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Karrie Arthurs
Karrie Arthurs' beautiful draftsmanship shows a certainty of hand that has tattooed many bodies. What is interesting about her work is the depth of meaning she draws from the richly decorative iconography of tattoo culture. Her free-hand ink drawings tell new fables through anthropomorphism of deities. Ships are pulled down by giant octopi and flaming trains are framed by the haunting message: "There is a train that's headed straight to heavens gate." Religious icons such as saints and crosses intermingle in vignettes of plants and animals. The works are drawn on antique papers, certificates and envelopes, bringing a unique look to the one-of-a-kind illustrations. Each work is deeply steeped in mystery and meaning, each has a different story to tell.
Family Revenants, mixed media on antique charcoal portrait 20.0 x 16.0 in
It Was My Mothers House, ink & charcoal on antique photograph 20.0 x 16.0 in
Locked Doors, ink & charcoal on antique photograph 20.0 x 16.0 in
Remember Him, ink & charcoal on antique photograph 20.0 x 16.0 in
The Homestead, mixed media on antique charcoal portrait 20.0 x 16.0 in
ink on antique paper, 20 x 15 in.
The Dearly Departed Sons, mixed media on antique charcoal portrait 16.0 x 20.0 in
Put Me In This Cage, ink & charcoal on antique photograph 20.0 x 13.0 in
Tell Me A Story About A Bird With Black Feathers, mixed media on antique charcoal portrait, 20 x 16 in.
Carry Me Home #1, ink on antique paper, 8.5 x 9.25 in.
Carry Me Home #3, ink on antique paper, 8.25 x 7 in.
We've Heard Voices From Far Above, ink on antique paper, 6.75 x 5.76 in.
Save These Weary Souls, ink on skull, 6 x 9 x 18 in.
Daniel Barkley
Daniel Barkley was born in Montreal in 1962, where he obtained a Master of Fine Arts from Concordia University in 1994. He is known for his nude figurative work alluding to myths, legends and art history, which has been widely exhibited and collected across Canada and the United States for over twenty years. His work has been the subject of retrospective exhibitions at the Musée des arts contemporain des Laurentides (2004) and University of Toronto's Justina M. Barnicke Gallery (2007), and has been recognized with multiple awards including the Canadian Society of Painters Watercolour's A.J. Casson Medal in 2002 and 2012 and a nomination for the prestigious Kingston Prize, for which he was shortlisted in 2011.
The human figure features prominently in Daniel Barkley's works and, although they may be viewed as portraits, Barkley's paintings also allude to myths, legends and to the history of art. The tension between the intimate portrait and the theatrical presentation of stories that present "truths" about the human condition is a principal characteristic of his work. His figures offer the viewer a singular glimpse into a universe in which real people and fictional characters co-exist.
L'homme qui prie, acrylic on canvas, 44 x 28 in.
Le bain bleu, acrylic on panel, 30 x 22 in.
Quincy, acrylic on canvas, 22 x 16 in.
La prieur (triptych), acrylic on canvas, 12 x 36 in.
Quincy Blue Plastic, watercolour on paper, 30 x 22 in.
Lazarus, Watercolour Study, watercolour, 30 x 22 in.
Roman, acrylic on canvas, 10 x 10 in.
Vincent B, l'hiver I (diptych), acrylic on canvas 10.0 x 20.0 in
Vincent B, l'hiver II (diptych), acrylic on canvas 10.0 x 20.0 in
Vincent B, l'hiver III (triptych), acrylic on panel 10.0 x 30.0 in
Study for Fallen Angel I, watercolour 30.0 x 22.0 in
Study for Fallen Angel II, watercolour 30.0 x 22.0 in
Mike Binzer
Mike Binzer grew up in Calgary studying ballet and contemporary dance and went on to dance professionally with the Royal Winnipeg Ballet for two years before turning his attention to the visual arts. Through his study of dance, he developed a unique insight into the human body which has continued to guide his art practice.
Mike holds a BFA with distinction in painting from the Alberta College of Art + Design (ACAD) and MFA from the University of Regina and has been honoured with numerous awards, notably the Painting Major Award of Excellence from ACAD and the Joseph-Armand Bombardier Canada Graduate Scholarship from The Social Sciences and Humanities Research Council of Canada. His work has been featured in a variety of exhibitions and publications in Canada and the United States where it can also be found in private and public collections.
Creatio ex Nihilo XXIII, encaustic & oil on canvas, 54 x 48 in.
Creatio ex Nihilo IV, encaustic & oil on canvas, 48 x 42 in.
Creatio ex Nihilo XXII, encaustic & oil on canvas, 48 x 42 in.
Creatio ex Nihilo XXVII, encaustic & oil on canvas, 48 x 42 in.
Creatio ex Nihilo XIII, encaustic & oil on canvas, 48 x 42 in.
Studies in Black #26, mixed media on panel, 15 x 15 in.
Studies in Black #9, mixed media on panel, 15 x 15 in.
Censored Pin-ups #26, overpainted found photograph, 20 x 16 in.
Censored Pin-ups #30, overpainted found photograph, 8 x 5.75 in.
Censored Pin-Up #36, overpainted photograph, 10 x 6.75 in.
his warm voice, oil on synthetic paper, 26 x 20 in.
as sadness breaks skin, oil on synthetic paper, 26 x 20 in.
Ronald Boaks
Born in Newmarket, Ontario, Ronald Boaks has been exhibiting for more than 30 years. He is best known for his bold expressive canvasses that celebrate colour and surface as much as they define his ongoing search for balance and beauty. His paintings draw on personal memory and history as inspiration because for Boaks, the activity of art-making is always a road to self-discovery, anchored in the richness of the past.
There Will Be No Sky Falling Here Today, mixed media on canvas, 57 x 92 in.
Stone Road, acrylic on canvas 66.0 x 90.5 in
There is But One Rule, acrylic on canvas 48.5 x 66.0 in
Stars Are Falling All Around Us, mixed media on canvas, 68 x 40 in.
Elemental, mixed media on canvas, 67 x 43.5 in.
Confronted by Opposing Forces, acrylic on canvas 51.5 x 56.5 in
Just Being, acrylic on canvas 39.0 x 45.5 in
Essence and Intensity, acrylic on canvas 52.0 x 45.0 in
For K.M., mixed media on canvas, 26.5 x 30 in.
No Clouded Judgement Today, mixed media on canvas, 45 x 60 in.
Blue No. 5, mixed media on canvas, 24 x 18 in.
Spring, mixed media on canvas, 24 x 18 in.
One Day I Will Fly Away, mixed media on canvas, 24 x 18 in.
Spirit Arise, mixed media on canvas, 24 x 18 in.
Celtic Passage, mixed media on canvas, 24 x 18 in.
Kevin Boyle
Kevin Boyle is a Vancouver-based photographer who was born and raised in the Canadian Prairies. He spends his time roaming the vastness of the plains of his homeland, documenting the dilapidated ruins of what were once thriving communities. His subjects—abandoned businesses and gathering places—are carefully captured under the cover of night, and given a second chance to shine. The resulting large format photographs earnestly pay homage to a time that technology and the busyness of life have let pass by.
Snowflake Elevator, archival inkjet, 36 x 36 in.
available sizes: 42 x 42 / 30 x 30 / 24 x 24 in.
Night Watchman, archival inkjet
Seven Sisters, ed. 2/5, archival inkjet, 30 x 30 in.
