Andrew and Laura McCain Art Gallery

Kids Saturday Art Class
2020-10-24 10:00 - 2020-11-21 12:00 UTC
5 week Kids Art Class
Saturdays 10:00am – noon
October 24, 2020 – November 21, 2020
for children from Grade 4 – 8
@ the River Art Centre.

Artist Suzanne Hansen will lead
a fun and relaxed art class, introducing students
to a new artist each week.
Students will explore different materials, techniques and styles
while building skills and understanding.
The class will visit the Gallery to see the Art of the Book exhibition.

$75 , all materials included.
Call the Gallery to register @ 392-6769
Space is limited so register early

Art of The Book 2018 in 2020
2020-10-17 10:30 - 2020-11-14 17:00
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.
The 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.
Many 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.
Jerene Lane: The Fisher’s Boy
Embossed footprints and rolling waves complement Jerene Lane’s celebrated calligraphy of Henry David Thoreau’s poem “The Fisher’s Boy”:
“My life is like a stroll upon the beach,
⁠As near the ocean’s edge as I can go;
My tardy steps its waves sometimes o’erreach,
⁠Sometimes I stay to let them overflow.
My sole employment ’tis, and scrupulous care,
⁠To place my gains beyond the reach of tides,
Each smoother pebble, and each shell more rare,
⁠Which Ocean kindly to my hand confides.
I have but few companions on the shore:
⁠They scorn the strand who sail upon the sea;
Yet oft I think the ocean they’ve sailed o’er
⁠Is deeper known upon the strand to me.
The middle sea contains no crimson dulse,
⁠Its deeper waves cast up no pearls to view;
Along the shore my hand is on its pulse,
⁠And I converse with many a shipwrecked crew.”1

Fall Workshops @ the RAC
2020-10-01 - 2020-11-30
October through December Programmes
Children’s Art Classes with instructor Susanne Hansen
October 24 – November 21, 2020, 120:00 am – noon, Children grades 4 – 8.

Craft a Japanese style paper box with instructor Meg Clark
October 30, 6:30 – 8:30 pm & October 31, 1:30 – 3:30 pm

Craft a paper photograph album for that seocial collection with instructor Meg Clark
November 7, 1:30 – 3:30 pm
For further information go to Programmes.

Beginners Carving with James Buxton: Carve a Chipmunk
November 20, 6:00 -8:30 pm & November 21, 1:30 – 4:30 pm
For further information go to Programmes page.

Friday Afternoonn Carving Class
This on-going class for experienced carvers meets regularily once a week on Friday afternoons.
With only four participants, there is lots of help and guidance available as needed for the students to develop their skills and work on self directed projects. There is currently one space available.

With thanks to the Carleton North Commmunity Foundation for their support for the visual arts programming at the Gallery
The Carleton North Community Foundation was launched in 2008 with a $2-million donation from The McCain Foundation as part of the celebrations marking the 50th anniversary of McCain Foods. The Foundation supports a variety of eligible organizations under categories such as Arts & Culture, Education, Beautification, Economic Development, Recreation, Health & Wellness and Environment. For more information visit the website at http://cncfdn.ca/

Roy Tibbits, 2000-2020: A Watercolourist's Perspective
2020-09-05 - 2020-10-10
“I paint what I see.
Rust and decay are my forte.” – Roy Tibbits
The 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.
Carleton 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.
Roy, 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.

“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.”
It 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.

Tibbits’ 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.
Exhibitions
2004 – 2008 Federation of Canadian Artists Juried exhibitions, Vancouver
2008 Andrew & Laura McCain Art Gallery, Florenceville-Bristol, NB
2014 – 2017 Thompson Nicola Shuswap Juried Exhibition, Kamloops, BC
2015 Gainsborough Gallery, Calgary, AB

Awards
1994 Second Place Winner at the Atlantic National Exhibition, Saint John New Brunswick
2016 S.J. Sloan Award, Open Water Exhibition presented by the Canadian Painters in Watercolour
2018 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
Painters in Watercolour
2018 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.

