BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Andrew and Laura McCain Art Gallery - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Andrew and Laura McCain Art Gallery 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:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20170101T000000 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:VTIMEZONE TZID:America/Halifax BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0300 TZNAME:ADT DTSTART:20200308T060000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0300 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20201101T050000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20220423 DTEND;VALUE=DATE:20220522 DTSTAMP:20260417T104536 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:20260417T104536 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:20260417T104536 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:20260417T104536 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:20260417T104536 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:20260417T104536 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 BEGIN:VEVENT DTSTART;VALUE=DATE:20210710 DTEND;VALUE=DATE:20210822 DTSTAMP:20260417T104536 CREATED:20210625T221111Z LAST-MODIFIED:20220303T230923Z UID:4273-1625875200-1629590399@mccainartgallery.com SUMMARY:Barbara Safran de Niverville DESCRIPTION:Vanitas by the Sea / Vanitas par la merBarbara Safran de Niverville explores the vigour of growth where native plants and garden escapees mingle. Discarded domestic objects punctuate intricate vegetation that seems to hover in the dark ground. The title of the exhibition references the still life genre of painting popular during the Baroque period in western art history. Vanitas portray highly realistic\, symbolic objects such as flowers\, porcelain and silver dishes\, fruits and vegetables. Together on a tabletop\, the objects are a reminder to the viewer of the hubris of mankind and the inevitability of mortality. Barbara has reinterpreted this point of view recognizing in her work the subtle influence of the present pandemic and its parallels to the plagues in Europe during 17th and 18th centuries. She has chosen to include objects in her work that are worn with use\, but seem to possess an aura of their past significance while the shadow land they now inhabit evokes the mysterious resilience of the uncultivated growth found between a beach and a forest – abandoned land that survives in spite of humanity’s seeming indifference. \n“Using a combination of natural and synthetic materials\, my mixed-media panels represent a metaphor for the hybrid quality of the natural world.  I question our concept of wilderness and reveal the flux between Nature and Culture and the tension between growth and decline. My current work explores outcast and forgotten areas of landscape that retain traces of human use.  Essential to my process is experimentation\, through digital photography\, drawing\, and the testing of new combinations of art techniques with industrial products”. \nVanitas Vivace is a short experimental video based on the painting Vanitas Chicory\, on exhibit with this series. Elements from the painting leave the panel’s surface\, become air born and dance to an original soundtrack.  Barbara’s husband Peter de Niverville animated the film with music composed by their daughter\, Abigail de Niverville. It is available to be viewed on Vimeo. https://vimeo.com/568608152/bb5d5ef7f8 \nA Prix Éloize finalist in 2018\, Barbara has exhibited landscapes across Canada in twenty-six solo shows and numerous group projects in the United States and Iceland. In 2014\, she completed her Masters of Fine Arts degree at the Art Institute of Boston. URL:https://mccainartgallery.com/exhibitions/barbara-de-niverville/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/06/deniverville1-213x213-1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20210626T103000 DTEND;TZID=UTC:20210717T170000 DTSTAMP:20260417T104536 CREATED:20210508T200722Z LAST-MODIFIED:20220303T235615Z UID:4145-1624703400-1626541200@mccainartgallery.com SUMMARY:Naturalis | Renata Britez DESCRIPTION:Renata Britez is a multidisciplinary emerging Canadian artist\, originally from Brazil\, who is currently based in Fredericton\, NB. In 2020\, she completed a degree in the NBCCD Textile Design Program and first brought her work to the Andrew & Laura McCain Art Gallery at Small Works 2018. \nNaturalis demonstrates the diversity of her practice\, her commitment to traditional techniques\, ethics and sustainability in her production of materials as well as her artistic interest in working in both two and three dimensions. Subtle stories of her journeys in both art and life are paralleled in the mythic journeys and states she evokes though her sculptures and wearable art. Mothers\, daughters\, strife\, survival\, and conquest hint at the personal journey the artist embarked upon when she moved to Canada in 2014.\nPersephone\, a stylish garment of felted silk and wool\, dyed the passionate red of Brazilwood\, presents a sculpted and embroidered garden. Presented in a wearable form thick enough to warm and protect while referencing a myth of seasonal renewal and a mother-daughter story of compromise and lives lived at a distance. \nMarked\, two wall hangings whose subtle quilting describes the topography and streets of Fredericton\, are coloured by detritus the artist collected on the ground. The works are re-presented acts of discovery\, investigation and agency while making the reality of one’s choices “leaving its mark” tangible. \nMarks and the act of mark making is evident throughout the art in the exhibition as is the colour palette\, derived as it is from the actual colours of New Brunswick. Renata’s artistic training began here\, and it appears that a key collaborator and muse has been the province of New Brunswick. Sourcing and creating natural dyes and paints for all that she creates\, Renata starts each project literally at ground level. \nArtist in Residence\nBetween June 14 and 26\, 2021 Renata has been in Florenceville-Bristol for a residency at the River Art Centre to further her project called Maritime Colours (supported by a grant from ArtsNB). For this project Renata is researching\, cataloging\, and mapping pigments from plants and minerals found in the Atlantic Provinces of Canada. Supported by the New Brunswick Arts Board and the Andrew & Laura McCain Art Gallery Artist in Residence Programme\, she is working on a series of paintings using natural pigments that are foraged and processed in Carleton County.\nThis programme is supported by the Carleton North Community Foundation. \n  \n \n \n  URL:https://mccainartgallery.com/exhibitions/renata-britez/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/05/horsemen.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20210515T103000 DTEND;TZID=UTC:20210619T170000 DTSTAMP:20260417T104536 CREATED:20210422T181907Z LAST-MODIFIED:20210906T215350Z UID:4051-1621074600-1624122000@mccainartgallery.com SUMMARY:Kathy Tidswell DESCRIPTION:Colours of NatureKathy Tidswell has a long career of working with textiles in a variety of creative ways. Her materials include paint and dye\, machine stitching\, as well as cloth that is found or created. The artist identifies two areas of exploration in the artwork included in the exhibition: Wall Quilts and Thread Stitching. In both bodies of work\, the artist continually turns to Nature for inspiration. \n“I strive to recreate nature’s beauty realistically in my work. Often inspired by my own photographs\, I use hand painted and commercial fabric to create a wall quilt or paint a scene on fabric and bring it to life using thread\, working with a domestic sewing machine. The needle becomes my paintbrush as I move the fabric freely. While my artistic medium is primarily thread\, my painted fabric backgrounds support the production of landscapes and life-like three dimensional images of birds\, wildlife and portraits. My wish is to transport the viewer to a unique place\, whether