Right to Left Under Stars, ed. 1/5, archival inkjet, 30 x 30 in.
Moreland Elevator, archival inkjet, 30 x 30 in.
Three Barns, ed. 4/10, archival inkjet, 30 x 30 in.
Buffalo Under Moonlight, ed. 1/5, archival inkjet, 36 x 36 in.
Herd Under Moonlight, ed. 1/5, archival inkjet, 30 x 30 in.
Procession Under Watchful Eye, ed. 1/8, archival inkjet, 24 x 32 in.
Buffalo Grazing in the Positive, ed. 2/5, archival inkjet, 30 x 40 in.
Snake Charmer, ed. 1/8, archival inkjet, 18 x 24 in.
available sizes: 42 x 56 / 36 x 48 / 30 x 40 / 24 x 32 in.
Botha Mercantile, ed. 1/3, archival inkjet, 42 x 42 in.
Brooking Elevator, archival inkjet
Danceland, ed. 2/5, archival inkjet, 30 x 40 in.
Cadillac Elevator & Big Dipper, archival inkjet
Kim's General Store, archival inkjet
Mallory and Carnegie, ed. 1/3, archival inkjet, 36 x 48 in.
Blake Chorley
Blake Chorley is an emerging artist based in Calgary. He holds a BA from the University of Windsor and an MFA from the University of Calgary, and was recently awarded First Place in the Exposure Photography Festival's Emerging Photographer Showcase (2017). His unique photographs are the product of countless hours of study and field research spent developing an experimental process which combines digital, film, and plate photographic techniques.
Lake O'Hara, multilayer ambrotype, 24 x 20 in.
Above the Notch, multilayer ambrotype, 16 x 24 in.
Chephren Lake, multilayer ambrotype, 24 x 16 in.
Lake O'Hara Pond, multilayer ambrotype, 24 x 16 in.
Above Lake Louise, multilayer ambrotype, 24 x 16 in.
Notch Waterfall 2, multilayer ambrotype, 24 x 16 in.
Lone Survivor, ferrotype, 14 x 11 in.
Red Rock Canyon, ferrotype, 14 x 11 in.
Mt Rundle, ferrotype, 11 x 14 in.
Cameron Falls, ferrotype, 14 x 11 in.
Athabasca Falls, ferrotype, 14 x 11 in.
Meadow, ferrotype, 11 x 14 in.
Medicine Lake, ferrotype, 14 x 11 in.
Aspen Grove, ferrotype, 14 x 11 in.
Heather Close
Heather Close is an emerging artist based in Calgary. Her meticulous handcrafted works occupy a liminal space between painting and sculpture, and are inspired by personal histories and memories. At once delicate and bold, her depictions of nature overtaking domestic settings reveal a powerful series of contrasts: man-made and natural; strength and vulnerability; growth and decay. Close holds a BFA with Distinction from the Alberta College of Art + Design and has exhibited her work at Illingworth Kerr Gallery, Pith Gallery and Studios, and Truck Contemporary Art in Calgary +15 Window Space.
Alpine, mixed media sculpture 6.0 x 9.0 x 9.0 in
Climb, mixed media sculpture 10.0 x 8.0 x 7.5 in
Entwine, mixed media sculpture 9.5 x 7.0 x 9.5 in
Flip, mixed media sculpture 7.0 x 9.5 x 9.5 in
Heap, mixed media sculpture 5.5 x 8.0 x 8.5 in
Detached 1, wood & acrylic 18.0 x 14.0 in
Stack 1, wood & acrylic 8 x 6 in.
Stack 5, wood & acrylic 8 x 10 in.
Stack 4, wood & acrylic 10 x 8 in.
Stack 6, wood & acrylic 10 x 10 in.
Stack 18, wood & acrylic 10 x 10 in.
Ben Cope
Los Angeles-based artist Ben Cope deconstructs photographs of the human form. By stripping the body of personal identity, particularly gender, he creates images where the figure is solely reliant on the surface of the photo paper to remain relevant. The texture of the photos remains heavy while body moves with ease in the background. Removal Series, the focus of his fine art studio practice, is in many ways a contrast to Cope's work as a fashion and editorial photographer.
Removal 81, de-constructed works on paper 30.0 x 40.0 in
Removal 100, de-constructed works on paper 55.0 x 20.0 in
Removal 102 , de-constructed works on paper 30.0 x 20.0 in
Removal #92, de-constructed works on paper 48.0 x 45.0 in
Dale Dunning
Dale Dunning holds a Bachelor of Fine Arts from Mount Allison University, New Brunswick (1969) and a Master of Fine Arts from the Cranbrook Academy of Art, Michigan (1971). Specializing in sculpture, Dunning works exclusively in metal. The head is the central visual theme in his work: "My representation of the head is non-specific as to gender, time, colour or creed. As an object of contemplation it functions as a mirror of the viewers' experience, reflecting and evoking conscious and subconscious memories, thoughts and feelings."
Among the many collections housing Dunning's evocative sculptures are the National Library of Ottawa and the Montreal Museum of Fine Arts. A prolific sculptor, Dunning has regularly exhibited his work in private and commercial galleries since 1980.
Word Palimpsest, AP, aluminum 17.0 x 27.0 x 9.0 in
Word Palimpsest (detail), AP, aluminum 17.0 x 27.0 x 9.0 in
Bloom Series 07302, bronze 6.75 x 6.5 x 5.5 in
Dark House, bronze and gold leaf 5.5 x 4.0 x 4.0 in
Red Peel, bronze 6.75 x 13 x 5.5 in
Bénédicte Dussère
Bénédicte Dussère lives in Clamart and works out of Les Frigos in Paris, France. She is a graduate of the École National Supérieure des Arts Décoratifs and maintains a full-time studio practice focused on painting and drawing. For over a decade, she has limited herself to a palette comprised solely of black, wherein she finds endless variations of velvety depth. Hanging on the edge of abstract and figurative art, Dussère's intricate works are masterful compositions of light and shadow which attempt to capture the deep and dense forms from her memory and imagination. Her process is highly intuitive, each painting leading to the next, building a narrative all of its own—a window to a moment in time and space which beckons to be explored.
Sans Titre 17-2, oil on mylar, 37 x 51 in.
Sans Titre 17-6, oil on mylar, 23.5 x 31.5 in.
Sans Titre 17-11, oil on mylar, 25.5 x 21 in.
Sans Titre 17-17, oil on mylar, 18 x 23 in.
Sans Titre 47, oil on canvas, 51 x 38 in.
Jean-Louis Emond
Dance and movement inspire Émond's graceful mixed media work. Emotional and sensual his sculptures and paintings capture the softness of the human form and contradict the hardness of steel, bronze and stone.
Mouvement IV, bronze & steel, 20.5 x 4 x 3.75 in.
Mouvement IV (detail), bronze & steel, 20.5 x 4 x 3.75 in.
Mouvement IV (alternate view), bronze & steel, 20.5 x 4 x 3.75 in.
Combattant, bronze and steel 14.5 x 25.0 x 7.0 in
Autoportrait, bronze and steel 18.0 x 8.0 x 4.0 in
Rocio Graham
Rocio Graham is a photographer currently based in Calgary. Born in Mexico, she emigrated to Canada in 2002, studying art at Emily Carr University and the Alberta College of Art + Design, where she recently obtained a Bachelor of Design in Photography. Her poignant still lives are influenced by her cultural heritage, identity as a woman and mother, and reflections on daily life. Fittingly, Graham's home and garden serve as her studio—a centre for research and development—where her elaborate compositions begin the moment she selects a seed to nurture.