Hooked Rugs
2020-08-01 08:00 - 2020-08-29 17:00
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.
In 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.
Very 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.
There 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.
Unlike 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.
In 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.
Pattern 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.
The Canadian Encyclopedia, Max Allen, Rugs and Rug Making
National Guild of Pearl McGowan Hookcrafters

Lucie Quintal, Graffiti, 2020
“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.
The squares were left behind. Circles started to appear. Colours came out. Somehow, life became colorful again. Hope and continuity prevailed.
Graffiti is mixed fibres, mixed emotions, a symbiosis between life and death, ultimately being one with the world.” Lucie Quintal

Charline Collette, Hit and Miss Mat, 2020

Mary Grant, Duchess of York, 2014

Caroline Simpson, Hydrangea and wasp, 2019
“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

Ellen Gould Sullivan, Ellen B., 1907-1994
Beaverbrook Art Gallery, gift of Susan A. Murray

Christine Helen Irving, Horse, ~ 1920
The 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

Jaye Ouellette
2020-08-01 - 2020-08-29
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.”
Jaye Ouellette
Since 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.
Her work has been exhibited in Canada, the US and France.

Kids Art Camp II:Ages 6-8
2020-07-31 10:30 - 2020-08-01 12:00
SORRY, BOTH CAMPS SOLD OUT

Looking for a camp for your child?
Try the Card Board Mask Camp. It’s a fun art project that gets young artists working in 2 and 3 dimensions and is suitable for all ages.
August 25, 1 – 3 pm.

Junctures
2020-05-30 00:00 - 2020-07-25 00:00
I-Chun Jenkins
Maja Padrov

Steve Jones
Ralph Simpson

They 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.
“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
“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
“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
“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

I-Chun Jenkins, Chaotic Thought, May 6, 2019, detail Paper

Steve Jones, Contours, 2019 Metal, recycled skateboard, found rock, various woods 2 x 3 feet x 2 inches

Maja Padrov, Large Blue Bowl, 2019 Stoneware, 7.5 x 15 x 14 inches

Maja Padrov, Consecutiveness, 2020 Stoneware, 5.5 x 48.5 x 5 inches

Ralph Simpson, Eco Orbs Mobile, 2020 Cedar bark, black ash, birch bark, spruce root, papyrus silk, waxed linen 36 x 30 inches

Bernard Quintal
2020-02-08 - 2020-03-14
Rocking on St. Anne’s Bay, 2019
Bernard 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
magnifying glass.
Through 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.
“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
vegetation. 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”.

“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
levels 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”.

Bernard Quintal

Amanda Balestreri: New Work
2020-02-08 - 2020-03-14
Amanda BalestreriClosing celebration of the artist and her work on
March 14, 2020, 2 – 4 pm
The artist will talk about her work at 2:30 pm.
We look forward to seeing you for the first exhibition of the 2020 season.

Vicky Lentz
2019-10-19 - 2019-11-16
Vicky Lentz will speak October 19 at 2:30 pm.Everyone welcome.
Encountering 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.

Congratulations, Vicky!
Vicky Lentz has been named a finalist finalist for the Prix Éloizes- Artist of the Year in Visual Arts for the exhibition, Deep Listening.
Posts from Vicky about the exhibition:
For the install: James Buxton, Gilles Pelletier and Stephen Hutchings
I 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!
Support at the ALMAG for the educational programming and school visits.
Continuing 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.
The 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!
Vicky also participated in the Isolated // Together exhibition at the Gallery in 2021.

Buttermilk Creek 2019
2019-09-14 09:00 - 14:00
Vendors: For more information please contact the Gallery
by phone at 506-392-6769 or email info@mccainartgallery.com
COLOUR RUN
starts @ 9 AM
Register @ the
McCain Barn
starting @ 8:30 am

September Exhibition: GARDENS, BEASTS AND WARRIORS: Anna Torma, Istvan and David Zsako
2019-09-14 - 2019-10-12
The artists will speak at 2:30.
Everyone Welcome

August Exhibition: East Gallery Dawn Steeves Structures: An Exploration of Memory
2019-08-10 - 2019-09-07
Opening 10 August 2019, 2 – 4 pm
This work began in 2017 with a series of line drawings – today the series includes 233 drawings.
Out of those investigations Dawn developed this colourful and enigmatic work in watercolour, drawing and oil on canvas.
Continually 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.