it is a forest stand\, a beach delivering the glories of a morning sunrise\, or a backyard hosting our joyous songbirds. \nTrees are special to me and have always featured very much in my work. Perhaps I have been influenced by my years working for the Canadian Forestry Service or perhaps it is my love of texture and dimension. Whatever is the case\, trees have offered me many inspirations.” Kathy Tidswell URL:https://mccainartgallery.com/exhibitions/kathy-tidswell/ CATEGORIES:Exhibitions,Past Exhibitions END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210515 DTEND;VALUE=DATE:20210704 DTSTAMP:20260417T104536 CREATED:20210415T192649Z LAST-MODIFIED:20210906T215751Z UID:4035-1621036800-1625356799@mccainartgallery.com SUMMARY:Owen Munisamy DESCRIPTION:Theme & VariationsThe exhibition includes watercolour and acrylic paintings created between 2016 and 2021. Born in a musical family in Liège\, Belgium in 1987\, Owen  pursued his art studies in England where he obtained his BA (Honours) in Fine Art in 2011 from Winchester School of Art\, Southampton University. In 2018 Owen and his family settled in Edmundston\, NB. \n“During my university studies\, the professor suggested to us that we should seek inspiration from our homes\, our family backgrounds and our surroundings. Coming from a musical family it was thus quite normal that I should look to music\, especially to the sculptural forms of wood and brass instruments and their intricate mechanisms. My first years of painting were thus spent researching and gradually creating an enigmatic musical world with biomorphic forms of musical instruments [blended] with human elements [to create] a universe of extremely rich and varied forms which are organic and alive.” \nFeatured in the most recent edition of Created Here Magazine\, Munisamy explores a form of abstraction that blends biological\, suggestively human elements (which might remind you of the sculptures of British artists Henry Moore and Barbara Hepworth) with the geometrical\, hard-edged shapes of contemporary technology. In vivid and bold colour\, Munisamy creates variations on a theme of collapsing and exploding spheres suspended on illusory planes\, within expansive atmospheres and accompanied with surprising allusions to both art and the real world. At any point the artist’s imagery can transport us to the microscopic or to outer space. Another influence on the artist was Salvador Dali and if you can remember his famous melting clock\, you are well on your way to envisioning Munisamy’s biomorphic inventions. Tree trunks\, bicycle wheels\, telescopes\, lines\, wedges\, and the unexpected biological form can all be discovered in these enigmatic paintings\nOwen’s diverse interests and influences include cartooning\, Metaphysical and Surrealist painting. Bold colour contrasts\, strong diagonals and areas of complexity contrasting with passages of delicate colour and light result in images that fuse technology with the human form. \n“Likewise I have always been attracted to strip cartoons by the artists Enki Bilal (for his sombre atmospheres)\, Jean Giraud / Moebius (for his imagination and details) and Phillippe Druillet (for his dark backgrounds and very contrasting colours). Aldo Pomodoro and Anish Kapoor also inspired me\, the first by his spheres with a complexity of details reflecting another world\, the second by his voids that pull the viewer towards the interior. As de Chirico says: “Even that dreams are an inexplicable mystery but even more mysterious are the thoughts that converge to certain objects and aspects of life. \nIn parallel with my oil paintings I use watercolours. I employed that technique to start with as a means of research for my oil paintings. My watercolours are a long search from complex structures to now more delicate and sensitive paintings. My works are progressively becoming more architectural with fewer musical details. I am always engaged in creative research\, always going forward\, always evolving ….” URL:https://mccainartgallery.com/exhibitions/owen-munisamy/ CATEGORIES:Exhibitions,Past Exhibitions END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210327 DTEND;VALUE=DATE:20210509 DTSTAMP:20260417T104536 CREATED:20210326T202538Z LAST-MODIFIED:20211106T211917Z UID:3936-1616803200-1620518399@mccainartgallery.com SUMMARY:Out of the Woods:James Buxton\,Francine Simard Levesque\, Colin Smith DESCRIPTION:Out of the Woods brings together three carvers from northern New Brunswick who are inspired by nature and share a love of working with wood on a small scale. Their divergent intentions for their work reinforced by their stylistic choices confirm their individual voices despite their common materials and tools. \nJames Buxton\nBorn and raised in Riverbank\, James has been sculpting all his life and has been carving for over 30 years. A self-taught carver James also works in steel\, stone\, and assemblage. Working out of the River Art Centre Studios\, James also regularly teaches a variety of classes.\n“I can’t stop making art – always have – and carving\, working in 3 dimensions has always interested me. I am also a keen observer of nature and the habits and characteristics of birds. Carving the birds starts with selecting the right shaped block of wood\, and carefully forming the body by paying very close attention to the unique characteristics of each species. Looking closely at the shapes inside the animal’s form\, like the swell of the beak\, tilt of the head\, the pattern\, shape and layers of feathers and all the other distinguishing characteristics that each bird has\, I try to capture the natural stance of the bird. In the final colour\, I strive for as great a verisimilitude as possible. Flock\, 2020\, on loan from the Public Art Collection of the Town of Florenceville-Bristol\, is a collection of birds that are common to the Upper Saint John River Valley”. James Buxton \nArtist James Buxton making Ash Baskets \n“I love to work with my hands – can’t keep them still or stay in one place unless I am working on an art piece. I like to think that I am plagiarizing nature with my birds. Making them real”. \nFrancine Simard Levesque\nFrancine Simard Levesque is a self taught artist\, born and raised in the northwestern part of New Brunswick. At a young age she was surrounded by artistic people who encouraged her to explore in every artistic discipline presented to her. Francine started to create with wood in 1985 and now concentrates on sculpture only. \n“It is creating with the beauty of wood that makes me want to be an artist. When I find a piece of wood\, I have no control over what I see. It is the spirit of the forest\, of the trees that speak to me and that show me the human faces and animals I make. I try to keep that spirit alive in the sculpture.  Every piece I make shares the forest spirit and carries the message “Keep the trees alive”\, for the animals and for us.” \n“The forest is a visualization of my feelings when in the solitude of the trees. It is the softness of the air and the smell of the leaves. It is the coarseness of the bark and the sounds of the animals. I feel it all. I am part of the forest and it is part of me.”  Francine Simard Levesque \nFrancine at work in her studio \n“En réalité\, c’était la sculpture qui m’attirait. J’ai grandi à Edmundston et lorsque je me rendais à la cathédrale de l’Immaculée-Conception\, j’étais fascinée par les sculptures et les détails. Je trouvais ça impressionnant.  Lorsque j’ai appris qu’il y avait un groupe de sculpture à Grand-Sault\, je me disais que j’irais rencontrer ces gens pour avoir des outils et je me suis mise à sculpter avec eux.” \nColin Smith\nColin Smith taught high school art\, theatre\, and English for 20 years.  His work has been exhibited in galleries throughout NB and is included in public and private collections.  For 11 years\, his drawings and cartoons were featured weekly in the Salon section of the Telegraph Journal.  He works out of his studio in the River Art Centre in downtown Florenceville-Bristol. \n“I have always drawn.  