KC Adams

KC is interested in socio-economic issues faced by North America’s consumerist culture. Her main focus has been the investigation of the dynamic relationship between nature (the living) and technology (progress). Her intent is to create work that represents the human struggle to control our environment as well as the love/hate relationship we have over our excessive habit of consumption and conformity. Raised in a culture that emphasizes the wonders of technology yet still romanticizes nature and the natural world; she tries to make sense of our present and future through her art.

More about KC Adams

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Jairo Alfonso

Jairo Alfonso graduated in 1998 at the Instituto Superior de Arte (ISA) in Havana. He has developed prolific works in various media such as installations, paintings, drawings and videos. In general his work is a study of man's nature, both in the present and the past. Recently he has been exploring the symbolism inherent in objects found in daily life , and the manner in which they characterized generations, a civilization, a human group. 

These drawings are inspired by the Diogenes syndrome, that is, the behaviour of hoarding and collecting. Objects in daily life are consumed through their use in daily life and then are not discarded. The results are “boxes” full of various clutter. This idea translates into an obsession to draw, in Jairo's object filled pieces.

In “The Pleasure of Getting Lost” he is also exhibiting works from the series “Equilibrio”, in which he establishes a lucid exercise with the objects he is relating to. Similar to a kind of diary or chronicle, he recreates an imaginary gravitational axis, alluding to the wider concept of an "equilibrium".

In another group of works he has created a psychological approach to his drawings based on the disorders of certain persons, the objects they use and the random way they arrange them in daily living. He has been studying the disorder left by people during their daily routines , from an archaeological perspective. These pieces have a close relation with the still life genre.

More about Jairo Alfonso

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About Aliana Au

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Louis Bako


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Born Elaine Chandler 1951 in Winnipeg, Manitoba.

From 1977-1981 I studied ceramic sculpture, woodcarving and life drawing at Symposium School of Art on Clifton run by Wayne Brueckner. At this point I was selling my work as Elaine Bauer.

Five years ago, I began volunteering in the clay area of Artbeat Studio. While mentoring the artists I am able to do my own work which has been on display at the end of each month session.

My objective is to find unique ways to express motion, emotion, design and balance using the human form.  I am addicted to the creative process and enjoy challenging myself and the clay.

About Elaine Banerjee

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My abstract compositions are a way of expressing my internal thoughts and perspectives on life. Life is layered with feelings, emotions and images. Through my art I try to capture the essence of those images through colour, depth, texture and form. As an abstract artist I create works that are engaging yet personal to me. It is a form of communication without words. I feel art draws one in and that you are always in it its presence. Using acrylic, pigment, water colour, gauche and other innovative media; my abstract variations range from works on paper, image transfer, collage, monotype printmaking to medium and large scale paintings on panel.

About Edward Becenko

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I work in cross disciplinary method, in regard to media (tools) of visual art and art disciplines. During my study at the University of Manitoba I did majors in both drawing and sculpture. My honors thesis was painted steel sculptures. In 1990 I began to work extensively in the performance arts, moving through the production department from painter to artistic construction consultant and production designer, while continuing to create and show my visual art.

About Andrew Beck






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I have been obsessed with motorcycles since I had my first ride down the back lane on my uncle Len's Harley at age 4. Since I became a rider, a few years back, the obsession has grown. I hit the road every chance I get. The experience has, naturally, worked its way into my art practice. I have been doing large scale oil pastel drawings of my bikes and those that appeal to me. I find pastel the ideal medium for this work; it is situated between painting and drawing; it allows me to work broadly and quickly; capturing the power and vitality of these machines without getting bogged down in details. There is nothing like roaring down a winding road on a bike, feeling the rush of the wind, being immersed in the sights, sounds and smells around you. I aim to relay a sense of the physicality of the experience in this work; the freedom and inspiration that flow from the "heavy metal thunder".

About Michael Boss

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Kevin Boyle is a photographer based in Vancouver, BC. He was born and raised in the Canadian Prairies and spends his time roaming the vastness of the plains of his homeland. He does this to document the dilapidated ruins of what were once thriving communities while highlighting the beauty of central Canada.

Boyle presents these once majestic and culturally pivotal places in large scale photographs that put the viewer in the moment that the photograph was made. By manipulating exposure and lighting, he gives these buildings and homes a second chance to showcase their beauty. Showing that there is still value in these settlements, despite their relatively brief tenancy.

Boyle’s photographs pay homage to a time that technology and the busyness of life have let pass by.