August Exhibition: West Gallery Maria Doering Cells, Souls and Personalities
2019-08-10 - 2019-09-07
Opening 10 August 2019, 2-4 pm
Maria Doering’s exhibition, Cells, Souls and Personalities, asks many questions…
What would we find if we viewed our personalities, minds and souls through a microscope?
What does confidence, ambition or courage look like on a cellular level?
What is the cellular make up of a soul?
Our 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?
Maria 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.

Still and Not So Still by Francine Martin plus Daily Offerings by Charline Collette
2019-07-13 - 2019-08-03
This exhibition opens Saturday 13 July 2019 with a reception from 2-4pm; on view through 3 August 2019.

Charline Collette
Daily Offerings
Didn’t your mother used to hook? Rug-hooking is deeply set in the memory of most of New Brunswickers but these days adventurous fibre artists are using rug-hooking as a means of expression while remaining true to their roots.
ArtsNB has commented that “Some artists mix different materials and techniques and others like Charline Collette perpetuate the glorious tradition of figurative work.” With large-scale and sculptural pieces in this body of work, Colette uses an abstract approach, exploring the separation between the hooked surface and the images that are placed on them.
“I highlight domesticity and, by extension, society,” she says. “In the last two years, I have been challenging the perception of what rug-hooking is by changing the scale and materials.” Her themes are explored in different forms, whether by digital projection or paint on hooked panels, sculptural forms or dimensionally hooked pieces.

Francine Martin
Still and Not So Still
Francine Martin is from Edmunston NB and is a relative late-comer to the professional art scene. However, since her retirement from teaching in 2015, she has rapidly become recognized for her creative use of an Old Masters style known as chiaroscuro (kee·aa·ruh·skyur·ow) referring to the use of bold contrast between light and dark. Think classic works by artists like Rembrandt, da Vinci and Caravaggio.
Martin admits to a bit of a double personality due to growing up with a twin sister. She says it “defines my personality and is reflected in my work through the use of light and dark… I use the chiaroscuro technique in my still-life and landscape paintings, limiting my colour palette which is mainly greys with a touch of more vibrant colour. In these nuances I find a reflection of my personality that I seek to express.”
In a very short timespan, her work has been shown up and down the St John River Valley from the Banville-Pérusse Gallery in Edmundston to the Acanthus Gallery in Grand Falls and the Handworks Gallery in Saint John. Last year, she was selected for Making Waves, a fine art and craft show on Ministers Island near St Andrews.
Upcoming exhibitions
10 August-7 SeptemberDawn Steeves, paintingsMaria Doering, prints
14 September-12 OctoberA family group show with Anna Torma, David Zsako and Istvan Zsako: textile, sculpture, photography
19 October-16 November
Vicky Lentz, sculpture, painting, installation

"Pictus" by Jared Betts plus "The Lost City" by Ian MacEachern
2019-06-08 - 2019-07-06
Jared Betts
Pictus

Hailing 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.
Using 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.”
Ian MacEachern
The Lost City

Recording 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.
For 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.
This 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.

"What The Mirror Doesn't See" by Laura Roy plus "Portraits in Clay" by Alison MacNeil
2019-05-04 00:00 - 2019-06-01 00:00
Laura Roy
Until 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.
After 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.

Alison MacNeil
Also 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.
She 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.

CONVERSATIONS
2018-10-20 - 2018-11-17
Craft NB Juried Member Biennale Exhibition
Curated by Vicky Lentz
This 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.
sideshow: 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.

CUBA CONTEMPORARY PRINTS
2018-09-15 10:30 - 2018-10-13 17:00
Opening 22 September 2018
Artists Danisbel Abad Lopez and Mauricis Reyes Aranda
along with the exhibition curator Robert Van de Peer will be in attendance at the opening.
The 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.
“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.
We 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.
Jennifer Stead
Executive Director

Thomas Sparling: Grand Manan Watercolours
2018-09-15 10:30 - 2018-10-13 17:00
Thomas Sparling will attend the opening on 22 September 2018, 2-4 pm.
Thomas 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.