When I Think of Home #8, archival inkjet on metallic paper, 54 x 36 in.
When I Think of Home #4, AP, archival inkjet on metallic paper, 59 x 39.5 in.
When I Think of Home #1, ed. 4/10, archival inkjet on metallic paper, 41 x 27 in.
When I Think of Home #12, archival inkjet on metallic paper, 36 x 24 in.
When I Think of Home #9 (Lougheed House Portrait), archival inkjet on metallic paper, 24 x 36 in.
When I Think of Home #13, AP, archival inkjet on metallic paper, 40 x 86.5 in.
Jean-François Gromaire
French artist Jean-François Gromaire's large abstract canvases are playful expressions of his life-long exploration of historical alchemy and oil paint. Using the earth and its mysteries as muse, his paintings unfold a visual vocabulary of movement, texture and sheen, while incorporating surprising materials like bitumen. In his own words: "The incredible beauty of abstract art is that we can find any type of emotion inside and it offers endless possibilities for different interpretations."
Jean-François grew up exploring the world from an artist's point of view, spending time as a boy in museums and amongst the Parisian art scene with his grandfather, Marcel Gromaire, who was a well-known artist and professor in France. But it wasn't until the mid-nineties, after a varied work history—everything from organic farmer to helicopter pilot—and extensive travel across three continents, that he began painting in earnest. Since then, his work has been exhibited widely in France, Taiwan, Canada and the United States.
Earth 37 , oil on canvas 59.0 x 59.0 in
Earth 49, oil on canvas 59.0 x 59.0 in
Earth 6, oil on canvas 39.25 x 39.25 in
Earth 39, oil on canvas 51.0 x 31.75 in
France Jodoin
France Jodoin is primarily an oil painter who also sketches, works with watercolours and creates prints in sugar lift and aquatint. While her subjects include seascapes and landscapes, peopled beach scenes, harbours, boats both moored and on the water, as well as flowers, birds, apes, monkeys and gorillas, her deft, gestural handling of paint renders these with a distinct and contemporary sense of presence. Her declared interest is "the very brevity of life itself," and to that could be added an abiding concern with Otherness. Other places, other times, other people, even other species, all are watched over with care and intimacy in her works. She achieves this timely presence of the Other by treating paint, this fluid medium, as an elemental force driving her narratives in which mere depiction defers to an atmospheric quality that invites the eye to linger and into which the viewer then becomes enmeshed, implicated. When her works delve into history, it is as a perspective with which this presence of the Other can best be awoken, and to create a mise-en-scène in such a way that the contemporary viewer may construct their own particular signs and stories from the layered marks, washes, wipes and drips on the canvas. In her own words, "The fundamental impulse animating my creative process is to esteem time passing." France Jodoin has been exhibiting in galleries and museums in Canada, the United States and Europe for the past fifteen years. She lives and works in Cowansville, Quebec.
I shall wear the bottom of my trousers rolled, oil on linen, 60 x 48 in.
Vous avez toujours une envie folle de me faire danser, oil on linen, 60 x 48 in.
Mais que faisiez-vous au temps chaud, oil on linen, 60 x 48 in.
Windows bellied like the fig's fruit, oil on linen, 48 x 48 in.
If I think of a king at nightfall, oil on canvas, oil on linen, 36 x 36 in.
Disturbing the dust in a bowl of lavender, oil on linen, 30 x 30 in.
le roi de jade et de graivers verts, oil on linen, 36 x 36 in.
Sink in clouds of gold, oil on linen, 36 x 36 in.
J'ai tendu un hamac entre deux branches marines, oil on linen, 36 x 48 in.
Nothing in the world is single, oil on linen, 48 x 48 in.
Karen Klassen
Karen Klassen is a painter and award winning illustrator based in Calgary, Alberta. She is currently exploring new ways of interpreting portraits and figures with paint. Karen incorporates painting, drawing, and printmaking techniques and uses each for their own unique and inherent qualities, exploring mark making and ultimately the message that each medium conveys. She wishes to keep the ancient practice of making portraits moving forward and visually relevant by using a variety of mediums for their innate abilities to communicate a message or mood - currently working on a series of portraits representing feminist values. Her work can be found in gallery shows, fashion campaigns, and books throughout North America and Europe.
Karen Klassen, Nope, acrylic & oil on panel, 30 x 24 in.
Karen Klassen, You Look So Pretty When You Smile, acrylic & oil on panel, 30 x 24 in.
Karen Klassen, I Answer To No One, acrylic & oil on panel, 36 x 36 in.
Karen Klassen, Bitch, Please, acrylic & oil on panel, 48 x 36 in.
Karen Klassen, LadyRage, acrylic & oil on panel, 48 x 48 in.
Karen Klassen, Done, oil on panel, 25 x 20 in.
Karen Klassen, Resist, acrylic & oil on panel, 16 x 16 in.
Karen Klassen, SUBJECTNOTOBJECT, acrylic & oil on panel, 24 x 24 in.
Karen Klassen, (Wo)Man Up, oil on Arches oil paper, 10 x 8 in.
Karen Klassen, Like A Girl, acrylic & oil on panel, 24 x 18 in.
Karen Klassen, No Man's Woman, acrylic & oil on panel, 12 x 16 in.
Karen Klassen, I Didn't Ask, acrylic & oil on panel, 12 x 16 in.
Karen Klassen, Not Your Trophy, acrylic & oil on panel, 16 x 12 in.
I Am Not Here For Your Amusement, acrylic & oil on panel, 60 x 60 in.
Over It, acrylic & oil on panel, 36 x 36 in.
You Are Not The Boss of Me, oil on mylar, 36 x 36 in.
Chris Kuzmanovich
Chris Kuzmanovich is a Calgary-based creative originally from the Northwest Territories. He studied interior design at Mount Royal College and worked within this field for several years before establishing his own design firm, CVK, in 2007. His work in design naturally led to his pursuit of art when he began painting as a self-reflexive practice over ten years ago. Since then, he has become known for his bold abstracts, which often contain suggestions of architectural forms.
Perception, acrylic on panel, 10 x 10 in.
Open Sesame, acrylic on panel, 12 x 9 in.
Unearthed, acrylic on panel, 10 x 10 in.
A Child's Adventure, oil on panel, 10 x 10 in.
Open Always, acrylic on panel, 12 x 9 in.
Into the Woods, acrylic on panel, 12 x 9 in.
Let the Morning Light Surround You with Delight, acrylic on canvas, 48 x 36 in.
Trading Stories for Truth, acrylic on panel, 48 x 48 in.
My Language Has Been Lost and Forgotten, acrylic on canvas, 40 x 27 in.
All My Heroes Got Tired, acrylic on panel, 48 x 36 in.
Your Journey is Separate, acrylic on panel, 48 x 36 in.
I Know That to be True in a Different Way, acrylic on panel, 48 x 48 in.
The Finish Line was an Artistic Flop, acrylic on panel, 60 x 48 in.
The Preacher at the Back of the Room, acrylic on panel, 60 x 48 in.
Your Word is a Force, acrylic on panel, 40 x 60 in.
The Part You Played in My Former Life, acrylic on panel, 48 x 48 in.
Wash You Off My Skin, acrylic on panel, 48 x 48 in.
Owl vs. Dove, acrylic on panel, 48 x 48 in.
