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DTSTART;VALUE=DATE:20260718
DTEND;VALUE=DATE:20260823
DTSTAMP:20260826T175931Z
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SUMMARY:OPUS: A Handmade VIllage\, Guest Curator John Leroux
DESCRIPTION:Guest curator John Leroux\, ONB\n\n\n\nJohn has practiced in the fields of art history\, architecture\, visual art\, curation\, and education. He holds a Bachelor of Architecture (McGill)\, a M.A. in Art History (Concordia)\, and a PhD in History (UNB). He has worked at award-winning architecture firms in Canada and the United States\, and has taught at the New Brunswick College of Craft and Design\, the University of New Brunswick\, and St. Thomas University. He has won awards for architectural and public art projects throughout Canada\, and was a team member of Canada’s entry at the 2012 Venice Biennale in Architecture. For many years\, he was chief curator at the Beaverbrook Art Gallery in Fredericton. A passionate advocate for the arts and for architectural conservancy\, John has authored 21 books on architecture and visual culture.He has volunteered on boards dealing with heritage\, health\, technology\, culture\, and homeless housing. He was a personal tour guide to Prince (now King) Charles;been a cast member in four feature film documentaries on New Brunswick architecture and art;and played varsity university lacrosse at the age of 43. Along with his wife Meghan\, he is the father of Tait and Ana. John was awarded the Order of New Brunswick in 2024. \n\n\n\nOpening: Saturday 25 July 2026\, 2:00-4:00 pm\nTour the exhibition with John Leroux starting at 2:30 pm.\nThe early 1970s were a time of deep social and cultural change in New Brunswick. The era witnessed diverging views on what it meant to be a connected citizen\, and how material items held deeper consequence. \nMactaquac became a beacon for this movement\, where a group of young artisans opened one of Canada’s most celebrated cultural enterprises: Opus Craft Village. Fuelled by the growing interest in the handmade and a back-to-the-land spirit\, Opus and its artists are a fascinating tale of a creative destination briefly glowing bright and extinguished far too soon. \n \nIn 1971\, two young potters Allan Crimmins (1943-2020) and Bill Norman (b.1942) opened a studio near Mactaquac\, and were soon joined by American-born glassblower Martin Demaine (b.1942). With audiences hungry for locally handmade objects\, Crimmins devised a full-time craft village based on successful European precedents. A studio campus was built across the road from Mactaquac Provincial Park\, and Opus Craft Village officially opened on June 21\, 1975. New Brunswick Premier Richard Hatfield cut the ceremonial ribbon in front of an enthusiastic crowd of 500 onlookers – his white Bricklin in the parking lot nearby. In addition to Crimmins\, Norman\, and Demaine\, the original Opus craftspeople included Martin’s wife Sue Demaine (wax candles)\, Bill Graff (ceramics)\, David and Barbara Murphy (leatherwork)\, Don Pell (blown glass and ironwork)\, Jane McLellan (wax candles)\, Paddy Ormiston (glass blowing)\, and other apprentices. \nOpus set out to demystify how crafts are made and to promote craftsmanship in the province. Visitors and buyers were welcome to tour the studios and meet the makers in a real workshop setting. Opus positively affected the spirit and harmony of the community\, and attitudes throughout the province incorporated new creative ideas and artistic experimentation. \n \nAt its peak\, Opus Craft Village housed seven craft studios and 25 craftspeople. When Queen Elizabeth visited New Brunswick in 1976\, her official gift from the province was a set of six hand-blown glass goblets made at Opus. But like all good things\, it wouldn’t last. After Opus was sold to a local businessman in 1978-79\, challenges arose between the artists and the new owner\, and the original craftspeople left. By 1983\, Opus Craft Village had closed its doors. \nIt was the end of an era\, as the ensuing decade saw changes in the types of fine craft that appealed to the public. But for the original Opus artisans\, it was a stepping stone to longer careers in craft. Beyond the handmade creativity Opus Craft Village offered\, and its innumerable items that were sent around the world\, perhaps the greatest gift Opus offered was a sharing and an understanding of different ways of living and creating. \n______________________________________________________ \n20 July 2026 \nHi Jennifer\, \nThis is wonderful news. Opus craft village was a wonderful adventure. We built the village and created wonderful art and craft. We learned we\ncould make any dream come true. \nOne story that comes to mind is that the three principals\, Bill Norman\, Alan Crimmins\, and I\, didn’t want to waste time in meetings. So we decided\nanyone could make a decision for Opus Craft Village. We discovered that our decisions were very carefully made and likely better this way. We\nwanted to spend time creating. \nAn extreme example of this was the checking account which required 2 signatures on each check. We practiced each others signatures so one person could sign both names. If two of us were available at the same time to sign a check\, we would not sign our own names. We would sign each others name with a smile. \nI remember Alan bought a woodlot\, and the three of us would go and cut down trees to go to the sawmill to be used in Opus. We found an architect from\nMontreal who was travelling through. He was excited about being part of crew constructing the buildings. It was a family atmosphere. \nI am currently in San Diego and unable to come to the gallery. \nThe images you sent look fantastic. \nBest\, \nMartin Demaine