Several years ago\, I decided my drawings did not look solid enough on the paper.  So\, I started carving\, to figure out how to give my drawings a sense of weight.  And it worked.  It showed me some stuff about drawing\, by making me look at it differently\, and I grew to really enjoy carving.” \nI work small.  The shape of the wood generally determines what’s carved.  Some of my whittlings look like residue from my distant ancestors.  Some of them look a bit more modern.  They are worked with knives\, chisels\, and axes\, in a very unsophisticated way.  I have found that every cut changes my idea of the project.  I may start out with an idea\, but the wood itself\, by breaking and revealing its shapes and curls \, keeps editing and suggesting.  I never know how the little carvings will turn out\, and that’s why I do them. \nThe Boat sculpture is the result of Jamie Buxton’s misbegotten attempt to pull me into the twentieth century.  He showed me how to use rotary carvers\, and The Boat is the result.  It is a tribute to schools and to Carleton North High School\, the building I spent the last twenty years in.  It is an affectionate good bye to what I still think is the greatest\, and most important\, job in the world.” Colin Smith \nColin Smith \n“Life inspires me. For years I drew people interacting\, in supermarkets and streets.  I drew high school kids\, simultaneously terrified and deeply self-assured.  And I drew thousands of cartoons\, and published some of them in the Salon Section of the Telegraph Journal for a decade – historical\, topical\, linguistic – really anything but overtly political. I have a sketchbook with me always and I draw everything.  It is\, after all\, a way of seeing.” URL:https://mccainartgallery.com/exhibitions/out-of-the-woods/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/03/IMG_0735-e1616778324103-213x104-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210327 DTEND;VALUE=DATE:20210509 DTSTAMP:20260417T104536 CREATED:20210306T193932Z LAST-MODIFIED:20210906T220253Z UID:3918-1616803200-1620518399@mccainartgallery.com SUMMARY:Gordon Dunphy Vessels DESCRIPTION:“What’s important to try to catch [is] the spirit that trees have\, especially big old hardwood trees\, and if I can catch that and make it look simple … the best forms are those that look as if they just happened.” Gordon Dunphy. \nGordon Dunphy lived on the banks of the Nashwaak River\, near Taymouth\, NB where he had a dairy farm until he turned from farming to embrace the art of wood turning\, making a distinct and significant contribution to New Brunswick’s cultural landscape. The New Brunswick poet Michael Pacey has attributed an “innate sense of mischief as key to Dunphy’s explorations and subversions of time-honoured artistic binaries such as art and nature\, art and craft\, form and content\, inside and outside.” Working with wood all his life\, he turned stumps and gnarly burls into classic vessel forms\, with paper-thin walls and highly polished surfaces\, that maintain the distinctive characteristics of the original material and transcend the craft. \nSome of his most distinctive pieces were created from burls\, “when the cells start to grow faster than the tree itself\, [they produce] a protruding growth on the tree. And often\, not always\, but often\, it’s a beautiful grain in colour\,” Dunphy said. The artist’s ability to find great beauty in a common\, classic piece of New Brunswick nature\, the hardwood tree\, meant that very quickly his art was collected the world over\, and he won every significant craft award in New Brunswick. “He just saw things in wood that nobody else could\,” said Kate Rogers\, previous director of the New Brunswick Crafts Council. \nWhile co-curating this exhibition in 2019\, Jennifer Pazienza observed that “Gordon is a poet whose verse is written upon and within his vessels. The object that stands before you\, the spaces they create carry the poetic imagination of Gordon Dunphy. The poetics that constitute them resonate and reverberate with imagination that comes from the depths and reverie of his daydreams; a place where\, as Gaston Bachelard said\, time ceases to exist\, and space is everything. These vessels ask us to consider ways they influence the space they occupy within the place we find them. They ask us to reflect upon them and our relationship to them\, to engage with and beyond their surfaces and read between their lines and shape”. \nConsidered one of the finest wood turners in North America\, nearly 30 works were donated to the Beaverbrook’s collection in 2009 after the artist died. Many of them are on view here. The collection was assembled by the artist as a legacy documenting his career. “In a sense\, Dunphy curated this exhibition himself\,” says John Leroux\, the Gallery’s Manager of Collections and Exhibitions. \nExhibition co-curated by Jennifer Pazienza and John Leroux and organised by the Beaverbrook Art Gallery. URL:https://mccainartgallery.com/exhibitions/gordon-dunphy-vessels/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2021/03/Dunphy-install-at-ALMAG-4-213x160-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Halifax:20210123T080000 DTEND;TZID=America/Halifax:20210313T170000 DTSTAMP:20260417T104536 CREATED:20201203T231404Z LAST-MODIFIED:20210908T233518Z UID:3764-1611388800-1615654800@mccainartgallery.com SUMMARY:Colin Smith: One Kilometre of Florenceville DESCRIPTION:Colin Smith taught high school art\, theatre\, and English for 20 years.  His work has been exhibited in galleries throughout NB and is included in public and private collections.  For 11 years\, his drawings and cartoons were featured weekly in the Salon section of the Telegraph Journal.  He works out of his studio in the River Art Centre in downtown Florenceville-Bristol. He is represented by the Spicer Merrifield Gallery in Saint John\, NB. \nColin Smith a enseigné les arts\, le théâtre et l’anglais au lycée pendant 20 ans.  Ses œuvres ont été exposées dans des galeries d’art dans tout le Nouveau-Brunswick et font partie de collections publiques et privées.  Pendant 11 ans\, ses dessins et ses caricatures ont été présentés chaque semaine dans la section “Salon” du Telegraph Journal.  Il travaille dans son atelier au River Art Centre\, dans le centre-ville de Florenceville-Bristol. \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Artist Statement“Life inspires me.  Right now I spend a lot of time drawing birds: sometimes in imagined situations\, sometimes in an eighteenth century engraving kind of way – sometimes they are Nature\, sometimes they the Wings of Time or the Broken Heart of a Poet\, but usually they are just birds.  The landscape around here is slowly driving me crazy\, because every time I look at it\, after looking at it for thirty years\, I see it moving like a live thing\, just a series of slow undulations\, studded with trees and potato fields. \nFor years I drew people interacting\, in supermarkets and streets.  I drew high school kids\, simultaneously terrified and deeply self-assured.  And I drew thousands of cartoons\, and published some of them in the Salon Section of the Telegraph Journal for a decade – historical\, topical\, linguistic – really anything but overtly political.  I don’t hate enough to be a political cartoonist. \nI draw constantly.  I doodle on paper\, in books\, over shopping lists\, throughout my teacher planning book.  I have done it since grade one.  I have been a nanny\, a bookbinder\, a used bookseller\, a warehouseman\, a handyman\, and now I am a teacher\, but it’s all to support my doodling habit.  If I wasn’t selling anything\, I would still be drawing. \nWhen I was eight\, I found a copy of Syd Hoff’s “How to be a Cartoonist” in the Saint John Public Library.  That\, along with Jim Corbett’s “Maneaters of Kumaon” and the Freddy the Pig Detective books\, was my Bible. Syd Hoff claimed you could make a living as a cartoonist\, so I started in third grade.  