Madeleine Lamont
From her Toronto studio, Madeleine Lamont creates paintings inspired by the illustrative records of Dutch botanical manuscripts. The resulting oil paintings on mylar and canvas capture joy, colour, and growth alongside notions of loss and decay.
Madeleine Lamont, Coral Bloom with Sketch, oil on mylar, 54 x 36 in.
Madeleine Lamont, Iris Scroll, oil on mylar, 78 x 36 in.
Madeleine Lamont, Pink Bouquet with Orange, oil on mylar, 41 x 36 in.
Madeleine Lamont, Three Pink Blooms, oil on mylar, 52 x 36 in.
Madeleine Lamont, Efflorescence 2, oil on mylar, 36 x 24 in.
Madeleine Lamont, Pink Bouquet with Greenery, oil on mylar, 36 x 24 in.
Madeleine Lamont, Single Pink Stem, oil on mylar, 36 x 24 in.
Madeleine Lamont, Pink Bouquet with Greenery 2, oil on mylar, 36 x 24 in.
Teal Bouquet with Pencil, oil on mylar, 36 x 24 in.
Teal Pendant, oil on mylar, 36 x 24 in.
Teal & Green Bloom, oil on mylar, 36 x 24 in.
Pink Bouquet, oil on mylar, 69 x 42 in.
Into the Wild Blue One, oil on mylar, 64 x 42 in.
Pink Bouquet with Blue #3, oil on mylar, 36 x 24 in.
Magenta #1, oil on mylar, 36 x 24 in.
Umber Peonies with Green Flourish & Two Buds, oil on mylar, 24 x 18 in.
Coco Peony with Two Buds, oil on mylar, 24 x 18 in.
Pink & Orange Bouquet with Charcoal Sketch, oil & charcoal on mylar, 57 x 42 in.
Product of Society, oil on mylar, 36 x 24 in.
Botanical #1, oil on canvas, 36 x 36 in.
Den Blom Hof Grand 2, oil on canvas, 76 x 54 in.
Bear Portrait with Red, oil on canvas, 54 x 48 in.
Jack, oil on canvas, 48 x 36 in.
Roaring Bear, oil on canvas, 30 x 22 in.
Michael Levin
Michael Levin is an internationally recognized, self-taught photographer based in Vancouver, known for capturing black and white landscapes using long-exposures. Though he credits numerous influences like Mark Rothko or Michael Kenna for shaping his work and vision, he brings to the Minimalist tradition his own interpretation of place, often concentrating on where the sea interfaces with the land.
His iconic photographs are both soulful and evocative, constantly seeking a balance between contrary elements such as: tension and calm; harmony and discord; boldness and tenderness. A master at distilling his subjects down to simple forms and subtle tonalities, Levin crafts a deceiving simplicity in his images, making what remains of the landscape feel essential and revealed. He is particularly astute at capturing the smooth skin of light—the way it rolls over a place in the course of minutes—and illuminating common places with new intent, creating images which are both transfixing and transformative.
Approaching Rains, ed. 8/9, ultrachrome print mounted to aluminum,
Sea Park, ultrachrome print, 20 x 20 in.
Cologne Cathedral, ed. 1/9, ultrachrome print, 30 x 45 in.
The Reading Room, ed. 3/18, ultrachrome print, 30 x 45 in.
Tourists, ed. 6/9, ultrachrome print, 30 x 45 in.
The Rehearsal, ed. of 9, ultrachrome print, 30 x 45 in.
Wave Breakers, ed. 1/9, ultrachrome print mounted on aluminum, 34 x 34 in.
Akame Falls, ultrachrome print, 20 x 20 in.
Pods , ultrachrome print, 15 x 45 in.
Morning Fog, ultrachrome print
Stacked Pallets, ultrachrome print 20.0 x 20.0 in
Weir, ultrachrome print, 15 x 30 in.
Counterpoint, ed. 1/18, ultrachrome print, 20 x 60 in.
Harbour Walls, ultrachrome print 30.0 x 45.0 in
Calais, ultrachrome print 20.0 x 30.0 in
Lori Lukasewich
While clearly influenced by the realism and techniques of the old Masters, Lori Lukasewich's painting owes more of a debt to the practice of meditation. Her contemporary realist paintings often express an ethereal light and singular focus that is at once calming and pleasurable. The paintings are done in oils and alkyd mediums, using modified traditional techniques of underpainting, overpainting and glazing.
She was educated at the Alberta College of Art and has used her skills broadly in the areas of graphic arts, visual presentation, film and television, jewellery design, furniture design, decorative and faux painting, palaeontological restoration, and children's literature and illustration. She has been teaching painting for 17 years, much of that time in the Extended Studies program at ACAD.
Lori has painted seriously since 1984 and has exhibited consistently since that time. Her work can be found in many public and private collections.
Golden Ball, oil & alkyd on canvas, 30 x 40 in.
Gray Light, oil & alkyd on canvas, 36 x 36 in.
Primary Cycle, oil & alkyd on canvas, 40 x 36 in.
Nectarines, oil & alkyd on canvas, 20 x 20 in.
Dancer, oil & alkyd on canvas, 48 x 24 in.
Bluebird, oil & alkyd on canvas, 24 x 12 in.
Polar Bear, oil & alkyd on canvas, 32 x 16 in.
Rockets, Luke's, oil & alkyd on canvas, 48 x 24 in.
Zoya's Red & Orange Glass, oil & alkyd on canvas, 24 x 24 in.
Zoya's Blue & Green Glass, oil & alkyd on canvas, 30 x 24 in.
Lilac Branch, oil & alkyd on canvas, 24 x 12 in.
Red Bird, oil and alkyd on canvas, 16 x 16 in.
Bird Dog, oil and alkyd on canvas, 16 x 16 in.
Fancy Panda, oil and alkyd on canvas, 16 x 16 in.
Bunny Arabesque, oil and alkyd on canvas, 16 x 16 in.
Good Kitty, oil and alkyd on canvas, 20 x 20 in.
Alexandre Masino
Québécois artist Alexandre Masino's work relishes in the versatility and potential of encaustic (wax). Though he is regarded for his interpretation of traditional subjects like still life, landscape and the figure, to him, the gestures he creates in wax carry as much weight as the subject or meaning. Oscillating somewhere between mimesis and invention, Masino is equally inspired by observed reality, memory, and imagination to create his texturally rich and sensual paintings.
Masino holds a BFA with honours from Concordia University and has been exhibited widely since 1996 across Canada, the United States and Europe, where his work can be found in numerous prestigious collections including: the Gotland Museum of Fine Arts (Sweden), Chateau de Beaulon (France), Stephen A. Jarislowsky (Jarislowsky Fraser), Heenan Blaikie LLB and The Right Honourable Paul Martin. His paintings have been the subject of several catalogues and were featured in the book Encaustic & Beyond: A Guide to Creating Fine Art with Wax, by Lissa Rankin.
D'eau et d'azure, encaustic on panel, 40 x 60 in.
Au coeur des monts, encaustic on panel 45 x 89 in.
framed triptych: panel 1 - lac des arc; panel 2 - lac minnewanka; panel 3 - lac louise
Cette marée de pierre III, encaustic monotype, 23 x 34.5 in.
Pérennité (Ehon), encaustic, charcoal & antique nails on book, 14.25 x 22.75 in.
La vallée aux échos (Ehon), encaustic, charcoal & antique nails on book, 14.25 x 22.75 in.