URL:https://mccainartgallery.com/exhibitions/opus-a-handmade-village-guest-curator-john-leroux-2/
CATEGORIES:Exhibitions,Upcoming Exhibitions
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DTSTART;VALUE=DATE:20260214
DTEND;VALUE=DATE:20260322
DTSTAMP:20260328T192934Z
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SUMMARY:Sarah Petite\, The Line is the Canon
DESCRIPTION:“In 2015\, for the second time in my long practice\, I became impatient with the eternal rectangle. I began experimenting with shapes\, cut from plywood and intruded with meandering jigsaw ‘lines’. Everything the jigsaw does is like a line that can’t ever be erased. It’s the given\, the canon. The paint has to answer to it.\n\nA shape in my head becomes a sketch\, becomes a plywood cutout\, becomes a photograph\, becomes a more precise sketch\, printed out\, for plotting the painting – which sometimes takes a few days before I pounce. Gazing at the beautiful shape. The paint – its colours\, how it is applied\, how its expression responds to the shape\, is the project. \nIt’s true\, my paintings are about encaustic paint\, they reflect my fascination with its virtuosity\, and the beauty and richness to be found in its effects. The process itself is what has kept me loyal to this medium for many years.” Sarah Petite \nFor a YouTube introduction to Sarah\, Click Here \nBorn Pennsylvania\, U.S.A.\, Sarah grew up near Boston and then settled in Canada\, receiving Canadian citizenship in 1971. Sarah attended the Nova Scotia College of Art And Design\, graduating with a BFA in Painting and in 1985 she studied Art History (early Christian\, 12th century European\, 16th century Italian architecture)\, at the University of East Anglia\, Norwich\, England. Sarah is represented at Gallery on Queen\, Fredericton and is in major public and private collections in Canada. Having lived in various parts of Canada\, Singapore\, Italy\, and England\, she currently splits her time between Port Maitland\, Nova Scotia and Fredericton NB. \nSarah began encaustic painting\, and was largely self-taught. She won the Marie Hélène Allain Fellowship Award from the Sheila Hugh MacKay Foundation in 2022 for her encaustic work. As part of its mandate to promote the visual arts in New Brunswick\, the SHMF recognises the accomplishments of mid-career New Brunswick artists who are engaged in the exploration and deepening of their creative endeavour. The jury was convinced by the accomplishments and perseverance Sarah demonstrates in discovering new directions through considered engagement with her materials and process\, revealing a practice that contributes to and is in discourse with modernist painting traditions. \nYour Content Goes Here \n“With encaustic\, ‘hot’\, or melted\, means ‘wet’. Beeswax and pigment are combined in a small can (tomato paste\, actually)\, melted down and dipped into. I use natural-bristle brushes whose long handles have been sawn off\, to allow them to stand ready in the paint without tipping the can over. The paint stays ‘wet’ for about ten seconds\, after which I must dip again\, or may begin to cut and sculpt\, using a variety of tools. The heat gun allows me to re-melt the paint right on the panel\, making for textural enhancements like troweling\, stippling or puddling”. Sarah Petite
URL:https://mccainartgallery.com/exhibitions/sarah-petite-the-line-is-the-canon/
CATEGORIES:Exhibitions,Gallery Calendar,Past Exhibitions,Upcoming Exhibitions
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DTSTART;VALUE=DATE:20250426
DTEND;VALUE=DATE:20250525
DTSTAMP:20251114T144838Z
CREATED:20250424T170522Z
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SUMMARY:"Shared Landscapes" By Diana Baldwin plus "Knock Knock and Other Prints" By Natt Cann
DESCRIPTION:Shared Landscapes by Diana Baldwin\nDiana Baldwin is a printmaker working from her home studio in Port Williams\, Nova Scotia\, Canada. She was introduced to printmaking by The Mahone Bay Printmakers. With the Guidance of Ed Porter\, Professor Emeritus NCCADU\, etching became her main focus and passion. \n \nKnock Knock and Other Prints by Natt Cann\nNatt Cann is a Canadian visual artist whose projects of print hone upon the haunting of lands – ideologies and industries keeping afloat Canadian notions of colonial heritage and their degradations. Natt’s aim is to share Atlantic centric discussions of commorancy\, climate\, and past snuffed economic aspirations amidst the celebrations of current peoples\, politics\, and newfound practices. \n“I am a printmaker focusing primarily on etching. My subject matter includes still lifes and landscapes. \nI have a particular interest in how landscapes are affected by the changing seasons and