Andrew and Laura McCain Art Gallery

Truth & Reconciliation Day at the Gallery
2023-09-30 10:00 - 14:00 (America/Halifax) | Andrew & Laura McCain Art Gallery, 8 McCain Street, Florenceville-Bristol, New Brunswick, E7L 3H6, Canada
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.

Brigitte Clavette: The Mysterious Soul of Objects
2023-10-21 - 2023-11-18
Opening celebrations of The Mysterious Soul of Objects scheduled 10 November 2023, 5 – 7 pm

The 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
Head 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

Mel Hamilton: Reframing Perspectives
2023-10-21 - 2023-11-18
Opening celebration: Friday, 10 November 2023 5 – 7 pm.

Reframing 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.
Over 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.
Weaving 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.
Melanie 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.

Mountain of Wonder and Tangles of Truth: Kathy Hooper, a retrospective
2024-01-20 08:00 - 2024-02-24 17:00
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.
Hooper’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.
In 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.
Yet, 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.
In an artist statement for a 1969 solo exhibition which toured the Atlantic provinces, Kathy Hooper wrote:
“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.”
Kathy Hooper, 1979
“Often we feel that we can impose on the landscape, but in fact we make very little impression in the end.”
“What happens behind the land, trees, and water we ‘see’ so easily? We don’t ‘see’ what is really there”
Kathy Hooper, 2010
“The special moments —when your best work happens— is when you allow the painting to take over. The painting becomes you.”

Kathy Hooper, Sept 13th 1995, Times Globe

New Brunswick Art Collecion 2023 Acquisitions
2024-03-02 08:00 - 2024-03-30 17:00
Opening March 2, 2-4 pm
Formerly 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.
Twenty one artists from around the province are represented in the 2023 Acquisitions show.
Audrey Arsenault
Maryse Arsenault
Alanna Baird
Remi Belliveau
Jon Claytor
Nate Gaffney
Chelsea Gauvin
Mario LeBlanc
Fabiola Martinez
Annie France Noel
Maja Padrov
Roula Patheniou
Melanie Parent
Shane Perly-Dutcher
Jared Peters
Garry Sanipass
Ralph Simpson
Colin Smith
Dawn Steeves
Anna Torma
Janice Wright-Cheney
David Szako

Collections: Petit Mode and Sherman Jewellery
2024-04-06 - 2024-05-18
Opening Saturday April 6, 2-4pm.
Introductions 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.
This 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.
The Designers
Laura Macfarlane
Nightfall, 2023
Taffeta, cotton fabric for the vest, taffeta ribbon, chain, and buttons
Echo (Jing) Chen
Lonely Planet, 2023 Echo (Jing) Chen
Horsehair canvas, bemberg lining
Nicole Daigle
The Meadows Road, 2023
Silk brocade, cotton, velvet, kasha lining
Sherry Kinnear
Asymptomatic, 2023
Synthetic fabrics, leather, metal, paint, beads, sequins, thread, wire, human hair
Gustave Sherman
Gustave Sherman, Jewels of Elegance
“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.
Between 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.
Sherman 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.
One 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.
Gustave 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.

Shadows and Tall Trees, Stephen Hutchings
2024-05-25 08:00 - 2024-07-06 17:00
Opening 31 May, 2024 from 5-7 pm
Artist 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.
Artist statement
My 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.
In 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.
This 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

Ted Michener
2024-07-13 - 2024-08-31
The Andrew & Laura McCain Art Gallery is pleased to be hosting a solo exhibition of New Brunswick artist, Ted Michener.
Michener 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.
The Opening will be on July 13, 2024, 2-4 pm. The artists will be in attendance & introductions start at 2:30.
Everyone is welcome, admission is free and there is an elevator.

Meet the artist

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.
After 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.
Michener 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.
He 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.

Working With Clay: McCullough, Wood, Valiñas
2024-07-13 10:30 - 2024-08-10 17:00
The Andrew & Laura McCain Art Gallery is pleased to be hosting an exhibition of works from New Brunswick ceramicists Andrew McCullough, Michael Wood, and Elsa Valiñas.
Their exhibition will be concurrent with an exhibition of the paintings of Ted Michener.
The Opening will be on July 13, 2024, 2-4 pm. The artists will be in attendance & introductions start at 2:30.
Everyone is welcome, admission is free and there is an elevator.
Artist Statements
Andrew McCullough
As a potter, I capture the magical possibilities of working with clay by using contrasting elements of striking modern designs and the raw natural qualities of the material. For me, my pieces to act as a time capsule, sharing with others a little bit about me and the how I see the world.

