Amalie Atkins is a multidisciplinary artist whose work hop-scotches from filmmaking to fabric-based sculpture to performance. Atkins currently lives and works in Saskatoon. Her work has been exhibited nationally and internationally.
She has had recent solo shows at Southern Alberta Art Gallery in Lethbridge AB, The MacKenzie Art Gallery in Regina SK, and Elora ON (review in Canadian Art). She has been part of group shows in North Adams MA, London UK, Winnipeg, Saskatoon among numerous other cities. She was a Sobey long list candidate in 2012 and 2013. Her Three Minute Miracle installation will be appearing at Moving Image in New York March 3-6, 2016 with Dc3 Gallery.
Jessica Bell completed her MFA at the University of Ottawa. during her studies she was shortlisted for the the RBC painting competition in 2013 and again in 2015.
Bell wades through expansive perspectives and approaches to formal abstraction as well as her personal history to domestic craft, engaging questions of privilege, permanence and visibility.
Bell has had exhibitions at Art Mur in Montreal, Initial Gallery in Vancouver and Karsh-Mason Gallery in Ottawa as well as the Ottawa Art Gallery.
Bell has become widely known for her numerous art collaborations with Vancouver based fashion retailer Aritzia where a line of clothing bears her name. She has recently received a BC Arts Council Grant, and was artist-in-residence at Mass MOCA in 2016.
Truth-teller, 2017, Lap quilt; laundered and quilted muslin, 60 x 50 inches | 152 x 127 cm
The Other Side of the Face, 2017, Double quilt; laundered and quilted painting on muslin, 94 x 84 inches | 239 x 213 cm
One foot in front of the other, 2017, Painting on muslin, thread; double-sided , Irregular, approximately 72 x 300 inches | 183 x 762 cm
Effort (assorted), 2016, Ink and acrylic on muslin, thread, poly-pellets,30 pieces; 2 x 2 x assorted lengths up to 103 inches | 5 x 5 x varying lengths up to 262 cm
Peacemaker, 2017, Laundered, quilted and stretched painting on muslin, 60 x 36 inches | 152 x 91 cm
Effort 1, 2, 3 (yellow) 2016, Ink and acrylic on muslin, thread, poly-pellets, 3 pieces; 2 x 2 x 61, 92 and 132 inches respectively | 5 x 5 x 155, 234 and 335 cm respectively
necessaryobjects (2014), Series of 10, Chalkboard and spray paint on paper, 38 x 50 inches each (unframed measurement)
Three Days (2015), Ink on muslin, 63 X 252 inches, orientation variable
Gulliver (2015), Series of 14, Painted paper fragment, button thread and Belgian linen on stretcher, 18 x 24 inches each
Craig Leonard is an artist and teacher at NSCAD University. He was Canada Council artist-in-residence at Acme studios in London UK in 2012-13. His solo exhibitions include Mercer Union and A Space (Toronto), WWTWO (Montreal), AXE NÉO7 (Hull), Silke Puu (Vancouver) and Anarch (London, UK), with group exhibitions nationally and internationally.
Shaken Antlers, 2015. One of series of 24 unique cork panels, framed.
Shaken Antlers, 2015
Shaken Antlers, installation
Untitled (Kurzschluss) Partial View, 2013
(Sold) Tar, from the series Tarzan of the Tar Sands, Ink Jet Print, 2013
For "Tar", Leonard has set the price of the piece to reflect the market influences on the price of oil. The price will be calculated based on the average price per litre of gas in Canada multiplied by the number of litres of gas in a barrel of oil (160) and again multiplied by the estimated percent (2013) that Canada is above its 1990 greenhouse gas emissions (1.303).
The Desire Line, 2015
Kevin Rodgers is an artist whose varied practice examines the tensions between withdrawal (physical, spiritual, political, aesthetic) and action. He has exhibited his work widely, and collaborated with diverse artists such as Marilou Lemmens and Richard Ibghy, Cynthia Girard and Robin Collyer. He has also curated three exhibitions: With You and Others (2016), THE FOX (2011) and IF DESTROYED... (2010). In 2014 and 2015, Rodgers completed residencies at FLACC (Genk, Belgium) and at Komplot (Brussels, Belgium), and in 2016 participated in a two-month residency at the Nida Art Colony (Lithuania). Kevin Rodgers currently lives in Kingston, Ontario.