the passage of time. Agricultural and manmade patterns on the land are also fascinating to me. On my daily walks\, bike rides\, or time spent gazing out the window\, my attention will often be caught by a snatch of colour\, interesting pattern\, or texture. This becomes inspiration for future projects. \nI enjoy the etching process and the many steps it takes to get the finished print. It gives me time to settle in and think about how I will achieve the end result. It also allows for the possibility of experimentation. I am constantly learning how this process can be adapted to aid in the interpretation of my ideas. \nI find myself excited by what is offered by the blank plate at the beginning of a project. There is always hope and expectation at what will come off the press at the end of the journey.” \n-Diana Baldwin \n \n \n \n“Knock Knock continues my interests as an ongoing explorative series into the 21st-century capitalist rental system\, an admission that many will never own a house\, a stark reminder of the loss of architectural heritage\, and the urgent need to address the housing crisis. The body of work is a collection of primarily Atlantic doors\, impressionable Victorian brownstone and Gothic Revival abodes captured in lens based means and mono-printed through photochemical transfers. Their texture and design imparts a sense that they are vanishing in favour of their replacements\, undeniably featureless podium developments designed for those who can’t yet afford them. \nYet\, amidst the seriousness of the art’s statement\, a pleasantness and authenticity stands bold amongst the collection. The colour and variation of the nearly 200 and growing mono-prints\, bring to the audience the nostalgia of home on the east coast and what it means to own or not own a house in today’s world.” \n-Natt Cann
URL:https://mccainartgallery.com/exhibitions/shared-landscapes-by-diana-baldwin-plus-knock-knock-and-other-prints-by-natt-cann/
LOCATION:Andrew & Laura McCain Art Gallery\, 8 McCain Street\, Florenceville-Bristol\, New Brunswick\, E7L 3H6\, Canada
CATEGORIES:Exhibitions,Past Exhibitions,Upcoming Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220903
DTEND;VALUE=DATE:20221002
DTSTAMP:20220804T184227Z
CREATED:20220802T144442Z
LAST-MODIFIED:20220804T184227Z
UID:5575-1662163200-1664668799@mccainartgallery.com
SUMMARY:Miniature Worlds - Sara Brinkhurst
DESCRIPTION:What is the fascination with the world of miniatures? There is something so compelling about tiny objects – not just the skill involved in making something so small and detailed\, but the complete uselessness of them determines them as objects of desire for purely ornamental reasons. The possibility to make or own a tiny piece of furniture or art that we would never normally have room for\, or possibly afford\, allows us to create our own perfect worlds. Worlds that can be packed up and fit in one box! \nAfter retiring in 2021\, I revisited an old hobby. Exploring and unpacking boxes of minis that I had collected over the years brought back a rush of desire to start creating again. These pieces are the results of explorations into different scales and effects\, ranging from 1:12 to 1:144 (a dollhouse for a dolls house). Some contain a mixture of made and bought items (many of which have been adapted); others contain all original items made by my own hand using wood\, metals\, fabrics\, clays\, paint and a lot of glue! \n\n \n\nSara Brinkhurst\nBorn in England\, Sara graduated from the University College for the Creative Arts in Kent. She won several competitions and awards before graduating with a BA First Class Honours in Silver/Gold Smithing and Jewellery Design in 2007. \nShe emigrated to Canada in 2008\, where she has continued to explore creative pursuits. These include working in precious metals\, theatre costume design and making\, writing and anything else that involves research and hand skills. After retiring as Director of Sunbury Shores Arts & Nature Centre in 2021\, she revisited a life-long passion for miniatures. Inspiration to finish some old projects quickly led to the creation of several new explorations in the world of mini. Sara is a Juried Member of the Nova Scotia Designer Crafts Council and Craft New Brunswick. \nArtist Statement\nMy journey through the mini world started when I was around 10. I loved finding small objects and turning them into something else\, and could spend hours making little pieces of furniture or accessories – from toothpaste cap vases\, to string-framed paintings\, to toothpick and jam jar lid tables. I have always enjoyed researching history around furnishings\, clothing\, household objects and living styles. As an adult\, a degree in jewellery design and making vastly improved my hand skills. Finally all these elements have come together to allow me to create and build as I have always been driven too. The focus required to work at this scale is all engrossing and addictive. For me\, it is playing at its finest – and an escape to fascinating little worlds where anything can happen.
URL:https://mccainartgallery.com/exhibitions/small-worlds-sara-brinkhurst/
CATEGORIES:Exhibitions,Upcoming Exhibitions
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