Entre ciel et terre (Ehon), encaustic, charcoal & antique nails on book, 14.25 x 22.75 in.
Résonnances (Euan Uglow), encaustic, charcoal & copper leaf on panel, 11 x 13 in.
L'histoire de nos origines I, encaustic and gold leaf on panel 11.0 x 13.0 in
Chronos I, encaustic monotype 12.0 x 15.5 in
Jeu de résonnances I, encaustic monotype, 12 x 15.5 in.
Microcosme I, encaustic monotype, 12 x 15.5 in.
Le temple secret (open), encaustic & gold leaf on panel, 48.5 x 65.5 in.
Le temple secret (closed), encaustic & gold leaf on panel, 48.5 x 65.5 in.
Lisa Matthias
Lisa Matthias is an Edmonton-based artist with a diverse background. Her first formal training was in biology, where she obtained a Master of Science in plant ecology from the University of Manitoba and a Bachelor of Science in ecology from the University of Guelph. After working as a professional ecologist for over a decade, she went on to pursue a Master of Fine Arts in printmaking from the University of Alberta and now works as an artist and educator full-time.
Her work frequently draws from her experiences as a biologist, and she often captures microscopic images and videos in her creative practice. The idea that everything is part of a larger assemblage, emphasized by the recognition of patterns and relatedness across species and scales of life, is a central theme in her work.
Uplifted, edition of 3, woodcut 65.0 x 47.0 in
All Boxed Up, edition of 3, woodcut on paper, 41.5 x 41.5 in.
Inside Out, ed. 1/5, woodcut on Thai mulberry paper, 50 x 37 in.
Aftermath, ed. 2/5, woodcut on Thai mulberry paper 50.0 x 37.0 in
Double Stacked, ed. 1/3, woodcut, ink on paper, 65 x 47 in.
Untitled 2, AP, intaglio, chine colle, 24 x 18 in.
Building Blocks, ed. 2/5, woodcut on Thai mulberry paper 50.0 x 37.0 in
Discarded Map, ed. 2/5, woodcut on Thai mulberry paper 20.0 x 24.0 in
System Atlas 1, ed. 2/3, woodcut on Thai mulberry paper 25.0 x 22.0 in
Monograph 1, AP, woodcut on Thai mulberry paper, 37 x 50 in.
In Which it Houses, intaglio, chine colle 12.0 x 9.0 in
Blueprint of a Song, intaglio, chine colle 12.0 x 9.0 in
Directed Recurrence, intaglio, chine colle 12.0 x 9.0 in
Woven Shelter, edition of 8, intaglio, chine colle, 12 x 9 in.
Instinctive Presence, ed. 6/8, intaglio, chine colle, 12 x 9 in.
Nested, intaglio, chine colle 12.0 x 9.0 in
Lee Nielsen
Lee Nielsen combines symbols from opposing narratives in one composition challenging the viewer with a visual story that is difficult to resolve. The rupture in narrative in his work often is achieved through investigating the disquiet that exists between hierarchies of power and socially coded archetypes.
Commanding Heights (Au-03), oil and gold leaf on panel, 36 x 24 in.
Commanding Heights (Au-06), oil and gold leaf on panel, 11.5 x 11.5 in.
Ulrich Panzer
Ulrich Panzer was born in Bonn/Beuel, Germany, in 1965. He currently divides his time between Kingston, Ontario and Berlin, Germany. Since studying fine arts at the Kunstakademie Münster in Germany (1987–1991), his research into the physiological and physical effects of colour, sound, and architectural proportions has led him all over the world, including: India, Sri Lanka, Indonesia, Tibet, Austria, Italy, and North Africa. His wide-ranging artistic practice spans over 25 years and includes an international exhibition record.
untitled (18-60-3), acrylic on aluminum, 60 in. diameter
untitled (18-48-1), acrylic & pigment on aluminum, 48 in. diameter
untitled (14-41-5), acrylic & ink on mylar, mounted on aluminum, 41 in. diameter
untitled (No 5-41), acrylic & ink on mylar, mounted on aluminum, 41 in. diameter
Untitled (17-19-5), acrylic & ink on mylar mounted to aluminium, 19 in. diameter
untitled (L-18-4), acrylic and ink on mylar, 41 x 33 in.
untitled (L-18-5), oil and ink on mylar, 42 x 36 in.
untitled (L-18-3). acrylic and ink on mylar, 42 x 38 in.
Organum, pastel on mylar mounted on aluminum, 36 x 36 in.
untitled 30" circle, pastel on mylar mounted on aluminum, 30 in. diameter
untitled #7, pastel & pencil on mylar, 36 x 31 in.
the lake, acrylic and ink on mylar 36.0 x 31.0 in
spheres "I", acrylic and ink on mylar 36.0 x 30.0 in
peaks "himal", acrylic and ink on mylar 36.0 x 30.0 in
Robert Pierce
Robert Pierce is a Calgary-based artist with a BFA from the University of Calgary. He is known primarily for his award-winning figurative drawings and paintings which have been exhibited in Western Canada for over twenty years. Not one to wax-poetic, his artist statement is simply: "I like to draw and colour."
Insistent Verticals, charcoal on acid free paper, 17 x 14 in.
Unknown Eons, charcoal on acid free paper, 17 x 14 in.
Slipping into Something, charcoal on acid free paper, 17 x 14 in.
Scent of the Shore, charcoal on acid free paper, 17 x 14 in.
The Flux of Life, charcoal on acid free paper, 17 x 14 in.
Study After Michelangelo's War of Centaurs, charcoal on acid free paper, 17 x 14 in.
Untitled, charcoal on acid free paper, 17 x 14 in.
Two Compulsions, charcoal on acid free paper, 17 x 14 in.
Somewhere, charcoal on acid free paper, 17 x 14 in.
Birgit Piskor
Birgit Piskor was born in the town of Calw, situated in the Black Forest region of Germany, but immigrated to Victoria at a young age. A self-taught artist, her indoor-outdoor sculptures are inspired by the transformative power of concrete and its ability to "fulfill both the mundane requirements of civil engineers and the sublime vision of artists." Piskor has an uncanny ability to channel concrete's industrial function into sensual organic shapes and textures that defy its inherent rigidity and harken back to artistic forebears like Brancusi or Moore.
Nexa series (installation view), modified concrete & acrylic
Nexa series, modified concrete & acrylic, 88 x 10 x 6 in.
Stratera Series, modified concrete & acrylic, 90 x 12 x 5 in.
Musa Series 5, concrete & acrylic 81.0 x 21.0 x 5.0 in
Samsara Series 3, concrete & acrylic 86.0 x 19.0 x 5.0 in
Volante series, modified concrete & acrylic, 18 x 40 x 20 in.
installation view of Musa Series, Taza Series and Raw Sponte Series
installation view of Spiralis Series and Nexa Series
Teresa Posyniak
Calgary artist Teresa Posyniak brings to her art a versatile professional training that includes degrees in literature and drama, a BFA in painting and printmaking (University of Regina, 1981), and an MFA in sculpture (University of Calgary, 1983). Over the course of her 34-year career, she has worked in materials as diverse as steel, wood, concrete, handmade paper and felt, oil and encaustic. Her works range in size from room-sized installations to intimate drawings and paintings and explore themes of vulnerability and resiliency in contemporary society, whether the subject is human or nature. Posyniak has always been a socially engaged artist and her activism, primarily on behalf of women, children and the environment, drives her practice.