Thaddeus Holownia: of a Feather
2024-09-05 - 2024-11-02 | Andrew & Laura McCain Art Gallery, 8 McCain Street, Florenceville-Bristol, New Brunswick, E7L 3H6, Canada
The Andrew & Laura McCain Gallery welcomes Thaddeus Holownia back to exhibit a body of work inspired by birds. Timed to open on the weekend of pARTicipate Arts & Nature Festival, the works in the exhibition bring together not only science and the arts, but feature a long time creative collaboration by the photographer with his friend and fellow artist, Nova Scotia poet, Harry Thurston.
Opening, artists’ talk and book launch
Thursday, September 5, 2024, 5:30-7:30 pm
Everyone is welcome, admission is free.
The artists will give an informal talk about their collaboration,
their art and the third collaborator, Gay Hansen.

BLUE JAY
Cyanocitta cristata
Unseen in summer, woods-deep,
come fall, you return,
casting voices, your own
and others you mimic.
Not blue at all,
your feathers
bequeath only blue
light to the eye.
Clever corvid,
you may change a life!
— with a beat of your wing,
a call we must heed.
Book Launch
of a feather is the third book in a trilogy that includes Ova Aves and Icarus, Falling of Birds. Conceived as a tribute to the teacher, naturalist, and ornithologist Gay Hansen — Holownia’s late partner and Thurston’s long-time friend, the collection combines Thaddeus Holownia’s photography of bird feathers with the poetry of Harry Thurston.
Heart of the Bird
These photographs are of study mounts prepared by Gay Hansen—teacher, naturalist and ornithologist, and the late partner and muse of Thaddeus Holownia.
A graduate of Acadia, Gay was a lecturer and lab instructor in biology at Mount Allison University, in Sackville, New Brunswick, for 39 years (1979–2018). During this time, she conducted labs in multiple fields. Her great passion, however, was Ornithology.
“I think that it is essential to educate people about birds—they are extremely important in ecological, environmental, cultural and recreational realms,” she once said. “Ornithology is one of the few fields of Biology where citizen science makes significant contributions.”
Gay was also a talented craftsperson, notably as a weaver, and she combined her scientific expertise and her artistic skills in taxidermy, to create a collection of study mounts.
There is an assumption in our time that there is an unbridgeable gap between the Arts and the Sciences.
In fact, there is compatibility, even interdependence, between these two spheres of human endeavour. As Harvard biologist, Edward O. Wilson, observes in Consilience, The Unity of Knowledge: “Neither science nor the arts can be complete without combining their separate strengths. Science needs the intuition and metaphorical power of the arts, and the arts need the fresh blood of the sciences.”
These photographs would not have been created without Gay’s skills as an ornithologist and taxidermist deployed originally for the purpose of passing on her knowledge and love of birds to her students, and generations of students to follow.
The feather—described as “a remarkably refined and complex apparatus … that, among other uses, enabled highly sophisticated flight”—besides its functionality is unarguably beautiful. That is what one feels when first looking at these photographs, ‘How beautiful they are!’
It seems no accident that Holownia’s photographs are of breast feathers—of the heart of the bird.

Woodstock Art Club 70th Anniversary Show 1955-2025
2025-01-25 - 2025-03-08
Opening 25 January 2025, 2-4 pm, Introductions at 2:30 pm
Everyone is welcome, there is an elevator on site, admission is always free
Susanne Hansen
Guest Curator
The 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.
The 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.
This 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.
An 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.
A sincere thanks to everyone who made the show possible and in particular to curator, Susanne Hansen.
Karen Birnie
Chair of the Gallery Board of Directors
The Woodstock Art Club
The 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.
Over 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.
Meticulous 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.
In 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”.
After 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.
In 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.
The 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.
The 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.
WAC Original Members