Frank Shebageget (Ojibway) is from northwestern Ontario, and currently resides in Ottawa. As an installation artist, his work reflects his continued interest in the geography of the Canadian Shield and the aesthetic qualities of everyday materials. Through the use of repetition, he explores the tense relationships between production, consumption, and the economics of beauty, often by playing with the incongruity of mass production versus the handcrafted object.
Shebageget graduated with his A.O.C.A. from the Ontario College of Art in 1996, and received his Master of Fine Arts degree from the University of Victoria in 2000. He has participated in the group exhibitions RED EYE, Art Gallery of Calgary, Calgary AB (2007); Making Sense of Things, McMaster Museum, Hamilton/C.N. Gorman Museum, Davis, CA (2006); Kosmos, Ottawa Art Gallery, Ottawa (2006); Au fils de mes jours (In My Lifetime), Musee de Quebec, Quebec City (2005); Dezhan Ejan, Canadian Embassy, Washington, DC (2004); Remote Access, A Space Gallery, Toronto (2004); 3, Ottawa Art Gallery, Ottawa (2003). Solo exhibitions include: Quantification, Tribe Artist Run Centre, Saskatoon (2003), and Home Made, Gallery 101, Ottawa (2002). His work can be found in the collections of the Ottawa Art Gallery, the Canada Council Art Bank, the Dorothy Hoover Library of the Ontario College of Art, the National Aboriginal Achievement Foundation, as well as several private collections.
Free Ride, 40 five dollar bills, printed mylar, 2014
Pulp Fiction, 2014
Meredith Snider is a multi-media artist who investigates the dynamic interplay between humour and sincerity while pointing to potential gaps in the everyday experience. Her work embraces the uncertainty of common activities, from the repetitive action of chopping squash to physically dealing with the onset of frustration. In her video and sculptural works Snider explores the idea of the pursuit of pleasure by staging impossible or imaginary scenarios in familiar sites, such as urban areas and domestic environments, where outcomes are often determined by the accidental passersby or deliberate gestures performed by the artist.
In her recent body of work that will be on exhibit at Central Art Garage, Snider has paired sculpture with photography to explore how one medium is implicated in the development and interpretation of the other. A launching point for this work was the site of a century old home in Hull, Quebec and the receipt of a bouquet of fake flowers. Flowers are often used to communicate an expression or an emotion, such as, ‘I’ll Never Disappoint You Again’. The bouquet, in particular, is used as a transaction within a relationship, or a stand-in in the case of an absence. Transforming these types of expression into sculpture captures the sentiment in absurdly abstract forms, revealing methods through which to preserve the intimacy of history. The photographs highlight details of the form and surface in order to draw attention to the shapes, curves, crevices and texture of the object as well as the complicated relationship between home and the feminist body. In other words, the photos embrace powerful imagery and symbolism through their embodiment of the political and the personal.
Snider grew up in Fredericton, New Brunswick. She completed her BFA with a Specialization in Art Education at Concordia University in 2005 and her MFA at the University of Ottawa in 2013. She is the co-founder and Director of PDA Projects and a sessional instructor at the University of Ottawa in the Visual Arts Department. She currently resides in the Ottawa/Gatineau region.
Untitled, (2 of 5 from the series 'A Chorus of Apologies'), 2015, plaster, wire, styrofoam, 13 x 15 inches
Untitled, (3 of 5 from the series 'A Chorus of Apologies'), 2015, plaster, wire, styrofoam, 11 x 14 inches
Untitled (from the series Sculpture & Photography),2015, plaster, fake flowers, cement, 45 in x 65 in.
You Landed on All Fours, 2015, plaster, wire, styrofoam, 36 x 24 x20 inches
Untitled (from the series 'Sculpture and Photography'), 2015, digital photograph printed on Hahnemühle Photo Rag paper, 40 x 26 inches
Untitled (from the series 'Sculpture and Photography'), 2015, digital photograph printed on Hahnemühle Photo Rag paper, 30 x 20 inches
Untitled (from the series 'Sculpture and Photography'), 2015, digital photograph printed on Hahnemühle Photo Rag paper, 13 x 20 inches
One Butternut Squash Chopped, 2012,
53 carved plaster sculptures (dimensions variable), wooden platform painted with 'safety-orange' latex high gloss enamel paint, W 122cm x L 213cm x H 10 cm
Video Still, Peace, Love & Pancakes, 2012.