She has taught art at the Alberta College of Art and Design and the University of Calgary, and her work has been exhibited widely in private and public galleries, including a 2010 solo show at the Glenbow Museum, I Speak My Daughter Tongue. Posyniak has been the recipient of many awards and grants from the Alberta and Saskatchewan governments as well as The Canada Council, and her work is represented in many private and public collections including the Glenbow Museum, The City of Calgary Civic Art Collection and The Alberta Foundation for the Arts.
Microbial Graffiti, oil and cold wax on canvas, 60 x 48 in.
The Drifters (diptych), oil & cold wax on wood, 48 x 48 in. each
The Moon and Coccolithophores, oil and cold wax on wood, 60 x 30 in.
Cumulus Bloom, oil & cold wax, encaustic, collage on canvas, 60 x 48 in.
Nucleus Dreams, oil , cold wax, encaustic & collage on canvas, 61 x 27 in.
Oxygen Poem II, oil, charcoal, chalk pastel & oil stick on canvas, 30 x 78 in.
Turquoise Bloom, oil, cold wax, encaustic & collage on linen, 48 x 36 in.
Code, oil and encaustic on linen, 54 x 24 in.
Invasion, oil, chalk pastel & charcoal on linen, 36 x 36 in.
Life Trilogy I, acrylic, chalk pastel, oil stick & charcoal on paper, 71 x 50 in.
Life Trilogy II, acrylic, chalk pastel, oil stick & charcoal on paper, 71 x 50 in.
Life Trilogy III, acrylic, chalk pastel, oil stick & charcoal on paper, 71 x 50 in.
Interplay I, mixed media on stone paper, 34 x 28 in.
Budding I, acrylic & charcoal on paper, styrofoam & wood, 61 x 27 in.
Budding II, acrylic & charcoal on paper, styrofoam & wood, 61 x 27 in.
Creature Sweep 1, mixed media on canvas 48.0 x 60.0 in
The Deeps Tapestry 5, encaustic & mixed media on panel, 26 x 30 x 1.75 in.
The Deeps Tapestry 3, encaustic & mixed media on panel 23.0 x 32.0 x 1.75 in
Breathe 3, chalk pastel, watercolour & ink on paper 30.0 x 22.0 in
Aspen Poems II, encaustic on panel 36.0 x 18.0 in
Aspen Fall 1, encaustic on canvas 36.0 x 24.0 in
Living Landscape 1, encaustic on panel, 14 x 11 in.
Michael Schreiner
Michael Schreiner creates tightly structured and calculated pathways of line that challenge the viewer's sight and sense of perception. Upon prolonged observation Schreiner's compositions flicker with options and thus contain multiple realities and truth within the single image, all of equal relevance. Hans Hofmann, who advocated colour is figure, heavily influences Schreiner's use of colour. Preferring to use paint directly from the tube, Schreiner's palettes reference moments in history and arouse feelings of remembrance.
dreams day residue, acrylic on canvas, 48 x 48 in.
summer soul, acrylic on canvas, 48 x 48 in.
colours write summer sun and sky, acrylic on canvas, 60 x 60 in.
psychoanalyst clarifies, acrylic on canvas, 36 x 36 in.
night, we dance at the river, acrylic on canvas, 48 x 48 in.
field and pond taken by snow, acrylic on canvas, 60 x 60 in.
dance me to the end of love, acrylic on canvas, 36 x 36 in.
he floats above a river of his thoughts, acrylic on canvas 48.0 x 48.0 in
Colin Smith
Always up for a good adventure, Calgary-based artist Colin Smith received his education abroad studying photography. He traveled throughout Asia; North, Central and South America; the Caribbean; South Pacific and a little island off the coast of Madagascar. Always accompanied by a camera, many of his photographs made their way into magazines and newspapers, which also led him to work for aid organizations, ad agencies and in the world of moving pictures.
Today, Smith is known for building homemade camera obscuras on location and then photographing the resulting projections to produce highly saturated, breathtaking imagery which hangs on the walls of generous private, corporate and government art supporters.
Nanton Boler, ed. 3/4, archival fibre print, 30 x 38 in.
Lake Minnewanka Boler, ed. 1/4, archival fibre print, 30 x 38 in.
Capital Reef Boler, edition of 4, archival fibre print 48.0 x 60.0 in
Also available: 30 x 38 in. / edition of 4
Bow Lake Boler, ed. 4/4, archival fibre print, 30 x 38 in.
Paget Lookout, ed. 2/3, archival fibre print from 4 x 5 transparency film, 48 x 60 in.
Cameron Lookout NW, ed. of 4, metallic lightjet print mounted to aluminum, 48 x 60 in.
Cameron Lookout SE, edition of 4, metallic lightjet print mounted to aluminum 60.0 x 48.0 in
Tocher Lookout, edition of 4, metallic lightjet print 48.0 x 38.0 in
Seven Months Over the Bow, solar print mounted to acrylic, 25 x 48 in.
Ranchmen Motel, edition of 4, metallic lightjet print mounted behind acrylic 48.0 x 60.0 in
Satellite Motel, edition of 4, metallic lightjet print mounted behind acrylic 48.0 x 60.0 in
Dorthy Church, edition of 4, metallic lightjet print mounted behind acrylic 38.0 x 30.0 in
Farmhouse, metallic lightjet print mounted behind acrylic 38.0 x 30.0 in
Truck & Barn, edition of 4, metallic lightjet print mounted behind acrylic 60.0 x 48.0 in
Bents, SK, edition of 4, metallic lightjet print mounted behind acrylic 30.0 x 38.0 in
School Bus, edition of 4, metallic lightjet print mounted to aluminum 22.0 x 28.0 in
Leesa Streifler
Leesa Streifler is a multidisciplinary artist and art professor whose career spans over three decades. Born in Winnipeg and based in Regina, her work has been exhibited widely across Canada and as far as Bulgaria, and is included in prominent collections like the National Gallery of Canada. She is well known and respected for her feminist work investigating the female body as an expressive site of cultural and social affect, which takes shape through a combination of painting, drawing, photography and text. Streifler holds a BFA honours from the University of Manitoba and MFA from Hunter College, City University of New York, and is currently Head of the Visual Arts Department at the University of Regina.
Contained: Candy Apple Pin-up, archival inkjet 40.0 x 32.0 in
Contained: Dissonance, archival inkjet 32.0 x 26.0 in
Contained: X-Ray Bunny, archival inkjet 32.0 x 40.0 in
Contained: Thrill, archival inkjet, 40 x 32 in.
Contained: Compression, archival inkjet 32.0 x 40.0 in
Contained: Compassion, archival inkjet 26.0 x 32.0 in
Taxonomy, mixed media on dyed silverprint, 53 x 79 in.
Repository, mixed media on dyed silver print, 53 x 79 in.
Her Spirit: To Feel, mixed media on silver print & plexi, 63 x 44 in.
Diana Thorneycroft
Diana Thorneycroft is an established Winnipeg artist known for producing and photographing sculptural dioramas and tableaux employing dark humour and childhood toys to explore a variety of subjects. Perhaps most famously, she used reproductions of paintings by members of the Group of Seven as backdrops to unfold narratives that question the relationship between the Canadian landscape and Canadian identity in her series "Group of Seven Awkward Moments".
Thorneycroft's celebrated career has spanned close to three decades and includes nearly 100 exhibitions, which have been shown or toured across Canada, the United States and Europe, as well as in Moscow, Tokyo and Sydney. Her work has been the subject of countless articles and reviews, as well as national radio and television documentaries, and was included in the Phaidon Press publication Blink (2002), which presents the work of 100 rising stars in photography who have emerged and broken new ground in the last five years.