Clark, Dorothy
1955-1997

Connell, Mrs A B
1955-1956

Cougle, Lucy
1955-1965

Creighton, Mrs F O
1955-1956

Hanson, Maye
1955-1957

Holyoke, Grace
1955-1957

Homer, Deez
1955-1956

Ketchum, Dorothy
1955-1956

Kinins, Joan
1955-1956

Leech, Edna
1955-1987

Leech, Helen
1955-1957

Lovely, Mrs Herman
1955-1956

McLauchlin, Laura
1955-1956

Olmstead, Patty
1955-1956

Rogers, Evelyn
1955-1976

Rowan, Mrs
1955-1956

Simms, Laura
1955-1959

Smith, Bonny
1955-1959

Smith, Gladys
1955-1973

Winslow, Charlotte
1955-1985

Wishart, Dr Frank
1955-1956

WAC Current Members

Art 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

Adams, Barbara
1987-1988

Aiton, Linda
1973-1974

Anderson, Randi
Circa 1996

Antworth, Ada
1983-1985

Baird,Jean
1978-1987

Barrett, Melissa
1990-1991

Beaulieu-Snowden, Bernice
1996-1998

Bell, Christine
1987-1991

Bernard, Guy
1988-1989

Beukeveld, Margaret
Circa 1997

Berry, Ann
1962-1968

Blue, Miss Louise
1971-1972

Bohan, Delores
Circa 1996-1998

Bouma, Judy
1986-1988

Bowlin, Mary
1962-1992

Bradbury, Winnie
1987-1988

Bradley, Brenda
1999-Present

“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.”

Bragdon, Karen
c.2000-Present

“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.”

Bragdon(Oldenburg) Kaye
Circa 1995

Broad, Cynthia
Circa 1997

Brown, Marion
1990-1991

Bschaden, Christopher
Circa 1996-1997

Buckingham, Marilyn
1993-1994

Bull, Milton
Circa 1992

Campbell, Twinnie
1993-1997

Carr, Pauline
1956-1957

Carsley, Suzan
Circa 2011-Current

“After moving from Montreal to the Woodstock area in 2011, I happened upon the Art Club exhibiting a craft market in downtown Woodstock.
This was my first contact with any art group in New Brunswick.
I 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.”

Chase, Cathy
Circa 1997

Clarke, Mary (Mrs G F)
1956-1967

Clements, Maureen
1990-1991

Clitheroe, Louise (Daishe)
1975-1997

Colwell, Winnie
1977-1983

Deutch, Angie
2020-2021

Dickinson, Anna Maria
2024-Present

“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.”

Dickinson, Robert
1987-1988

Doherty, Sarah
Circa 2012

Doiron, Phil
1987-1991

Dow, Caroline
Circa 1992

Dukeshire, Eileen
1987-Present; Life Member

Dunbar, Adeline
1987-1994

Dunfield, Christopher
1994-1997

Ellis, Alice
1989-Circa 1991

Field, Donald
1987-1997

Flewelling, Lillian
1987-1990

Forrest, Pauline
1974-1977

Foster, Louise
1988-1991

Fox, Edna
1975-1984

Gibson, Terry
1989-1990

Gilliland, Marjorie
1975-1976

Green, Charlotte
Circa 1997

Griffith, Velma
1987-1990

Hacklesperger, Armin
2015-2020

Hansen, Susanne
1986-Present

“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.
In my twenties I started art classes in Houlton with Esther Faulkner. She introduced me to charcoal, pastel, ink, and watercolour.
In 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.
In 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.
Making art is as necessary to me as eating and sleeping.”

Hanson, Harold
1956-1957

Hanson, Patti
Circa 1956-1957

Harold, Marie
1992-1997

Havens, Carol Ann
1995-1996

Havens, Shelley
1995-1996

Haywood, Jean
1994-1997

Hemphill, Donna
Circa 1996-1998

How, Heather
1994-2023

Johnson, Cathie
2021-2022

Johnston, Wendy
1994-1997

Jung, Moon Hee
2002-2004

Kearney, Lucille
1990-1991

King, Janet
Circa 1996

Kittredge, C. Ann
1988-Present

“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.”

Kuijpers, Catherine
2024-Present

“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.
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.”

Larkin-Roy, Ann
1987-1990

Lavoie, Vera
1987 -2005

Lawson, Ada
Circa 1992

Lutes, Deborah
1995-1996

MacFarlane, Wanda (Glass)
1995-1998

MacMillan, Margaret
1956-1964

Martinson, Bobby

Martinson, Noreen
Circa 1998

McAllister, Debra
1998-2023

McCarthy, Linda
Circa 1990

McEwen, Murray
Circa 1996-1997

McGuire, Ginette
1987-2010

McGuire, Irene
1987-2005

McKeen, Meredith
1995-1996

McLauchin, Marguerite
1956-1976

McLaughlin, Heidi
1988-1989

McLellan, Loretta
1997-1998

Mea, Maryann
1991-2023

Milbury, Aileen
1987-1997

Miller, Beverley
1990-1991

Monteith, Heidi
1987-1988

Moore, Mary
1970-1971

Moore, Vean
1971-1985

Morgan, Marion
1958-1974

Morrison, Jim
1993-1997

Neilson, Donna
1987-1988

Neilson, Gladys
1992-1996

Newcomb, Janelle
2024-Present

I moved to New Brunswick in 2019. I painted regularly but missed having the
opportunity to get feedback and share experiences with other artists. Except on the
internet, 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.
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.
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.