NB Art Bank 2017-2018 Acquisitions
2018-08-11 08:00 - 2018-09-08 17:00
Every year the Province of New Brunswick acquires art from contemporary, practicing artists in New Brunswick to build the provincial collection.
Join us this year starting August 11, 2018 to discover artists from all over the province and see what they have been working on in their studios.
Opening August 11, 2018, 2-4 pm.
“It was an affirming and insightful experience to work with the other jurors toward this selection of new works for the NB Art Bank. It was a challenging task, as there were many strong submissions to consider. Our final choices reflect a significant amount of discussion and rigorous debate, and are a testament to the high level of expertise in the arts in New Brunswick”
Janice Wright Cheney, juror.
“Building the Art Bank collection is an important activity for the arts within the province; it is an archive of creative history of which we can all be proud of”
Linda Rae Dornan, juror

Side Show: William Forrestall - Recycled and Reused
2018-07-07 10:30 - 2018-08-04 17:00
Opening 7 July 2018, 2-4 pm
The July 2018 Side Show features two of William Forrestall’s unique kinetic sculptures developed within the format of working peddle cars.
Forrestall has developed his own unique approach to exploring kinetic aesthetics and intuitive structures developed from recycled materials. His cars are made from recycled and reused materials including off-cuts, recycled bicycle parts, old chairs, construction materials and anything else that can be put to use.
From the work of Los Angles based Chris Burden’s creation of his B car, Don Potts purely aesthetic yet functional vehicles to the 2007 Sobeys Award winner Michel de Broin’s transformation of a standard car to a human powered vehicle, the art world offers many examples of artists exploring the potential of functional vehicles as an art form.
William Forrestall will be giving a kinetic car summer art camp for ages 8 – 88 at the River Art Centre Studios to encourage a wider community involvement and exploration of the vehicle motif. Please call the Gallery to register for the class which runs August 7 – 10, 2018. Spaces are limited.

Terry Perkins: A Retrospective
2018-07-07 10:30 - 2018-08-04 17:00
Opening 7 July 2018, 2-4 pm
Sponsors for the exhibition include:
Carleton County Toy Run, Carleton Enterprises, Catherine and Paul Giberson, Alden Henderson
John Lang, Philip Lang, Langs Lodge, Outback Joe’s, Ann Marie, Nicole and Jason Perkins
Terry Perkins’ art evolved and changed over the years, but the consistent theme that is evident throughout this exhibition is his love for the landscape, heritage and life as he knew it in Carleton County, New Brunswick. He lived and worked in Florenceville-Bristol and is well know in the community as the artist who painted the mural which hung outside the co-op for over 20 years. He attended George Brown college in Toronto in the early 1980s to learn the art of sign painting and maintained a studio practice throughout his adult life. His interests and styles developed and changed over the years and the gallery is fortunate to be able to include his first painting and drawing, as well as the last painting, River, which was literally taken from his easel for the exhibition. Terry was a motor cycle enthusiast and as president of the Toy Run he painted many bikes and helmets for other bikers over the years. Included in the exhibition is one of his air brushed gas tanks and some studies that he used to paint his fellow bikers’ bikes.

A year with Art: The 2018 Student Showcase
2018-06-16 10:30 - 2018-07-01 17:00
Featuring art by students from
FES, FMS, CCS
and recent CNHS graduates
Amy Swim and Emma Connors
Amy and Emma will be pursuing studies in visual art at Mount Alison University and the New Brunswick College of Craft and Design in September 2018
“Closing” Reception
on Sunday July 1 @ 2:30 pm

The Andrew & Laura McCain Art Gallery and The Beaverbrook Art Gallery present Thaddeus Holownia Tantramar Revisited Revisited
2018-04-28 - 2018-05-26
Opening April 28, 2-4 pm
Artist talk at 4 pm
Everyone welcome
Tantramar Revisited Revisited examines some of Holownia’s favourite subjects to which he returns repeatedly, sometimes over decades, recording various landscapes and architecture of New Brunswick. Holownia’s very personal, acute vision chronicles the interrelated relationships he observes, how the land reveals its history and how time and human events affect change. Through serial observations and sustained interest, Holownia creates images of timelessness and transience, things that renew themselves and things that don’t, all together giving us an opportunity to see the familiar become new again.
With thanks to New Brunswick Department of Heritage, Culture and Tourism

Conservation on Canvas: Paintings by Mike McEwing
2018-03-17 08:00 - 2018-04-21 17:00
Artist talk 24 March, 2018
2:30 – 4:00 pm

