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 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. Her work was presented at Papier 15 in Montreal.
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 was featured recently in Issue #7 of Ottawa based arts and culture magazine, Herd.
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
Image: Traffic7, sewn mixed media collage, 2013
Adam David Brown
Adam David Brown is a multidisciplinary artist living in Toronto, Canada. His work is guided by the principle of “less is more”, and is frequently generated by his interest in science, language and impermanence.
Brown has exhibited work in Canada, Europe, Central America and the United States. His solo exhibition at MKG127 in 2009 was reviewed byArtforum.com and Canadian Art and brought his work to the attention of the Toronto Friends of the Visual Arts who awarded him their 2009 Artist Prize. He was recently awarded an Artist Grant by the Ontario Arts Council and a Project Grant by the Canada Council For the Arts. In 2014 his work 'For the Time Being' was acquired by the Art Gallery of Ontario.
Adam David Brown is represented by MKG127 in Toronto. CAG Ottawa would like to thank MKG127 for their continued co-operation.
New Order - Re-covered Encyclopedias, Turntable - 2013
Kristiina Lahde is represented by MKG127, Toronto.
In 2015 Lahde had solo shows at Martha Street Studio in Winnipeg and the Koffler Gallery and MKG in Toronto. In September 2013 Lahde's work was included in the exhibition More Than Two (Let It Make Itself) at The Power Plant, Toronto. The exhibition was curated by Micah Lexier.
In my practice I alter and re-format familiar objects and materials. I select materials that are often disused or are rapidly approaching obsolescence. I alter these materials through a precise process of geometric re-organisation, in which measurement and pattern play a significant roll. I am drawn to materials that carry or contain information, materials of administration or tools for measurement. These common materials include envelopes, newspapers, telephone books and measuring tapes. I seek out an internal logic of things and this leads me to subjectively shift, expand, invert or simply transform the materials.
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
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.
Amy Thompson is an Ottawa based visual artist. Early in her career she began working with appropriated images, drawn to their immediacy and narrative power. Thompson's work has been described as introspective and is often imbued with a phantasmagorical quality. Her subjects exist both within and without our reality, straddling and exploring the places in between. She currently divides her time between Amsterdam and Ottawa. Amy gratefully acknowledges the financial support of the City of Ottawa and the Canada Council for this work.
Mt. Timpanogos, Archival Pigment Print Mounted on Board, 2013
San Xavier, Mixed Media on Archival Pigment Print Mounted on Board, 2012
East Rosebud Creek, mixed media on paper, 2014
Monument, mixed media on polypropylene, 2013
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.