to portraits and still lives. Many of the forms depicted are ambiguous\, both in reference and in scale. A vegetal form might represent a tree\, a plant\, a gesture in paint\, or a small part of someone’s face. For me\, this preoccupation with shifting\nscale is parallel to the experience of life\, in which our routines and surroundings may be relatively simple\, but they cannot be disentangled from the larger picture of climate crisis\, inequality\, and disintegrating social structure. \nThe themes visited in this show stem from a desire to extend the vocabulary of my painting while forming a metaphor for the chaos of contemporary life. Along with an inevitable blend of my daily perceptions and preoccupations\, the works contain a contemplation of the larger period in which I paint. It is my hope that\, when looking at the paintings\, the viewer retains a sense of both scales\, of our intimate lives against the macrocosm of our times. \n\n\n\nBiography \nJudith Berry lives and works in Montreal. She studied at the Nova Scotia College of Art and Design in Halifax and spent one year in the Studio Program at the Banff Centre School of Fine Arts. She has had solo exhibitions across Canada in Montreal\, Toronto\, Calgary and Ottawa. Judith has also shown in numerous group exhibitions including exhibitions at the Musée du Québec and the Canada Science and Technology Museum. Her work is in various collections including: the City of Ottawa\, the Musée du Québec and the Art Bank of the Canada Council. She has served as a jury member for the Conseil des arts et des lettres du Québec and the City of Ottawa. She is represented by Galerie Art Mûr in Montreal. \nJudith Berry\, Hand to Hand\, 2022 URL:https://mccainartgallery.com/exhibitions/judith-berry/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/08/Finding-a-Way-Forward-CARD.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20230603T103000 DTEND;TZID=America/Halifax:20230722T170000 DTSTAMP:20260417T080257 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 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230325 DTEND;VALUE=DATE:20230423 DTSTAMP:20260417T080257 CREATED:20230325T153108Z LAST-MODIFIED:20230624T134235Z UID:6095-1679702400-1682207999@mccainartgallery.com SUMMARY:Other Worlds DESCRIPTION:Jean-Paul Riopelle\, Works on paper\nThe exhibition Other Worlds brings together two bodies of work from the Beaverbrook Art Gallery’s permanent collection. Five landscapes fill the west gallery with one work each by Canadian artists Miller Gore Brittain\, Carol Fraser\, William Goodridge Roberts\, Robin Collyer\, and John Hartman. The five landscapes – four paintings and one photograph – demonstrate the expressive potential of landscape subjects\, referencing natural cycles\, renewal and growth\, and pointing to aspects of the relationship we have with nature. Disparate in style and medium\, the five landscapes in the exhibition share an impulse to reimagine the natural world rather than mirror it.  \nA collection of works on paper by Quebec artist Jean Paul Riopelle fill the east gallery. Riopelle emerged in the 1940s as an artist interested in expressions of an inner reality and the language of abstraction. The works in the BAG collection are mostly from later in his life and some of these images may have been Inspired by the large flocks of snow geese that landed annually in the Bas St. Laurent region where he settled after returning to Quebec.  \nWhile contrasting in approach\, the landscapes and Riopelle share strong formal antecedents and all of the artists explore varying degrees of abstraction\, conceptually and figuratively. In 1952 the American critic Rosenberg called an empty canvas “an arena in which to act..what was to go on the canvas was not a picture but an event”\, articulating a significant break with history in ceasing to regard the surface as a support for a picture\, but to see it as a record of an action or an event. The leap Rosenberg articulated is manifested here between William Goodridge Roberts Field in Summer and Riopelle’s prints across the room. \nBorn in 1923 in Montreal\, Jean Paul Riopelle became an artist in post WWII Quebec\, and under the influence of Paul Emile Borduas\, rejected the traditional representational language of painting in favour of an internal and emotive form of expression. He and a group of seven painters calling themselves Les Automatistes\, rejected not only representation in painting\, but also the French Modern traditions of Picasso and Matisse in pursuit of a unique abstract art embracing unconscious spontaneous expression. Continuing to push the limits and conventions of their art\, Les Automatistes were vocal in their struggle against the socially repressive