Side Show: Colette Laliberte Feb 3 to Mar 10, 2018
2018-02-03 08:00 - 2018-03-11 17:00
Colette Laliberté – Statement
Shedding Memories | Des hangars dans le temps
The drawings reference the rectangular, decaying sheds found in Duntara, a remote Newfoundland out port located on the coast at Bonavista Bay. The drawings, with their ghostly feel and their softness of line, are positioned strategically on the large sheets of drawing paper.
In Duntara’s better days, it was an active fishing outport; now it consists of only twenty-four people, down from forty-six in 2011. With the decline of the cod stocks, few people are fishing. Abandoned, windswept fishers’ sheds and century old houses lay scattered around the bay. Most of them may be gone in a year or two.
These graphite pencil, ink, and gouache drawings were made during the course of a two-week residency at 2 Rooms Artist Residency. While the drawings may, at first glance, seem to be simply sophisticated doodles, upon further observation a structure emerges that combines history and memory into a deft and intricate mosaic of lines.
Weaving together the past, the present and the future, these sites belong to a soon-to-be-forgotten history as well as to a framework of places that are yet to become.
Colette Laliberté

New Brunswick Art Bank Aboriginal Acquisitions Exhibition Acquisitions Autochtones 2017 Banque d’oeuvres d’art du Nouveau-Brunswick
2018-02-03 - 2018-03-10
Tara Audibert, Importance of Dreaming Still: Log Pan, 2017,
L’importance de rever, 2017, Photographie panoramique
Tara Audibert, Edward Bear, Angela Beek, Kim and G Wayne Brooks, Francine Francis, Tim Hogan, Liz Kain
Belinda Levi, Mary Mersereau, Cindy Narvey, James Narvey, Austin Paul, Sarah Sacobie, Vienna Sanipass
Sgoagani Wecenisqon, Pauline Young

Side Show: Monique Bujold-Brown
2017-11-17 - 2017-12-16
Using the experimental and creative process of Raku Firing, Monique’s ceramics are inspired by the landscapes of New Brunswick. The shapes and forms of the trees inspire the designs of her boxes while her interest in exploring fish is rooted in her childhood as a fisherman’s daughter on the Bay de Chaleurs.
From the Artist
Humble Evocative Raku
Why clay? How can I make it reflect who I am? How far can I go with it? We all have a need to speak, to
convey how we view the world. How can I make this mud express who I am?
Western raku firing has become my favorite method of exploring my artistic voice. This style calls for
experimentation and creativity. And it involves playing with open flames which I love!
In the summer of 2004, I took my first raku class at the Sunbury Shores Art and Nature Center in Saint
Andrew NB with Peter Thomas. That was it! I was hooked from then on to this type of pottery. The
complexity and yet simple, impressive results of this genre is the best way I have of expressing my inner
persona.
My incentive to go ahead with a body of work comes from a variety of inspiration and impulse. The idea
can be from admiring someone else’s work, it can be from a sense of awe felt in front of beautiful
scenery, or it can be from a sense of inner peace, of happiness and joy for whatever reason. All of these
influences have played their part in this work of raku fired ceramic pieces.
The ‘eggs’ came from much experimentation after seeing Evelyne Shoenmann’s work, a ceramist from
Switzerland. Her raku pieces are a subtle balance between obscurity and simplicity, Wabi-Sabi, a
harmony I’m in constant torment of achieving.
For the Tree Boxes, the beauty of our Maritime Provinces is my inspiration. The long drives taken to
reach other parts in the Maritimes from my home in northern New Brunswick are the perfect occasion
to replenish my inspiration. I find the pristine outlines of the magnificent pines and spruce the most
compelling of all.
The colored boxes result from a poem titled ‘Colors’ written for me by my husband. His verses led me to
create different extruded boxes of different colors each with the corresponding verses written inside.
The fish theme is rooted in my happy childhood raised as a fisherman’s daughter on the Baie des
Chaleurs. This was a time when there was no concern for marine life’s present precarious state due to
global warming and pollution. For me, fishes impart a sense of vitality, a zest for life, a giddy sense of
quirkiness. My fishes are my way of stirring awareness for the underwater realm.
The chawans, Japanese tea bowl, are part of my never ending quest to achieve this commanding humble
form.
Working with mud is imparting the outcome the shape of my soul.
Monique Bujold-Brown