Lucy (the lizard hunter), ed. 1/12, digital photograph, 30 x 30 in.
Herd-girl (gardener and memory keeper), ed. 4/12, digital photograph, 22 x 30 in.
Shaman's Hut, ed. 2/12, digital photograph, 22 x 30 in.
Rain and Birches (in Fiddler's Green), ed. 2/12, digital photograph, 20 x 30 in.
Lake O'Hara (Clark, Northern Dancer and the Evil Weasel), edition of 5, inkjet print, 40 x 50 in.
Also available: 24 x 30 in. / edition of 20
Christina's World (gets turned upside down by Cpl. Dew Wright), edition of 5, inkjet print, 35 x 50 in.
Nighthawks (what would Jack Bauer do?), edition of 5, inkjet print, 38 x 50 in.
Group of Seven Awkward Moments (Beavers and Woo at Tanoo), c-print, 22.5 x 30 in.
Group of Seven Awkward Moments (Birches in Winter, Algonquin Park), c-print, 21 x 30 in.
Group of Seven Awkward Moments (In Algonquin Park), c-print 24.0 x 30.0 in
Group of Seven Awkward Moments (Winter on the Don), c-print 22.5 x 30.0 in
Debra Van Tuinen
Currently based in Olympia, Washington, American artist Debra Van Tuinen's abstracted landscapes are an attempt to make the intangible tangible. Each delicate layer of oil and wax captures a fleeting moment or feeling, imbuing her paintings and prints with a spiritual and emotional experience of the land. Originally trained as a printmaker, Van Tuinen is known for her work with encaustic, an extremely durable medium—where pigment is suspended in wax—dating back to ancient Greece. Her career spans over twenty-five years and includes studies with Japanese masters, the Byam Shaw Arts Academy in London, and a MFA from the University of Washington.
"The process that Van Tuinen uses is both ancient and innovative, as she continues to refine her craft to express her vision. She credits her five months in Japan in 1977 with a leap forward in her technical skills. It was at this time that she began a transition from the processes of intaglio printmaking into painting, eventually creating an encaustic process that enables her to make the best use of this technically demanding yet sensual medium." – Doug Meyer
Morning Sky, encaustic on linen wrapped panel 42.0 x 42.0 in
Rolling Mist, encaustic on linen wrapped panel 42.0 x 42.0 in
Falls, oil on canvas 60.0 x 48.0 in
Rapids, oil on canvas 42.0 x 42.0 in
Lake Louise I, encaustic on panel 20.0 x 20.0 in
Lake Louise II, encaustic on panel 20.0 x 20.0 in
Lake Louise III, encaustic on panel 20.0 x 20.0 in
Lake Louise IV, encaustic on panel 20.0 x 20.0 in
Lake Louise V, encaustic on panel 20.0 x 20.0 in
Verna Vogel
Verna Vogel was born in rural Ontario and currently lives and works in Calgary. She has studied art at Capilano University in North Vancouver, BC, and the Institut Seni Lukis Malaysia in Kuala Lumpur. Her work has been exhibited in group and solo shows throughout Western Canada and can be found in collections across Canada, the United States, and Europe. Both delicate and bold, Vogel's intricate canvases are abstracted studies of place—built from richly layered acrylic paint, thread, and stitched elements.
Augury #5, oil on canvas, 30 x 30 in.
Augury #6, oil on canvas, 18.5 x 17 in.
Augury #7, oil on canvas, 17 x 18.5 in.
A Map Led Us Here, mixed media on canvas, 34 x 29 in.
Silkworms Weave #5, acrylic & mixed media stitching on canvas, 18 x 18 in.
Carl White
Carl White was born in Liverpool (UK) and studied painting, drawing and graphic design at the Alberta College of Art and Design in Calgary. Known for his contemporary take on classical or Romantic subjects and techniques, White's work has been widely exhibited and collected for over twenty years. He currently lives and works in Calgary where he is exceedingly active in the art scene, as well as the community.
The Age of Reason, mixed media & gold leaf on paper, 15 x 11.5 in.
Rococo, mixed media & gold leaf on paper, 25 x 20 in.
Halo, oil & paint marker on canvas, 48 x 36 in.
Equus, oil & paint marker on canvas, 30 x 40 in.
Portrait Study 2, mixed media on stonehenge, 15 x 11 in.
Tattoo, oil & paint marker on canvas, 40 x 30 in.
This flame that devours, oil & paint marker on canvas, 50 x 36 in.
Koan, oil & paint marker on canvas, 22 x 16 in.
Angelus, oil on canvas, 20 in. diameter
Witness, oil & paint marker on canvas, 24 x 18 in.
Nox, oil & paint marker on canvas, 60 x 48 in.
Stigmata, oil & paint marker on gessoed stonehenge, 30 x 22 in.
Reign, oil on canvas, 24 x 24 in.
A Noblewoman, oil on canvas, 20 x 16 in.
Strange Divinity, oil & paint marker on canvas, 36 x 24 in.
Rust 1, oil, iron paint & rust on panel, 16 x 12 in.
Grace, oil on panel, 12 x 9 in.
Crown, oil & paint marker on canvas, 24 x 12 in.
Nothing, oil on panel, 16 x 12 in.
Unwritten, oil on board, 16 x 20 in.
Droplets of Gold, oil on canvas, 72 x 48 in.
Mythos, oil on canvas, 60 x 80 in.
Horse and Rider, oil on canvas, 18 x 24 in.
Cloud I, oil on canvas, 12 x 12 in.
Cloud II, oil on canvas, 12 x 12 in.
10,000 years, oil on canvas, 36 x 72 in.
Dans le jardin, oil on canvas, 36 x 48 in.
Heart, oil on board, 10 x 7 in.
Stardust, oil on canvas, 70 x 32 in.
Chalk, oil on panel, 12 x 12 in.
Elpis XII, conte on canson mi-teintes paper, 25 x 19 in.
Yellow Virginia, conte on paper, 25 x 19.5 in.
Carayatid I, conte on paper, 25 x 19.5 in.
Zane Wilcox
Zane is a Regina-based artist who holds a MFA from the University of Regina and a BMus from the University of British Columbia. His materially rich sculptures are inspired by architecture, machinery, ancient stone structures and the prairie landscape—though they make no direct references to them—and have been exhibited across Canada and in the United States and Australia. Zane has been the recipient of numerous awards including the Outstanding Student Achievement in Contemporary Sculpture Award from the International Sculpture Center, and his work can be found in the collections of the MacKenzie Art Gallery, Moose Jaw Museum and Art Gallery, Saskatchewan Arts Board and University of Regina. Outside of the studio, Zane has been active in roles such as juror, visiting artist, workshop presenter and teacher.
Ziggurat 2.11, reduction-fired stoneware, copper, gold, 13 x 8 x 8 in.
Ziggurat 2.12, reduction-fired stoneware, 13 x 8 x 8 in.
Crucible 2.15, reduction-fired stoneware 6.5 x 13.0 x 13.0 in
Ziggurat 4.2, reduction-fired stoneware, 23 x 9 x 9 in.