Nicholson, Eugene
1990-1997

O’Hagan, Mrs L
1962-1963

O’Halloran, E. Ann
1987-2017

Palin, Marion
1970-1978

Palmer, Barbara
1987-1988

Payne, Blanche
1983-1985

Perry, Geraldine
1994-1998

Peterson, Bernice
1987-1992

Phillips, Bernard
1989-1991

Phillips, Brenda
1997-2017

Pickard, Joanne
Circa 1999-Circa 2001

Polches, Jennifer
2024-Present

Polchies, Wendy
Circa 1994-1997

Poulin, Beverley
Circa 1990

Power, Juanita
2024-Present

“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.”

Prosser, Lori
1994-1995

Radford, Elizabeth
2015-Present

“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.
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.”

Ross, Mary
1956-1971

Salmon, Cynthia
1997-2000

Schurman, Helen
1956-1959

Shaw, Rayma
1990-1991

Shaw, Sonya
Circa 1998

Smith, Lorraine
1972-1974

Squires, Mrs F C
1956-1957

Stanley, Henni
Circa 1996

Stockford, Marie
1970-1992

Sullivan (Berry), Ann
1962-1968

Tapley, Bud
1987-1991

Tompkins, Irene
1993-1995

Wallace, Mildred
1988-1997

Wallace, Vivian
Circa 1996

Webb, Alice
1987-1989

Wells, Robert
1987-1997

White, E Ann
Circa 2012 -Present

“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.
About 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.
I continue working in watercolour as well.”

Wiggins, Charlene
1993- Circa 1995

Wilkinson, Connie
1991-1992

Wilson, Emily
1993-1994

Wilson, Paula
1993-1994

Wilson, Shirley
1989-1990

Winslow, Marion
1960-1985

Wood, Brenda
1990-1997

Yerxa, James
1990-1991

Denise Violette-Michaud: Petite Forêt
2025-03-15 - 2025-04-12 | Andrew & Laura McCain Art Gallery, 8 McCain Street, Florenceville-Bristol, New Brunswick, E7L 3H6, Canada
Opening 15 March 2025, 2-4pm, Introductions at 2:30pm
Everyone is welcome, there is an elevator on site, admission is always free
About the Artist
Denise 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.
Denise 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.
In Her Own Words: The Story Behind Petite Forêt
“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.
In 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.
Recycling 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.
Exploring 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.
The research and the path I’ve been able to pursue in creation continue to nourish my desire to continue on my path.
My 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.
The 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.”
– Denise Violette-Michaud

"Shared Landscapes" By Diana Baldwin plus "Knock Knock and Other Prints" By Natt Cann
2025-04-26 - 2025-05-24 | Andrew & Laura McCain Art Gallery, 8 McCain Street, Florenceville-Bristol, New Brunswick, E7L 3H6, Canada
Shared Landscapes by Diana Baldwin
Diana 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.
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Knock Knock and Other Prints by Natt Cann
Natt 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.
“I am a printmaker focusing primarily on etching. My subject matter includes still lifes and landscapes.
I 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.
I 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.
I 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.”
-Diana Baldwin
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“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.
Yet, 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.”
-Natt Cann

