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
Michael Belmore (Ojibway), a member of the Royal Canadian Academy of Arts, was born in 1971 north of Thunder Bay, Ontario. He holds an associated diploma (1994) in sculpture/installation from the Ontario College of Art and Design in Toronto, Ontario, and currently lives in Ottawa, Ontario. Belmore works in a variety of media including plastics, metal, wood, and stone. These materials are important to understanding his work, bringing into account how we view nature as a commodity. Belmore’s work has warranted numerous awards from the Ontario Arts Council, Canada Council, and Canadian Native Arts Foundation.
The North American landscape, especially its watersheds, continues to be shaped by our divergent tendencies to that of nature. Rivers have been dammed, streams redirected and wetlands drained all in order to better satisfy the demands of western society. Over the past few years my practice has focused primarily on stone carving and the traditional metal smithing technique of chasing and repoussé. Through the arduous process of hammering copper, I have continued to map out waterways through calculated and miscalculated blows.
My studio practice concerns the transposition of sound, time and motion into other forms. Most recently, this has manifested in attempts to cast explosions in aluminum and bronze, but this body of work began more gently as experiments in which traces of the past were conjured out of analogue technologies and made visual. For example, for the Norwegian WoodDrawing (2012), I undertook to divine something of the sadness and brilliance of John Lennon from old Beatles albums by way of a mechanical contrivance that transferred the minute variations of the vinyl grooves onto a paper surface. The resulting series of drawings appear to, even if in a very small percentage, contained true traces of Lennon’s essence. Indeed, consistent throughout this body of work are methods that allow for the energies, motions and essences at hand to be captured and presented in a seemingly raw and unfettered manner. As such, theCast Explosions (2015) and small Trinity (2016) pieces are not representations or renditions of explosions, but the actual explosions themselves, albeit in a stilled state. While there is a strong speculative element of this pursuit, the works nevertheless emanate an undeniable aspect of the real, one that lends them reliquary-like presence.
All the Birds I Saw Last Year
I have become distracted by birds. Early in 2017 I began to take note of the local flocks of starlings, sparrows and crows. Depending on the weather and time of year, their location and activity varied considerably. It occurred to me that if I were to make a record of every bird I saw for a year, some larger patterns might emerge that speak to our relationship with nature. Indeed, conceiving of the local bird population as a collective canary-in-the-coalmine, I thought I might begin to detect how human activity is adversely affecting our shared environment.
As I began my bird count on September 18, 2017, I was conscious of famed ornithologist John JamesAudubon’s (1785-1851) declaration that he saw 10,000 birds a day. How long might it take me to reach that number in an urban environment some 200 years later? Properly, each bird image denotes one sighting, so can represent either a single bird or a flock. Still, I estimate it took 240 days to meet Audubon’s one-day total.
Admittedly, my pursuit is pseudo-scientific. While the regimented manner in which the results are presented suggests a scientific eye, what birds I see from day to day is largely random. Perhaps the project is best expressed as the meandering of one being intersecting with the meanderings of many others. Be that as it may, over the course of several months, the fluxes in the local bird populations are apparent and patterns can be discerned. One observation that is particularly telling is that 38% of our local bird population are invasive birds, species naively introduced by humans and which now thrive in the urban environment.
During the course of the year, I realized the project pitted my Neolithic brain against my modern sensibilities. While I am now able to rapidly identify birds by their colour, call, behaviour and flight pattern – something our ancestors would have relied on to find food or be warned of approaching predators – I am compelled to categorize and order those birds in the same all-too-modern manner that has, ultimately, led to the exploitation of the natural world. That all my bird sightings are recorded on my mobile phone, something that keeps us disengaged from our physical surroundings, belies a whole other set of ironies.
My desire is for the project to be read as a gesture of hyper-attunement at a time in which we are all increasingly aware of the rapid pace of environmental change. I am at once buoyed by the intelligence, ingenuity and incredible beauty of our avian neighbours and distressed by how we humans impinge on their lives on a daily basis.
I owe a debt to the illustrators of my many bird reference books. It is their renderings that populate these charts. Amongst these are Roger Tory Peterson, Román F. Compañy and David Allen Sibley.
I would like to thank my family for their support and for tolerating my near-constant state of distraction. Thank you also to The Central Art Garage, Andrew Wright, the City of Ottawa Public Art Program and the Ontario Arts Council.
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.
Ursula Johnson, Signage from the Indian Truckhouse of High Art, 4 colour screenprint, 2018, 1/10, $700 unframed
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
Bozica Radjenovic is a visual artist whose work explores relationship between materials and subject matter.
Radjenovic was born and educated in Belgrade, Serbia. She received her Bachelor of Fine Arts Degree (1989) and Master of Fine Arts Degree from Faculty of Fine Arts (1991) in Belgrade. In 1993 she moved to Canada during the civil war in former Yugoslavia. Radjenovic has exhibited in many solo and group exhibitions, most recently at Gallery 101 in Ottawa, The Mississippi Valley Textile Museum in Almonte, Canada, Quartair Artist Initiative at The Hague, The Netherlands and Cultural Centre in Belgrade, Serbia. Her work can be seen in Museum of Modern Art in Belgrade, Zepter Museum in Belgrade, City of Ottawa Fine Art Collection and various private collections in Canada and Europe. She is member of Blink Collective and Enriched Bread Artists
Bozica gratefully acknowledges support by City of Ottawa, Ontario Arts Council and Canada Council for the Arts.
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.
Kevin Rodgers, In Friendship-In Reverence-In Love, Part 1 of a trilogy of sculptures.
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
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 Charlottetown, 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.
In 2015 he had a '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.