Halifax, Nova Scotia
Mitchell Wiebe is a painter, recently on a painting residency in a cold war bomb shelter in Debert, NS. He has exhibited in solo shows in Halifax and Victoria, and in group shows at the Art Gallery of Nova Scotia, Dalhousie University Art Gallery and as part of the Oh, Canada! retrospective show at Mass MoCA.
John Greer has exhibited his work since 1967 extensively in Canada, USA, Korea and Europe.
He taught sculpture for 26 years as full Professor at the Nova Scotia College of Art and Design in Halifax, Nova Scotia. In this position his thinking and teaching has shaped and influenced contemporary sculpture and three-dimensional art practice in Canada.
He has an upcoming 'RetroActive' solo show at Art Gallery of Nova Scotia.
Neil Harrison’s paintings concern location, boundary, margin and the engagement between form and space. His figures moderate between simplicity and complexity, curvilinear and rectilinear, open and closed, particular and whole.
Neil Harrison (b.1981, Winnipeg) holds a Bachelor of Science from the University of Victoria, British Columbia (2004), and a Masters of Fine Art from York University, Toronto (2013). His work has been exhibited in Canada and Switzerland. He is represented at Art Mur, Montreal, and Angell Gallery in Toronto. He received honourable mention in the 15th Annual RBC Canadian Painting Competition in 2013.
Tammi Campbell lives and works in Saskatoon, Saskatchewan. Her art practice is primarily concerned with painting. In her latest work, she employs the mechanics of modernist painting - its materials, tools, vernacular, and focus on the formal element of painting - to shift meanings and materials into new forms. Campbell alludes to the process of painting (v) a painting (n). The paintings address their own making through the materiality of paint - they are uncanny representations of seemingly unfinished works. Paint is applied and shaped meticulously to resemble basic materials such as adhesive tape. Contrary to the hard-edge, geometric, structured, systematic language of the works, there are small flaws and imperfections that expose the process of making the paintings - drips, small tears, pencil marks, smudges, curled edges - that Campbell decidedly exploits and embraces as part of the process. The finished works are at once complete and incomplete, abstract and real, referential and self-referential. The production process is visible in the work, as the painting speaks about art history and the act of making, rather than the end result.
Tammi Campbell is represented by Galerie Hughes Charbonneau in Montreal.
Loraine Gilbert has been producing and exhibiting photographic works since 1978. These works have been featured in solo, group and two-person exhibitions such as Global Nature, a Canadian Museum of Contemporary Photography Traveling Exhibition, and The Tree: From the Sublime to the Social at The Vancouver Art Gallery, Vancouver, BC, both recent touring exhibitions. In the summer of 2012, her large botanical murals were exhibited in 'Flora and Fauna', an exhibition curated by Ann Thomas and Andrea Kunard, at the National Gallery of Canada, also a touring exhibition.
Kevin Rodgers is an artist whose varied practice examines the tensions between two seemingly diametrical opposites—withdrawal (physical, spiritual, political, aesthetic) and action. In 2014, he initiated an ongoing research and artistic project called The Free Dependent.
Tammi Campbell, Dear Agnes (October 2012, Day 6), 2012, graphite on folded Kozo Japanese paper, 11” x 8 ½”
Bullrushes, Pigment Inks on Archival Paper, 2008
Kevin Rodgers, In Friendship-In Reverence-In Love, Part 1 of a trilogy of sculptures.
I define my practice as Interdisciplinary. In my art I combine a multitude of elements in order to encourage dialogue between the viewers and the work, frequently challenging the viewers to explore with me ideas of identity, ancestry and cultural practice.
In the topics and themes I examine through performance, sculpture and or installation and sometimes all of the above; I aim at creating a space where the viewer is confronted with thought provoking visuals, sounds and scents. Often challenging the viewer to investigate their own Identity, as well as examining the relationship that their ancestry and cultural practices relates to that of mine.
Although my methodology is quite consistent, the materials that I consider with each project are crucial in determining the message that I intend to deliver. My work often juxtaposes aspects of traditional aboriginal art forms and contemporary work.