I filled notebooks with comic strips\, and mailed some cartoons off to Playboy\, which they politely returned. My rejection notice collection is still growing. \nI have a sketchbook with me always\, which I fill with phrases or doodles or ideas of what I see around me\, and what I am thinking about.  If I don’t set them down\, they are lost.  I roughly block out a drawing in pencil\, usually working from these sketches\, and then have at it with pen and ink. I like the finality of ink – once you put the mark on the paper\, it is there. It encourages a mix of fluidity and improvisation.  I tried technical pens\, but I prefer the dip pens.  The ink is usually richer\, and the line of a dip pen modulates – it gets thinner and thicker as you go.  The drawing is crosshatched and toned in with pen lines\, then sometimes coloured ink washes or watercolour are added.  A lot of my tonal squiggles have come from old engravings\, where shading and tone were built up with marks\, then a flat wash would be added to finish it off\, and the ink and the wash would work together to create a strange volume. \nI draw everything.  It is\, after all\, a way of seeing.” URL:https://mccainartgallery.com/exhibitions/colin-smith-one-kilometre-of-florenceville/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/png:https://mccainartgallery.com/wp-content/uploads/2020/12/drawing-header.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210123 DTEND;VALUE=DATE:20210314 DTSTAMP:20260417T104536 CREATED:20201203T213113Z LAST-MODIFIED:20211105T214720Z UID:3761-1611360000-1615679999@mccainartgallery.com SUMMARY:Sarah Jones: Idyll DESCRIPTION:Artist StatementMy art practice explores interactions with manufactured and industrial landscapes through painting and installation. I am particularly interested in how Maritime cities and the local industrial heritage of Saint John contribute to notions of regional identity. \nStephen Parrish\, Coast of New Brunswick\, 1882\, Etching \nYears ago\, I encountered this etching in the New Brunswick Museum by American artist Stephen Parrish (1846-1938) and learned that he and a fellow artist passed through Saint John\, NB in the summer of 1881on an etching and painting tour of the Maritime provinces. Coast of New Brunswick\, 1882\, features small sailing vessels\, rustic wharves\, fisher folk and the quiet harbour of Saint John. The rusticity in the depiction did not correspond with what my understanding was of Saint John in the late nineteenth-century. I was a history student at the time\, and I knew enough to recognize a disconnect. Saint John of 1881 would hardly have been described as quaint. The city\, then as now\, was an industrial centre with shipping and construction activity and port-side factories. This disconnect – depicting the quaintly idyllic and rustic where there should be industrialization – is not an isolated phenomenon. Parrish was part of a wider tradition in British and American landscape painting of the nineteenth century of romanticizing the rural and the maritime. This quest for the picturesque meant avoiding or creatively re-framing evidence of modernity and industrialization and in doing so\, reaffirming a pervasive idea that the pre-industrial embodies something that is somehow purer and more authentic.\nIdyll\, 2019 responds to Parrish’s etching\, by restaging in the painting\, the same 360-degree landscape surveyed from the same vantage point as the historical work. Moveable screens allow only some portions of the painting to be seen\, which I hope signal the artist’s role in directing the gaze and deciding what is left in or out of the frame. I would like this artwork to remind us of the agency of both artist and viewer and prompt the questions: what are we seeing? What and who is included or excluded and why? What is beyond our gaze?\nMore recently I have been looking at historical representations of Maritime landscape in art and questioning the role of these landscapes in constructing a narrative about the ideal Maritime landscape. I am currently working on projects\, including the storm paintings\, that explore the role of historical representations in crafting current social attitudes towards manufactured/industrialized landscape\, how nostalgia for an imagined or idealized historical landscape impacts current regional identity\, and how notions of the historical ‘Folk’ manifest in myself and my own identity. \nBiographySarah Jones (BA\, MA Art History) is a visual artist\, art historian and curator. She has participated in solo and group exhibitions across Canada and abroad\, and her work is held in the public collections of the University of New Brunswick and the New Brunswick Art Bank. Jones is a recipient of numerous grants and awards\, including funding from ArtsNB and Canada Council for the Arts. \nJones is based in Saint John\, New Brunswick. In addition to her own practice\, she is the curator at Jones Gallery and teaches art history occasionally at University of New Brunswick. \nThe artist would like to acknowledge support from ArtsNB and Canada Council for the Arts. \nVideo Interview with Sarah Jones URL:https://mccainartgallery.com/exhibitions/sarah-jones-idyll/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2020/12/02SJIdyll_2-crop-213x166-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20201017T103000 DTEND;TZID=UTC:20201114T170000 DTSTAMP:20260417T104536 CREATED:20201016T235835Z LAST-MODIFIED:20240331T180314Z UID:3686-1602930600-1605373200@mccainartgallery.com SUMMARY:Art of The Book 2018 in 2020 DESCRIPTION:The Art of the Book 2018 is an international juried exhibition of the work of members of the Canadian Bookbinders and Book Artists Guild. Occurring every five years\, this international show marks the 35th anniversary of the Guild and will be the only opportunity to see the show in Atlantic Canada. \nThe show was juried by four outstanding professionals: Betsy Palmer Eldridge\, Lang Ingalls\, Jan Elsted and Susan Warner Keene who met for two days to inspect the submissions in person\, discuss each book’s merit and select the show. The final selections demonstrate artistic merit\, technical competence and offer unique opportunity for education in the various aspects of book making. The exhibition examines eight aspects of the book makers’ art: Fine Binding\, Fine Printing\, Restoration\, Box Making\, Artists’ Books\, Papermaking\, Paper Decoration and Calligraphy. \nMany of the books exhibit the extraordinarily exacting techniques involved in traditional bookmaking while others are uniquely individualistic. Some are collaborative creations between printer\, writer and book binder while others were authored\, bound and created by one artist. Many are exemplary displays of the full integration of form and content\, with details in the binding\, stitching\, materials and structure echoing and supporting the artistic expression. Regardless of the approach\, the breadth of creative expression and artistry will not disappoint. \nJerene Lane: The Fisher’s Boy\nEmbossed footprints and rolling waves complement Jerene Lane’s celebrated calligraphy of Henry David Thoreau’s poem “The Fisher’s Boy”: \n“My life is like a stroll upon the beach\,\n⁠As near the ocean’s edge as I can go;\nMy tardy steps its waves sometimes o’erreach\,\n⁠Sometimes I stay to let them overflow. \nMy sole employment ’tis\, and scrupulous care\,\n⁠To place my gains beyond the reach of tides\,\nEach smoother pebble\, and each shell more rare\,\n⁠Which Ocean kindly to my hand confides. \nI have but few companions on the shore:\n⁠They scorn the strand who sail upon the sea;\nYet oft I think the ocean they’ve sailed o’er\n⁠Is deeper known upon the strand to me. \nThe middle sea contains no crimson dulse\,\n⁠Its deeper waves cast up no pearls to view;\nAlong the shore my hand is on its pulse\,\n⁠And I converse with many a shipwrecked crew.”1 URL:https://mccainartgallery.com/exhibitions/art-of-the-book-2018/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2020/10/artofthebookposter-160x213-1-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200905 DTEND;VALUE=DATE:20201011 DTSTAMP:20260417T104536 CREATED:20200815T222223Z LAST-MODIFIED:20220304T183132Z UID:3547-1599264000-1602374399@mccainartgallery.com SUMMARY:Roy Tibbits\, 2000-2020: A Watercolourist's Perspective DESCRIPTION:“I paint what I see.