and authoritarian Quebec society upheld by then Premier Duplessis and the Catholic Church. Idealist social theories\, psychoanalysis\, and in particular surrealism inspired Riopelle to find in abstraction a means to liberate his art from the socially oppressive culture of the time.The first exhibition of abstract art in Canada was held by Les Automatistes in Montreal in 1946. \nStruggling in such a restrictive environment\, Les Automatistes eventually all signed the manifesto Refus Global\, written by Paul Emile Borduas\, that condemned the stranglehold over individual freedom\, called for the liberation of the individual and helped launch the Quiet Revolution in Quebec. The manifesto caused many artists great hardship and with a resistance to abstraction evident in Canada\, Riopelle soon left to live and work in Paris. \nRiopelle spent many years in Paris and Giverny\, a respected artist who developed an international career. Riopelle’s works on paper in this collection that date from the 1980s\, were created after his return to Canada. While some have strong representational references\, many do not. With no centre of interest\, no representation of the real world they layer gestures\, movement\, marks and colour\, reflecting the artist’s subconscious in unexpected juxtapositions and reveal a few of the methods Riopelle developed to liberate his imagination. He died in Quebec in 2002. \nFive Landscapes from the Beaverbrook Collection URL:https://mccainartgallery.com/exhibitions/other-worlds/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=application/pdf:https://mccainartgallery.com/wp-content/uploads/2023/03/Other-Worlds-Inside-1.pdf END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230204 DTEND;VALUE=DATE:20230312 DTSTAMP:20260417T080257 CREATED:20230207T174134Z LAST-MODIFIED:20230325T202237Z UID:5875-1675468800-1678579199@mccainartgallery.com SUMMARY:The Sketchbooks of Tom Forrestall DESCRIPTION:The Tom Forrestall sketchbook collection offers a unique insight into an artist’s working life\, a visual and written diary spanning a creative lifetime. The collection now approaching 400 volumes covers over 70 years of the artist’s creative explorations and development. As a daily creative record of observation\, reflection and exploration it documents the passions and interests of an observant and creative  individual who doodles\, sketches and details the people\, animals\, ideas and places he visits\, both literally and imaginatively. Everyday few days the pages of his sketchbooks will be turned so there will be new images to see each time you drop in between now and March 11. \nTom Forrestall Bio.\nThomas DeVany Forrestall\, C.M.\, O.N.S.\, B.F.A. LL.D.\, RCA is one of Canada’s leading realist artists. He was born in Middleton Nova Scotia\, in 1936. In 1954\, Forrestall was awarded a scholarship to the Fine Arts department at Mount Allison University\, where he studied with Lawren P. Harris\, Ted Pulford and Alex Colville. Graduating in 1958 he received one of the first Canada Council grants for independent study which provided him with the opportunity to travel throughout Europe. Upon their return to Canada they moved to New Brunswick where Tom became assistant curator of the Beaverbrook Art Gallery. He has been a full time artist since 1960.  His artwork has been exhibited internationally and is held in major public collection in Canada. URL:https://mccainartgallery.com/exhibitions/the-sketchbooks-of-tom-forrestall/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/02/Cycler-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230204 DTEND;VALUE=DATE:20230312 DTSTAMP:20260417T080257 CREATED:20230207T164758Z LAST-MODIFIED:20230325T162807Z UID:5803-1675468800-1678579199@mccainartgallery.com SUMMARY:the gallery as a studio DESCRIPTION:Until March 11\, eight artists are effectively turning the gallery into a drawing studio. There is something new to see everyday as the artists make decisions\, change directions and make progress on their art. \nThe Closing Celebration will be held March 11\, 2023\, from 2-4 pm with as many artists present as can make it. \nArtists schedules:  Vicky Lentz and Francine Martin will be in the gallery most Wednesdays and Fridays until mid-afternoon. Nick Walsh will be here February 2nd\,  9th\, 16th and most likely the 24th. Stephen Hutchings will be here midday many days\, as will Colin Smith. Jennifer Stead is always here\, occasionally drawing but always happy to say hi. Amanda Balestreri will be here February 17 and 18. \nNick Walsh is an emerging illustrator from Fredericton\, NB. Nick loves exploring the magic hidden in the forests and his work dives deep into the mystical\, spiritual\, and cultural myths of the natural