Kindred Spirits, the Lucy Maud Montgomery legacy by contemporary Canadian Book Artists and Book Illustrations by local artist Leland Wong-Daugherty
2025-05-31 14:00 - 16:00
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You are invited to the opening on Saturday, May 31st from 2pm to 4pm.
Artists Meg Clark and Leland Wong-Daugherty will be in attendance, introductions begin at 2:30pm
Admission is always free, and there is an elevator on site.
Kindred 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.
Leland 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.
“The Faery Chronicles” book one is Leland’s second illustrated book.
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Indigenous Blue by Brian Francis
2025-07-12 14:00 - 16:00
Artist Talk July 12, 2025 starting at 2:00pm
Brain 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.
View Brian Francis’ Opening SpeechIndigenous Blue, Brian Francis
Indigenous Blue is a captivating art exhibit that celebrates the rich cultural heritage and spiritual
significance of the color blue in Indigenous culture and traditions. This exhibit showcases the unique and
diverse artworks created by Indigenous artist Brian Francis that delve into the profound connections
between blue and the intricate tapestry of Indigenous spirituality and worldview.
In many Indigenous cultures, the color blue holds multifaceted symbolism, representing the vast expanse
of the sky, the life-giving and cleansing properties of water, and the mysterious depths of the spirit world.
Through his artistic expressions, Indigenous Blue explores how this hue is deeply intertwined with
themes of peace and serenity. The color blue is often utilized in ceremonial contexts among Indigenous
peoples, serving as a powerful conduit for prayer, meditation, and vision quests. By bringing together a
collection of artworks that feature varying interpretations and uses of blue, this exhibit endeavors to offer
viewers 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.
The artworks on display not only reflect the external landscapes but also evoke the internal landscapes of
one’s soul, inviting contemplation and introspection on themes of interconnectedness, balance, and
harmony with the natural world. Moreover, the color blue’s association with spiritual awareness and
vision quests is a central theme woven throughout the exhibit. As visitors engage with pieces that draw
upon the color blue to evoke meditative states, evoke dreams, and convey messages from the spirit world,
they are encouraged to explore the depths of their own spiritual journey and embrace a sense of
interconnectedness with all living beings. As visitors immerse themselves in the visual journey of
“Indigenous Blue,” they are invited to contemplate the spiritual potency and cultural significance of this
versatile color. Through this exhibit, we seek to honor and celebrate the artistic brilliance and spiritual
depth embedded within Brians artwork, fostering a greater understanding and appreciation for the
enduring beauty, wisdom and spirit encapsulated in the color blue.
Through Indigenous Blue Brian aims to create a space that honors and celebrates the profound spiritual
legacy of his culture while fostering cross-cultural understanding and appreciation for the universal
themes of peace, serenity, and spiritual enlightenment that resonates within us through the color blue. The
exhibit serves as a testament to the enduring beauty, wisdom, and resilience of Indigenous cultures worldwide.

Flora
2025-08-16 - 2025-09-27 | Andrew & Laura McCain Art Gallery, 8 McCain Street, Florenceville-Bristol, New Brunswick, E7L 3H6, Canada
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.
“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.
I 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
“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.
It 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
“As a seamstress by trade and a passionate textile arts educator, I have nurtured a lifelong love for all
things fiber-related. Over the last few years, my daily art practice has increasingly zeroed in on bobbin
lace making. This historic craft is on the verge of dying out in New Brunswick and it is my long-term goal
to reintroduce it to the region and build a community of lace makers.
I am currently studying bobbin lace traditions from all over the world, learning multiple techniques
through online classes and creating original lace artwork. Designing a lace piece begins with loosely
sketching out ideas, experimenting with composition, and considering color. Then comes the precise
mathematical planning needed to design a lace pattern, like a puzzle that must be solved to ensure the
threads hold together and the picture takes shape as intended.
The process of bobbin lace making requires a profound level of concentration and attention to detail, as
each pair of threads is twisted and crossed in an exact order to keep the design intact and the colors in
place. Traditionally, lace designers and lace makers were separate entities, but I cherish the ability to bring
both roles together in my work. The whole process fascinates me, from the initial spark of inspiration to
the final moment when I remove the last pins and hold up the completed piece, an artwork made entirely
of threads, with more holes than solid mass yet still perfectly holding its form.
Through my work, I aim to honor and preserve the rich tradition of bobbin lace, while also bringing my
own unique vision to life, one thread at a time”. Cat Candow
Caoife 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.
“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
Website: caoife@gmail.com Instagram: @Caoife.Garvey
Alexa 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
“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
Adam 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.
“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
Nationally 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.

Currently, 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.
Ralph 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.
The 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.

Totality: David Hunter and James Wilson
2025-10-04 - 2025-11-08
The show is open from October 4, to November 7. The opening is on Saturday, October 18 from 2pm-4pm

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We are pleased to invite you to a special guided tour of our current exhibition, led by exhibiting artist, David Hunter.

Thursday, October 23 from 6:30pm-7:30pm
The Andrew & Laura McCain Art Gallery, 8 McCain St, Florenceville-Bristol

This tour offers a unique opportunity to gain insight into the artist’s creative process, inspiration, and the stories behind the works on display.

Admission is always free, and all are welcome to attend.