\nRust and decay are my forte.” – Roy Tibbits\nThe artist will be at the Gallery from 10:30 – 11:30 AM and 2:30 – 4:30 every Saturday of the exhibition. Please stop by to say hello. \nCarleton County native\, Roy Tibbits began painting in watercolour about 25 years ago. A member of several national associations\, his work has been shown across Canada from British Columbia to the Maritimes. His interest in watercolour painting began with a “How To” book and the discovery that he was acquiring an ability to provide his viewer with a portrait of the region through its landscape\, history and a realist’s commitment to verisimilitude. \nRoy\, like the Impressionists\, often paints from nature\, taking his painting equipment outdoors to respond directly to his en vironment\, recording his careful observations throughout the seasons. Self-taught\, Tibbits has embraced many of the traditional pictorial methods that assist the landscape artist in achieving space and volume\, create mood and capture varying effects of light and atmosphere through colour\, linear perspective and other compositional conventions.\n\n“I live in the heart of the Saint John River Valley which provides an endless inspirational supply of nature at its best – not only the seasons but also the fast-changing local industries of farming\, forestry and fishing. Old derelict buildings\, outdated machinery and changing modes of transportation – they are all relics of the past now splendidly littering our landscape as glowing reminders of their previous importance.” \nIt wasn’t until the Renaissance that landscape developed as an independent subject.  Previously nature was always seen in the background of scenes of the bible and narrative subjects from history\, never the central subject of a painting. Since then landscape artists have communicated a variety of ideas about how we understand and live with nature. The pastoral landscape tradition from the 17th century showed peaceful scenes of a tamed landscape that provides food\, shelter and security to its inhabitants. In the 19th century the picturesque tradition focused on the perfect view\, a glimpse of the natural world framed and composed using many of the same compositional techniques Roy uses in his art\, while the sublime landscape described the most dramatic moments of the supremacy and force of the natural.\n\nTibbits’ favourite subjects are the world as he has known and experienced it\, the forests\, farms and fields of Carleton County\, showing us in his art his favourite and out of the way corners of the area. Combining bold\, vibrant colour with a delicate painting technique\, Tibbits captures the changing seasons\, light and atmosphere. In his art\, the viewer is always reminded of the passage of time and our evolving relationship with nature.  Included in the exhibition is a wall of sketches and as Tibbits has said\, “…each sketch has a story to tell”. Drop by the Gallery each Saturday morning or afternoon during the exhibition and Roy will be here to tell you a story or two and to listen attentively to one of yours. \nExhibitions\n2004 – 2008   Federation of Canadian Artists Juried exhibitions\, Vancouver\n2008     Andrew & Laura McCain Art Gallery\, Florenceville-Bristol\, NB\n2014 – 2017   Thompson Nicola Shuswap Juried Exhibition\, Kamloops\, BC\n2015      Gainsborough Gallery\, Calgary\, AB\n \nAwards\n1994    Second Place Winner at the Atlantic National Exhibition\, Saint John New Brunswick\n2016    S.J. Sloan Award\, Open Water Exhibition presented by the Canadian Painters in Watercolour\n2018    Winner of the Rockwell Art Supplies/Eureka Award #1\, A Symphony in Watercolour international exhibition presented by International   Watercolour Society of Canada and the Society of \nPainters in Watercolour\n2018 and 2019  Winner of the Honourable Mention in the 365 Online Exhibition and Calendar Project\, with a painting featured in the 2019 and 2020 Official Federation of Canadian Artists Calendar. URL:https://mccainartgallery.com/exhibitions/roy-tibbits-2000-2020-a-watercolourists-perspective/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2020/08/DSC_0002-213x148-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20200801T080000 DTEND;TZID=UTC:20200829T170000 DTSTAMP:20260417T104536 CREATED:20200723T233957Z LAST-MODIFIED:20210906T224648Z UID:3498-1596268800-1598720400@mccainartgallery.com SUMMARY:Hooked Rugs DESCRIPTION:Rug hooking began in the early to mid 1800’s\, possibly by sailors who would fashion a hook from a nail and use the burlap\, linen or cotton available onboard ship as a backing. Soon it became a winter activity\, when the adults in a family would re-purpose cloth scraps into rugs and bed coverings. \nIn the mid-19th century when hooked rugs were first made\, floor covering was a luxury in Canada. The wealthy might have an imported oriental rug or perhaps could afford commercial loom-woven carpeting. Others might have a hand-woven rug\, but the hooked rug solved the problem of covering cold floors cheaply\, making warm bed coverings and  were the final stage in the recycling of hand-me-down clothing. \nVery little 19th-century everyday clothing is left in Canada: cloth was too precious to waste and much of it ended up in quilts or rugs. Most likely rug hooking developed independently and simultaneously in several centres: Québec\, the Maritimes and New England. Hooked rugs were made in much greater numbers in the eastern half of the continent than in the western half since\, by the time the Canadian West was settled\, store-bought floor coverings had become readily available. \nThere are a number of famous and distinctive cottage industries established in the Atlantic provinces including Cheticamp\, Nova Scotia\, initiated by Mrs. Alexander Graham Bell and the Grenfell mission\, established by Dr. Wilfred Grenfell in Labrador\, both of which have created and sold rugs for close to a century. \nUnlike quilts\, which are often treasured within a family and passed from one generation to the next\, old hooked rugs are usually orphans whose family history has been lost. It is rare to find a very old rug whose maker is known. However\, one famous rug hooker was Emily Carr\, who made rugs to supplement the income she earned from her boarding house. \nIn 1868 Edwards Sands Frost\, a Maine tin peddler\, devised a series of zinc cutouts that allowed him to mass-produce stencilled patterns on burlap for rug hooking (an early version of paint by number). Other companies also entered the market. By the mid-1890s Garrett’s of New Glasgow\, NS\, was producing Bluenose rug patterns. In 1894 Wells and Richardson of Montréal published patterns in its Diamond Dye Rug Books (“Do not sell your rags to the travelling rag-gatherer; save them and work them up into handsome and useful Rugs and Mats”).  By 1905 Eaton’s was advertising Monarch hooked rug patterns in its catalogue\, and in the early years of the century Hambly and Wilson of Toronto also produced patterns on burlap. In Maine in the 1930s Pearl McGowan began a family business selling rug patterns and supplies. \nPattern rugs are still made today\, but the most impressive rugs have always been those devised by the makers from their own materials and visions. Many old Canadian hooked rugs are surprisingly eloquent. They speak of economy\, individuality and utility. Women incorporated into these rugs generations of clothing and memory-laden cloth – the very fabric of their lives.  \nThe Canadian Encyclopedia\, Max Allen\, Rugs and Rug Making\nNational Guild of Pearl McGowan Hookcrafters\n \nLucie Quintal\, Graffiti\, 2020 \n“Reflecting on my mother’s death was the catalyst for Graffiti. I started this work using greys and I had the intention of making comforting repetitive squares all over. Then life happened.\nThe squares were left behind. Circles started to appear. Colours came out. Somehow\, life became colorful again. Hope and continuity prevailed.