world around us. His aim is to rekindle the imagination by weaving strange stories into his surreal art pieces that remind us of our role in mother nature's cosmic wheel. \nColin Smith draws constantly\, doodles on paper\, in books\, over shopping lists and has done it since grade one. The landscape is a living\, moving entity\, a series of slow undulations\, studded with trees and potato fields. \nVicky Lentz's practice is exploratory and diverse as she move between materials\, mediums and processes. In her art ideas\, images\, materials are always reconfigured through the process of art making\, transformed during creation to be records of the creative experience. \nStephen Hutchings is working on a future exhibition  and "Fallen Tree" is a study for a large painting in the series “Theatre of Trees”. The final painting\, of which this is a to-scale drawing\, will be approximately 8’ high and 40’ across. \n\nAmanda Balestreri enjoys incorporating nature into all of  her work.  She is interested in observing how humans interact with nature and how our actions have been affecting the natural world over time.  Sometimes her work can be a serious commentary or satire on where we may be heading if we continue to disrespect nature. \nAmanda will be drawing at the gallery starting Saturday Feb 18. The 18th will be the only day to visit her as she is working through the family day weekend. Drop in tomorrow to say hi. \nWilliam Forrestall's subject is time and in his art he preserves moments by painting the shapes and textures of objects that interest him in that most basic of compositions: the still life. In his practice drawing is a means and a place to work out ideas for a future or concurrent painting. \nJennifer Stead drew the first of a series of long drawings\, called "Meander" in 2007. 100' long\, it is a landscape of the Canadian Rockies where she lived at the time. In this drawing she is working from memory and responding to all the landscapes she has cultivated and observed from many parts of the country. \nFrancine Martin is a painter from a small community in northwest New Brunswick. Known for her use of Chiaroscuro\, a technique that has a strong contrast between lights and darks. Her still lifes and landscapes have been shown all over the St-John Valley in New Brunswick in auctions\, festivals\, group and solo shows. In 2018 she had a solo show at ALMAG. URL:https://mccainartgallery.com/exhibitions/the-gallery-as-a-studio/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2023/02/IMG_9938-e1675788391238.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220903 DTEND;VALUE=DATE:20221002 DTSTAMP:20260417T080257 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/ 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:20220528 DTEND;VALUE=DATE:20220710 DTSTAMP:20260417T080257 CREATED:20220219T173112Z LAST-MODIFIED:20220717T000533Z UID:5114-1653696000-1657411199@mccainartgallery.com SUMMARY:Printers Inc. DESCRIPTION:An exhibition featuring prints by Amy Ash\, Alanna Baird\, Nathan Cann\, Ryan Livingstone\, Ann Manuel and Bob Morouney of Sunbury Shores Arts and Nature Centre. URL:https://mccainartgallery.com/exhibitions/printers-inc/ CATEGORIES:Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2022/02/03Anne-Manuel-2019-The-Altar-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20220430T080000 DTEND;TZID=America/Halifax:20221108T170000 DTSTAMP:20260417T080257 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/ 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:20260417T080257 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/ 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:20260417T080257 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/ 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:20260417T080257 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/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/png:https://mccainartgallery.com/wp-content/uploads/2021/12/Alanna-Baird-portrait.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20211009 DTEND;VALUE=DATE:20211114 DTSTAMP:20260417T080257 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/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/11/irene-tompikins-standing-2021-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210828 DTEND;VALUE=DATE:20211003 DTSTAMP:20260417T080257 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/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/06/deanna-musgrave-amy-ash-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210724 DTEND;VALUE=DATE:20210822 DTSTAMP:20260417T080257 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/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/05/Lentz-scaled.jpg END:VEVENT END:VCALENDAR