Crucible 1.29, reduction-fired stoneware 4.0 x 8.0 x 8.0 in
Ziggurat 3.2, reduction-fired stoneware 16.0 x 8.0 x 8.0 in
Element 2.4, reduction-fired stoneware 6.5 x 13.0 x 13.0 in
Brad Woodfin
Brad Woodfin was born in Marblehead, Massachusetts in 1970. He studied printmaking and painting at The Evergreen State College in Olympia, Washington before moving to Canada in 2008. Known for his uncanny ability to capture the essential spirit beyond his exquisitely executed fauna portraits, his oil paintings are thoughtful compositions of opposites: light and dark, tight and loose, motion and stillness, life and death.
Woodfin's work has been featured in solo exhibitions across North America including: New York, Vancouver, Calgary, Seattle, and San Francisco as well as international group exhibitions and art fairs in London, Miami, Chicago, New York and Los Angeles. In 2012, he was shortlisted for the prestigious Young Masters Art Prize (London, UK), which celebrates artists who pay homage to the skill and traditions of the past. He currently lives and works in Montréal.
Danphe, oil on panel 16.0 x 12.0 in
Chummy, oil on panel 16.0 x 12.0 in
Monty, oil on panel 12.0 x 9.0 in
Magpie, oil on panel 14.0 x 18.0 in
Lunacy, oil on canvas 12.0 x 12.0 in
Alms, oil on panel 12.0 x 12.0 in
Winter, oil on canvas 12.0 x 12.0 in
Musk Ox (Northern Light), oil on panel, 14 x 11 in.
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Experts from a top medical appliance company are taking to the road to unveil a brand-new product at two major exhibitions.
Attending both the Medica conference in Düsseldorfand the American Society of Haemostasis (ASH) in San Diego, Hart Biologicals will unveil the Fiix test which has been developed by Icelandic partners Fiix Diagnostics.
Paul Bates, Sales Manager for Hart Biologicals, said: "We'll be attending Medica, which is basically a trade fair that features everything across the full spectrum of medical care - from ambulances to helicopters and test tubes to bottles of water.
"ASH is more of a scientific meeting relating to the subject of haematology, coagulation and haemostasis.
ASH is now in its 60thyear and takes place on December 4-5. It will feature presentations of the latest research in the field of haemostasis.
Paul continued: "At ASH our Head of Research and Development, Alexander Ebinger, will be attending along with two of our collaborators, Pall and Brynja, from Fiix Diagnostics.
Both Medica and ASH are an opportunity for Hart Biologicals to display this new product and to also arrange meetings with commercial partners to build on the already established relationships Hart Biologicals has with them.
At Medica, which takes place between November 12-15, Hart Biologicals will be exhibiting in the UK pavilion at booth C01-3 and booth number 3042 at ASH.
The Fiix test will be unveiled next month (November) at Medica when Hart Bio will be taking an in-depth look at the product.
For more information on other products developed, manufactured and marketed by Hart Biologicals, click here.


At "Green Side Up", we are focused on providing Lawn & Landscaping services with the highest levels of customer satisfaction – we will do everything we can to meet your expectations.
Taking advantage of the professional lawn care services available from "Green Side Up" will not only improve the beauty of your property, but also help you free up your time to do the things that you would rather be doing. Everybody wants to show off the beauty of their home and its surrounding landscape but not everybody wants to spend all of their free time on lawn care – shrub and tree pruning, edging, mulching or weeding, cultivating and fertilizing. Luckily for you, this is where the lawn care services from "Green Side Up"come in.
Many of us look at the spring and summer as a time to relax, spend time with our families and simply make the most out of our free time to enjoy life. When we think of summer vacations, long hot days of hard work performing lawn care is not the first thing that comes to mind. However, proper lawn care and maintenance is required to keep our landscapes looking beautiful and relaxing.
Lawn Mowing - "Green Side Up" sharpens their blades everyday to ensure your grass is cut cleanly and concisely.
Bagging or Mulching - "Green Side Up" is flexible and will work with the homeowner to achieve their desired results.
String Trimming - "Green Side Up" crews always trim to give your lawn that fresh finished look.
Everybody wants to have a healthy and beautiful looking landscape to complement their property. A healthy lawn is going to be able to better withstand the pressures from insect attack, disease and drought. The lawn will also be in a better position to compete against unwanted weeds. In order to help maintain a healthy lawn, you can ensure that proper overseeding methods are put into place as well as the proper timing of lawn maintenance practices such as watering, liming, fertilizing, and mowing.
Over a period of years a lawn can sometimes deteriorate to a point where it simply cannot be nurtured back to what is considered an acceptable level of quality through the use of standard practices such as watering and fertilizing. A thick infestation of hard to manage weeds, substantial thatch accumulation, excessive insect damage or disease and the spread of unadapted grasses can leave a lawn in extremely poor condition. Lawn renovation may be the only option for a landscape that has fallen into conditions such as these.
Lawn renovation involves the process of eliminating all of the negative elements that are the cause of creating the poor quality. Once the negative elements have been removed, the lawn is reseeded without completely tilling under the lawn. This process of lawn care and renovation may be as simple as reseeding only bare spots, or as complex as killing all the vegetation and then re-seeding the entire lawn. If the lawn has been overrun and consists of at least 50% weeds and other undesirable types of grasses, complete lawn renovation is typically going to be the best option.
Controling weeds in your lawn & plant beds is part of a regular maintenance schedule & is vital to the overall look of your landscape and the health of your lawn & plants. Our crews will help you manage any and all weeds that come up before they become an eyesore. Applying a pre-emergent chemical and having a good weed barrier fabric in your beds greatly helps in reducing weeds from ever emerging.
A custom lawn fertilization program will help keep your outdoor areas beautiful in every season. We can create and implement a lawn fertilization regiment to ensure a healthy, long-lasting lawn. We will come to your home and handle all lawn fertilization applications. With our lawn fertilization services, your property's grass will stay lovely and disease-free — and your neighbors will be begging for your secret!
Bed Layout - Shrub and tree size, color, and placement are crucial factors, which "Green Side Up" is skilled in.
Tree and Shrub Installation - "Green Side Up" understands all the varieties of trees and shrubs and will always make the proper choices for your situation. Proper installation ensures healthy growth and a long life.
Perennial Gardens - Let "Green Side Up's" full familiarity with new & interesting varieties make your garden pop.
Beautifully mulched beds enhance the beauty of your landscape, encourage moisture retention and drainage, reduce weeds and provide the perfect setting for your plants. Let "Green Side Up" deliver the mulch & have our expert crews install it for you.
The height of fall signals the need for lawn care services. During the fall clean-up of your lawn and garden it's important to have any fall debris removed from the landscaping, especially any dead leaf buildup. Raking leaves can be very time consuming. We can make sure that your lawn is clear of dead leaves, sticks and other debris that commonly liters your lawn during the fall. Now is also the perfect time to remove any annuals which will not survive the cold months ahead. Any plant life that will be able to withstand the winter or return after it passes should be protected and maintained.
Keep your lawn green all summer with a new irrigation system. "Green Side Up Landscaping" can install an irrigation system to cover your entire yard, or your flower beds. Once it's installed, we are happy to provide ongoing service and maintenance for your system, including winterization and de-winterization.
Have an existing irrigation system in need of maintenance or repair?
"Green Side Up" can assist you with that too!
We service the entire Lake of the Ozarks area!
Don't get stuck after a big snow! "Green Side Up Landscaping" also offers snow removal and ice remediation services at Lake of the Ozarks. Whether you live on a main street or down a long winding Lake road, we can handle it!
We service Sunrise Beach, Laurie, and surrounding areas.