\nGraffiti is mixed fibres\, mixed emotions\, a symbiosis between life and death\, ultimately being one with the world.” Lucie Quintal \n  \n \nCharline Collette\, Hit and Miss Mat\, 2020 \n \nMary Grant\, Duchess of York\, 2014 \n \nCaroline Simpson\, Hydrangea and wasp\, 2019 \n“As a rug hooker\, I draw my inspiration mainly from nature: the plants\, animals\, and built scenery found around my home and in the countryside. I create my designs mainly from photographs that I have taken\, and I use natural materials—such as hand-dyed wool fabrics and yarns—hooked into backings of linen or burlap. I explore ways to combine various elements\, such as people\, animals\, and buildings\, into a cohesive artwork that evokes nature’s beauty and conveys a sense of immediacy.” Caroline Simpson \n  \n \n  \nEllen Gould Sullivan\, Ellen B.\, 1907-1994 \nBeaverbrook Art Gallery\, gift of Susan A. Murray \n \nChristine Helen Irving\, Horse\, ~ 1920 \nThe little Horse was hooked by my mother\, Christine Helen Irving\, when she was a young girl\, 13-14 yrs of age.  She was born in Pictou County\, Nova Scotia and was married to William D Cameron.” Lois Thompson \n  URL:https://mccainartgallery.com/exhibitions/hooked-rugs/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2020/07/Hydrangea_Caroline-Simpson-300x249-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200801 DTEND;VALUE=DATE:20200830 DTSTAMP:20260417T104536 CREATED:20200710T013136Z LAST-MODIFIED:20220304T181533Z UID:3455-1596240000-1598745599@mccainartgallery.com SUMMARY:Jaye Ouellette DESCRIPTION:Sea Level“By constant observation\, I strive to understand the Ocean’s mysterious magnetism. Water embodies the concept of endlessness\, of complexities repeated from one drop to the vast sea\, so powerful yet so very fragile.  Those fleeting traits impress only on memory. I paint the Ocean as the mind understands it – not a precise recording\, nor the rendering of an impressionist’s flourish\, but something between the two. My work is built around those singular details\, focusing on creating movement and luminosity. My depictions are purely of water\, without land\, sky or scale\, one is lost\, consumed\, ensnared. The paintings capture a slice of time that the ocean will never again replicate. I notice these moments through visceral reflex. These are the elements that move me and compel me to depict the Ocean. I paint the sea itself\, caught in its persistent motion\, a meditative reflection on this ancient body\, at times so violent and other times so serenely beautiful\, that has birthed legend\, tragedy\, life.”\nJaye Ouellette \nSince moving from Toronto to Nova Scotia\, Jaye Ouellette’s work has continued to receive serious acclaim. Most notably Ouellette’s work was selected for the ground breaking exhibition ‘Terroir: A Nova Scotia Survey’ at the Art Gallery of Nova Scotia. \nHer work has been exhibited in Canada\, the US and France. URL:https://mccainartgallery.com/exhibitions/jaye-ouellette/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2020/07/Nykk_16x72-213x46-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20200530T000000 DTEND;TZID=UTC:20200725T000000 DTSTAMP:20260417T104536 CREATED:20200619T002928Z LAST-MODIFIED:20210906T225007Z UID:3324-1590796800-1595635200@mccainartgallery.com SUMMARY:Junctures DESCRIPTION:I-Chun Jenkins\nMaja Padrov\n\n\nSteve Jones\nRalph Simpson\n\n\n\n\nThey share an interest in exploring traditional methods using new materials and innovative approaches. Their individual expressions and explorations overlap in a series of conversations that speak to the specifics of materiality\, methodologies\, ideas of repurposing and transformation. Their common inspiration is nature\, natural materials and contemporary life.  As much as they share in approach\, they equally diverge in practice. Padrov and Simpson find imagery and resources on the forest floor\, while Jenkins finds hers on the floor of her studio.  Jones’ altered skateboards and Padrov’s ceramics exhibit the effect of human strength to shape\, capture and still energy using pre and post-industrial materials\, while in the artful conversation between form and function in Jenkins’ work\, form dominates. \n“I could no longer resist returning after a sojourn as a cafe owner in Fredericton\, to the creative art of weaving. I looked around my studio and saw that what I had a lot of was magazines and so started my exploration of alternative ways of weaving non-textile materials into pieces of art”. I-Chun Jenkins \n“Glaze chemistry is a mix of science and magic. “The complexity of materials that come from the earth\, like fieldspare\, minerals\, metal oxides\, when mixed in different proportions and exposed to the transformative power of fire\, leads to unpredictable results. I have been working with volatile and unpredictable glaze materials trying to achieve lava and lichen like surfaces\, or to produce the trompe l’oeil effect of wrought iron or stone”. Maja Padrov \n“My work has a traditional wood turning feel\, infused with a twist of colour. By removing the original function of the material and repurposing it into a different form\, I am transforming energy. While I strip the old skate decks I can see and feel intensity and the history of the board and its skater. It is an extremely challenging material for traditional woodworking techniques”. Steve Jones \n“It is my innate interest in the natural world that inspires my work. My baskets\, vessels and sculptures arise from a deep curiosity and emergent understanding of my chosen materials.My work varies in style and form but what resonates in all my pieces is the underlying investigation into ways that plant materials can be used to spark interest and insight into the natural world”. Ralph Simpson \n\n \nI-Chun Jenkins\, Chaotic Thought\, May 6\, 2019\, detail Paper \n\n\n \nSteve Jones\, Contours\, 2019 Metal\, recycled skateboard\, found rock\, various woods 2 x 3 feet x 2 inches \n\n\n \nMaja Padrov\, Large Blue Bowl\, 2019 Stoneware\, 7.5 x 15 x 14 inches \n\n\n \nMaja Padrov\, Consecutiveness\, 2020 Stoneware\, 5.5 x 48.5 x 5 inches \n\n\n \nRalph Simpson\, Eco Orbs Mobile\, 2020 Cedar bark\, black ash\, birch bark\, spruce root\, papyrus silk\, waxed linen 36 x 30 inches URL:https://mccainartgallery.com/exhibitions/junctures/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2020/06/20-01-06_0107-213x156-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200208 DTEND;VALUE=DATE:20200315 DTSTAMP:20260417T104536 CREATED:20200115T205231Z LAST-MODIFIED:20210906T224447Z UID:3199-1581120000-1584230399@mccainartgallery.com SUMMARY:Bernard Quintal DESCRIPTION:Rocking on St. Anne’s Bay\, 2019 \nBernard Quintal’s exhibit at The Andrew and Laura McCain Art Gallery from February 8-March 14\, 2020 is a collection of works in watercolour\, exploring the many shapes and colors of rocks\, driftwood\, seashells and vegetation found on maritime beaches. This is done in close-up view using an imaginary\nmagnifying glass.\nThrough his paintings\, the artist wants to inspire the viewer to relive the joy of discovery and appreciate the beauty of our maritime beaches\, to preseve the memory of a pristine beach and to inspire conservation for the future. \n“As a child I was fascinated by the rocks on the Gaspesie and Maritime beaches because they represented treasures for me. I have been fortunate to have experienced clean and healthy beaches. The rugged rocky coasts battered by waves mark the passage of time and I want to paint their history. Rocks are the principal actors in my recent works with honored guests such as driftwood\, seashells and local\nvegetation. I study the shore with an imaginary magnifying glass and the result of my observations is what I want to replicate. I choose to detail my vision meticulously using watercolour as the medium”.