James Wilson
James 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.
“…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.
Properly 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)
Underexposing the image the corona would take on a much warmer look which some might find more appealing as shown in the image. (#2)
There was a point when the corona expanded and as I remembered it seemed to have a slight cyan colour. (#3)
This 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)
This 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
“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
Science Engineering Team for the Total Solar Eclipse Balloon Project
David Hunter, BSc, MSc
In 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.
Lewis Cobb, MSc
An 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.
Stephen Downward, BCS
A graduate of the University of New Brunswick, he worked in communications, programming, and electronics.
Dr. Don Plewes, Phd
Professor 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.
Tom Sisk, MSc
A 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.
Ken Strauss, MSc
A 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.

University of New Brunswick Student Engineering Team

UNB Liaison and Faculty
Troy Lavigne, Project Officer, Electrical and Computer Engineering, UNB
Andy Simoneau, Chair, Department of Mechanical Engineering, UNB

UNB Engineering Student Project Group 1
Roshan Peri
Savishta Rattun
Jacob Snider
Benjamin Thomson

UNB Engineering Student Project Group 2
Ethan Albert Garnier
Spencer Frederick Gowlett
Alex Thomas Johnson
Zachary Michael Titus

UNB Engineering Student Project Group 3
Olivia DeMerchant
Zachary Demerson
Matthew Snell
Zoe Devries
To learn more about the Total Solar Eclipse Balloon Project, click the button below.
Learn more!

Sarah Petite, The Line is the Canon
2026-02-14 - 2026-03-21
“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.

A 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.
It’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
For a YouTube introduction to Sarah, Click Here
Born 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.
Sarah 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.
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“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

Clay Marcos' Collection of Indigenous and Inuit Art
2026-03-28 - 2026-04-25
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The Andrew & Laura McCain Art Gallery is honoured to present Dr. Clay Marco’s collection of Inuit and Indigenous art to the community. Originally from the Vancouver area, Dr. Marco developed an appreciation for the art of the Haida Nation, examples of which are featured in the west end of the gallery. Approximately twelve years ago, Dr. Marco began collecting Inuit art during professional trips to Nunavut. He traveled to many communities over the course of more than thirty visits, purchasing art in most of the locations where he worked or traveled. Many of these pieces are featured in the east end of the gallery.
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View Clay’s Book: Reflections of the NorthClay grew up in the Lower Mainland of British Columbia, where he developed a strong connection to Haida Nation Art. He explains that the artists replicate his strong feeling of ties to the land, and that draws his attention in completely. To Clay, it’s some of the most beautiful art in the world!
Clay will be in attendance at the Gallery on Saturday, April 25 at 2pm for the Closing Reception.
If you have any questions, or wish to hear Clay speak about his collection, it’s the perfect time to stop by the gallery.

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A Different Light: Photo-based works by Dianne Bos
2026-05-02 - 2026-06-13
Opening: 2 May 2026, 2:00 – 4:00pm
Artist Talk: A walk through the show with Dianne at 2:00 to 2:30 pm
Everyone is welcome and we have an elevator
Padua Bio Div 5.3, 2019
Leran Castle Door 1, 2019
Cap-Roig-11, 2019
Dianne Bos investigates light, nature and perception using a wide range of distinctive photographic processes and tools. Her focused interest in analog techniques has integrated exploration with pinhole photography, vintage cameras, cyanotype, photograms, and most recently, chlorophyll printing. She will be showing a selection of early pinhole work as well as images from her most recent Herbarium/ PhotoSynthesis series.
Dianne Bos, has evolved various thematic bodies of work, and merged technical innovations to create new visual hybrids. She makes innovative use of pinhole, camera obscura, installation, and alternative photographic techniques to explore the world around us.
‘The excitement, for me, lies not in reproducing something I can see, but in revealing the imperceptible (and maybe only the imagined) using the physics of light and time and darkroom techniques.’
Dianne Bos is an internationally-exhibiting artist based in Canada and France. She has presented her photography and installation work in solo and group exhibitions across Canada and internationally in the United States and Europe. Her work may be found in private, corporate and museum collections including the Art Gallery of Hamilton, ON; the University of Lethbridge Art Gallery, AB; the Walter Phillips Gallery at the Banff Centre, AB; the National Gallery of Canada, ON and Canadian embassies in Paris and Belgium. In addition to her artistic practice in the visual arts, Bos’ professional interests have extended into the field of music, publishing, and teaching.

A Different Light: Photo-based Works by Dianne Bos
2026-06-10 - 2026-06-13