\n\n“As I paint the many shapes and colors of my subjects\, I relive the joy of discovery and appreciate the beauty of maritime coastal beaches. Our shores are in peril and I worry about their future. Erosion from storms\, flooding and rising sea\nlevels are constant threats. Plastics pollute our seashores. I hope that my works will motivate cleaning-up and protecting the beauty of our maritime beaches. My contribution as an artist is to preserve a memory of their presence”.\n\nBernard Quintal URL:https://mccainartgallery.com/exhibitions/bernard-quintal/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2020/01/image5-213x168-1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200208 DTEND;VALUE=DATE:20200315 DTSTAMP:20260417T104536 CREATED:20191204T004015Z LAST-MODIFIED:20210910T183125Z UID:3182-1581120000-1584230399@mccainartgallery.com SUMMARY:Amanda Balestreri: New Work DESCRIPTION:Amanda BalestreriClosing celebration of the artist and her work on\nMarch 14\, 2020\, 2 – 4 pm\nThe artist will talk about her work at 2:30 pm.\nWe look forward to seeing you for the first exhibition of the 2020 season. URL:https://mccainartgallery.com/exhibitions/amanda-balestreri-new-work/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/png:https://mccainartgallery.com/wp-content/uploads/2021/09/home-amanda-balestreri.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20191019 DTEND;VALUE=DATE:20191117 DTSTAMP:20260417T104536 CREATED:20190813T031915Z LAST-MODIFIED:20220303T231039Z UID:2986-1571443200-1573948799@mccainartgallery.com SUMMARY:Vicky Lentz DESCRIPTION:Vicky Lentz will speak October 19 at 2:30 pm.Everyone welcome. \nEncountering the art of Vicky Lentz is to engage with work that is sourced from life and nature as much as it is from aesthetic traditions. Ideas of transcendence\, feelings of reverence and an emphasis on process permeate Vicky’s practice. Her approach is exploratory\,  innovative and diverse as she moves fluidly between materials\, mediums and approaches. In her art\, everyday things like pop can tabs\, plastics\, sequins\, bones\, elastics\, and glue are reconfigured through  repetitive actions and accumulation\, transformed from pedestrian trifles to ephemeral surfaces\, agents of light and shadow\, in effect becoming experiences as much as they are objects. \n \nCongratulations\, Vicky!\nVicky Lentz has been named a finalist finalist for the Prix Éloizes- Artist of the Year in Visual Arts for the exhibition\, Deep Listening. \nPosts from Vicky about the exhibition: \nFor the install: James Buxton\, Gilles Pelletier and Stephen Hutchings \nI would like to share the people behind my exhibition\, Deep Listening\, at The Andrew & Laura McCain Gallery in Florenceville\, that is a finalist for the Prix Éloizes- Artist of the Year in Visual Arts.At the hanging of the show\, you see- from left to right- James Buxton\, Gilles Pelletier and Stephen Hutchings. A wood carver\, a knife maker and an important NB painter\, these three made sure that all the pieces made it onto the walls where I wanted them. They were patient\, efficient and kind! A sincere note of appreciation to all three!Je veux partager les personnes derrière mon exposition\, Écoute profonde\, à l”ALMAG à Florenceville\, qui est finaliste pour un Prix Éloizes- Artiste de l’année en arts visuels. A l’installation des oeuvres vous voyez- de gauche à droite- James Buxton\, Gilles Pelletier et Stephen Hutchings. Ces trois-là ont fait un travail formidable! Un gros merci! \nSupport at the ALMAG for the educational programming and school visits. \nContinuing to share the wonderful support that my exhibition\, “Deep Listening”\, had to be a finalist for the Prix Éloizes -Artist of the Year in the Visual Arts. \nThe Andrew & Laura McCain Art Gallery staff and volunteers developed a wonderful educational program around the exhibition and invited children from the local schools to participate. I know that you will understand the importance of their work with the school children. Thank you for introducing my work to the local youth! \nVicky also participated in the Isolated // Together exhibition at the Gallery in 2021. URL:https://mccainartgallery.com/exhibitions/vicky-lentz/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2019/08/Artist-working-on-Stardust.-Stories-from-the-Universe-1-300x297-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190914 DTEND;VALUE=DATE:20191013 DTSTAMP:20260417T104536 CREATED:20190812T225000Z LAST-MODIFIED:20210906T225858Z UID:2983-1568419200-1570924799@mccainartgallery.com SUMMARY:September Exhibition: GARDENS\, BEASTS AND WARRIORS: Anna Torma\, Istvan and David Zsako DESCRIPTION:The artists will speak at 2:30.\nEveryone Welcome URL:https://mccainartgallery.com/exhibitions/september-exhibition-anna-tomra-istvan-zsako-david-zsako/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2019/08/01at06-jardin-du-wiltz1.-160x130cm-180x213-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190810 DTEND;VALUE=DATE:20190908 DTSTAMP:20260417T104536 CREATED:20190812T224533Z LAST-MODIFIED:20211105T222010Z UID:2974-1565395200-1567900799@mccainartgallery.com SUMMARY:August Exhibition: East Gallery Dawn Steeves Structures: An Exploration of Memory DESCRIPTION:Opening 10 August 2019\, 2 – 4 pm\nThis work began in 2017 with a series of line drawings – today the series  includes 233 drawings.\nOut of those investigations Dawn developed this colourful and enigmatic work in watercolour\, drawing and oil on canvas.\nContinually engaged with the rules of painting\, (line\, shape\, form\, composition\, colour and light)\, Dawn explores imaginary yet three dimensional structures\, both architectural and ideological. Over in one corner of the gallery\, a clothes line of oil studies taken from photographs taken by her grandfather of Dawn before the age of two\, remind the viewer of the role memory plays in representational painting. URL:https://mccainartgallery.com/exhibitions/dawn-steeves-exploration-of-memory/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2019/08/4.Church-and-State-2019-36x36-213x211-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190810 DTEND;VALUE=DATE:20190908 DTSTAMP:20260417T104536 CREATED:20190810T200520Z LAST-MODIFIED:20211105T224000Z UID:2956-1565395200-1567900799@mccainartgallery.com SUMMARY:August Exhibition: West Gallery Maria Doering Cells\, Souls and Personalities DESCRIPTION:Opening 10 August 2019\,  2-4 pm\nMaria Doering’s exhibition\, Cells\, Souls and Personalities\, asks many questions… \nWhat would we find if we viewed our personalities\, minds and souls through a microscope? \nWhat does confidence\, ambition or courage look like on a cellular level? \nWhat is the cellular make up of a soul? \nOur body and soul\, together\, make us who we are. If we could visualize the intangible mind and the physical vessel of our bodies\, what would they look like?\nMaria answers these questions in her imaginative\, detailed and lacy linoleum reduction prints. The “Cells\, Souls and Personalities” series of linocuts gives these intangibilities a voice and anchors them in the visible world. URL:https://mccainartgallery.com/exhibitions/maria-doering/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2019/08/Souls2-213x209-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190608 DTEND;VALUE=DATE:20190707 DTSTAMP:20260417T104536 CREATED:20190706T233247Z LAST-MODIFIED:20210903T003106Z UID:2870-1559952000-1562457599@mccainartgallery.com SUMMARY:"Pictus" by Jared Betts plus "The Lost City" by Ian MacEachern DESCRIPTION:Jared Betts\nPictus\n\nHailing from Moncton\, Jared Betts’ expressionist\, gestural paintings provide an immersive sensory experience. His work is included in numerous corporate and private collections in North America\, Europe\, China\, Australia and even Iceland. He has exhibited in over 100 group and solo shows in cultural hotspots such as Paris\, London and New York.\nUsing visual cues as a means of stimulating metaphysical sensation\, Betts confides that his paintings “inhabit the space where consciousness descends into dream… I seek to examine this dream-like suppression of recognizable imagery and capture the visceral sensation that bubbles up from underneath.” \nIan MacEachern\nThe Lost City\n\nRecording life in Canada’s oldest city through more than a thousand images\, photographer Ian MacEachern witnessed the profound transformation of Saint John NB as it was buffeted by the forces of modernization during the 1960s. These photographs display extraordinary power in their honest depictions of fleeting moments and illustrate a certain raw humanity.\nFor a new large-format book\, “The Lost City: Ian MacEachern’s Photographs of Saint John”\, architectural and social historian John Leroux has selected 75 black-and-white photographs drawn from MacEachern’s exceptional archive and has written an accompanying essay that examines the effect of urban renewal on civic architecture\, historic neighbourhoods and community structure. There may be lessons to be learned here. \nThis touring exhibition\, on view through Saturday 6 July 2019 and sponsored by the Beaverbrook Gallery and the Canada Council for the Arts (among others)\, allows photography enthusiasts and community planning pundits alike to view dozens of archival prints that chronicle an urban way of life that has been largely forgotten until now. URL:https://mccainartgallery.com/exhibitions/pictus-by-jared-betts-plus-the-lost-city-by-ian-maceachern/ CATEGORIES:Events,Exhibitions,Past Exhibitions END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20190504T000000 DTEND;TZID=UTC:20190601T000000 DTSTAMP:20260417T104536 CREATED:20190512T233736Z LAST-MODIFIED:20210906T235836Z UID:2819-1556928000-1559347200@mccainartgallery.com SUMMARY:"What The Mirror Doesn't See" by Laura Roy plus "Portraits in Clay" by Alison MacNeil DESCRIPTION:Laura Roy\nUntil June 1st\, the Gallery is presenting imaginative new needle work collectively titled “What the Mirror Doesn’t See” by Laura Roy. This very personal work in textiles and drawing explores the artist’s experience of living with chronic pain and presents poignant embroidered images\, in which each stitch metaphorically mends\, fixes and heals while representing a unique and personal journey. \nAfter graduation from Carleton North High School\, Laura went on to pursue visual art at the Nova Scotia College of Art and Design (now NSCAD University) for a Bachelor of Fine Arts in 2012 and a Certificate in Design in 2016. Currently working primarily as a graphic artist\, she is also a contributing designer and co-organizer of the annual NSCAD Wearable Art Show in Halifax. Her work will be included in the Marion McCain Exhibition of Contemporary Atlantic Art this fall at the Beaverbrook Art Gallery\, Fredericton. \n \nAlison MacNeil\nAlso on view in the Gallery through June 1st is a retrospective presentation of impressive work from sculptor Alison MacNeil\, “Portraits in Clay”. Currently living in Nova Scotia\, Alison has worked and taught internationally. Her art —portraits (including miniatures)\, sculpture\, commemorative medals— has been recognized by important international institutions and galleries from the United Kingdom to British Columbia. Subjects have included Governor General Georges Vanier and author Timothy Findley. \nShe has taught extensively in Europe and Canada and her expertise in using the Bremen Method for sculptural portraits led to the publication of a book on the subject in 1996. A stroke three years ago was a setback for this talented artist but she overcame physical limitations and today works exclusively on miniature clay sculpture or\, as she refers to them\, “handheld” treasures. URL:https://mccainartgallery.com/exhibitions/what-the-mirror-doesnt-see-by-laura-roy-plus-portraits-in-clay-by-alison-macneil/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2019/05/fb_almag_roy-mcneil2-213x161-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20181020 DTEND;VALUE=DATE:20181118 DTSTAMP:20260417T104536 CREATED:20181020T183826Z LAST-MODIFIED:20210907T000238Z UID:2810-1539993600-1542499199@mccainartgallery.com SUMMARY:CONVERSATIONS DESCRIPTION:Craft NB Juried Member Biennale Exhibition\nCurated by Vicky Lentz\nThis exhibition features the work of 21 New Brunswick artists\, each exploring different interpretations of the exhibition title and theme. Conversations is but a small sample of the kinds of dialogue we take part in – between friends\, family\, within ourselves and between the artists and their materials\, the art and the audience. The show features a rich and diverse range of media where the hand works in tandem with the mind. Each and every piece is unique and has its own story to tell. \nsideshow: a conversation with Katrina\, features the work of Katrina Isbill-Floyd\, aka Bella McBride. Katrina is a skilled artisan who accidently found needle felting at a young age and ultimately turned it into her passion in life. URL:https://mccainartgallery.com/exhibitions/conversations/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/png:https://mccainartgallery.com/wp-content/uploads/2018/10/blank.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20180915T103000 DTEND;TZID=UTC:20181013T170000 DTSTAMP:20260417T104536 CREATED:20180918T234629Z LAST-MODIFIED:20210907T000359Z UID:2774-1537007400-1539450000@mccainartgallery.com SUMMARY:CUBA CONTEMPORARY PRINTS DESCRIPTION:Opening 22 September 2018\nArtists Danisbel Abad Lopez and Mauricis Reyes Aranda\nalong with the exhibition curator Robert Van de Peer will be in attendance at the opening. \nThe exhibition Cuba: Contemporary Prints is the result of a creative partnership between artists from Canada and Cuba. The bridging force has been master printmaker Robert Van de Peer. In residence during the summer at Sunbury Shores Arts and Nature Centre’s Printshop in St Andrews\, New Brunswick\, Robert spends the winter in the printshop at the Taller Cultural Luis Diaz Eduardo in Santiago De Cuba. \n“My part-time residence in Cuba over the past six years has given me the opportunity to teach non-toxic techniques in printmaking and form a close relationship with Cuban artists. Cuban printmakers are limited by the availability of materials\, and the most common technique that is used is collagraph\, a print made from a matrix of cardboard and glue. They have refined this process to a fine degree\,” says Van De Peer. He described the Cuban printmakers’ creative ideas as often dream-like\, romantic in many ways\, and having a distinct echo of Africa\, brought to the island through the early slave trade. \nWe are honoured to host this exhibition which\, in itself\, has been a collaborative effort between our sister galleries Sunbury Shores\, the Saint John Art Centre and us. The Cuban printmakers are masters of invention using the materials that are available to them and the results are impressive. \nJennifer Stead\nExecutive Director URL:https://mccainartgallery.com/exhibitions/cuba-contemporary-prints/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mccainartgallery.com/wp-content/uploads/2018/09/Cuban-letter-poster-165x213-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20180915T103000 DTEND;TZID=UTC:20181013T170000 DTSTAMP:20260417T104536 CREATED:20180918T234002Z LAST-MODIFIED:20210907T000524Z UID:2767-1537007400-1539450000@mccainartgallery.com SUMMARY:Thomas Sparling: Grand Manan Watercolours DESCRIPTION:Thomas Sparling will attend the opening on 22 September 2018\, 2-4 pm. \nThomas Sparling’s scenes of the coastal landscapes of Grand Manan Island capture the light\, atmosphere and textures of the island with a bold and assured handling of his brush and paint. A resident of Saint Andrew’s New Brunswick in the warmer seasons\,  Sparling has been painting this landscape for many years and his  strong ties to the region are evident in his art. His close observations of nature are described in watercolour with bold forms\, deep colour and lively mark making which together foreground the abstract nature of representation. URL:https://mccainartgallery.com/exhibitions/thomas-sparling-grand-manan-watercolours/ CATEGORIES:Exhibitions,Past Exhibitions ATTACH;FMTTYPE=image/png:https://mccainartgallery.com/wp-content/uploads/2018/10/blank.png END:VEVENT END:VCALENDAR