About Kevin Boyle

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Phillip Brake is a Winnipeg artist. Originally from California, he came here to marry a Winnipeg girl in 1978. The original plan was to stay in Manitoba for two weeks followed by a return to California. It never happened. Not long ago he ended a long career as an art instructor to do art full time. He doesn’t care much for Winnipeg winters but he’s still married, has some good friends and is doing something he loves. He’s very happy.

Artist’s Statement

Art has always been and continues to be an exploration of my creative spirit. I draw inspiration from the wide world around me. I see beauty everywhere and the variety of themes in my art reflects that. A long career in teaching art has provided me with exposure to a wide variety of materials and artistic processes.  I like working with many materials including wood, stone, plaster, clay, paint, dye, glass, paper and silk.

Some years ago I was exposed to the unusual process of painting with dye on silk. I was instantly seduced by the vibrancies and intensity of colors attainable.  Forests, flowers, faces and rusty old trucks all command attention on silk. It’s a difficult medium to work with, a bit like trying to ride a wild stallion but the results can be worth it.

I also love the scratchboard process that allows the artist to reveal light instead of adding shadow.  Scratchboard is initially all black with a white coating underneath. Each scratch reveals the light hidden below.

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My first and favourite choice of discipline would have to be drawing, since I was a little boy, the prospect of creating a title page, posters, cards, drawings etc. has remained a paramount means to expressing myself.  

Over the years I have maintained an exploration of mediums and materials and a range of themes such as cars, pop culture, landscapes, people and music. This may fall into the context of applying irony and duality in whatever it may be that I'm trying to say. Most of my images created are either invented or interpretations of other artists work, for some time, I was greatly impressed with the American artists Basquit, Herring, R Kitja, Larry Rivers. Lately, it has been artists from the old world, I suppose because of the remarkable skill and ability they disciplined from nothing impresses me more than good drawing and draftsmanship.

I feel as an artist, it is important for myself to maintain this capacity of which I developed from formal training in Fine Arts, after that, producing loose and expressive works on paper is my trade-off, or reward, it simply becomes an exercise in fun and imagination.

About Mini Davis

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Making art, for me, is done out of necessity. I am addicted to it, and need it like a junkie needs a fix. I honestly find myself going through ‘art withdrawal’ if days go by without painting or drawing, or art-making in some form. I have been drawing since the first day I was able to hold a pencil, and painting for just as long.

If I’m able to alleviate people’s minds from whatever concerns or issues are troubling them, I do it with a sense of whimsy. Humor plays a major role in my work, even going so far as to poke fun at art itself, as though it were a living, breathing entity. It’s my way of keeping art in check, and a reminder not to take myself too seriously. 

My latest work has been dealing with random patterns and textures, which I create myself, as well as a sense of detachment from any pre-conceived or planned ideas for works I may create. For years I have been using found imagery such as clip-art, comics, or advertisements as the starting point for my work. Lately, with my “Drawn Collage” series, I have been creating my own imagery, and drawing or painting it in a style that mimics the look of a ‘cut and paste’ collage. You could say, I’m going backwards from my usual approach to art…which is good. Playing around with different styles and mediums is important to me, as it keeps things fresh. I have no desire to become the master of any one particular genre; that is to regimental for my taste, and there are far too many different approaches to art making that I would like to try. The creative ideas in my head are like problems or puzzles that need to be solved… and the answer to these puzzles dictate the style and mediums I will choose to complete them.

About Dan Donaldson

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Aganetha Dyck is a Canadian artist who is interested in environmental issues, specifically the power of the small. She is interested in inter species communication. Her research asks questions about the ramifications all living beings would experience should honeybees disappear from earth.

Dyck is using apiary feeder boards and hive blankets to develop her new body of work.

About Aganetha Dyck

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Neil Peter Dyck

Neil Dyck is a Manitoban artist currently based in Vancouver, BC. Working intuitively on hard board to create non-representational paintings, Dyck’s rudimental investigations embrace a harmony of collage and painting. Dyck’s works are organic in their construction and explore fundamental ideas taken from nature and life around him.  His dream-like, fragmented compositions are the result of a process of augmenting, reducing and concealing abstract forms, a multi-layered execution that simultaneously exposes an expressive freedom and calculated restraint. Dyck’s practice is multifaceted; not only does he contribute to his community through exploring the visual performance art of live painting, but he donates his time and work to help important causes and the needs of others. Dyck has exhibited across Canada, including the Toronto International Art Fair, and was awarded the Heinz Jordan Prize in Painting in 2004 and 2005 and the Artist in residence in Yellowknife, NWT in February 2016. He has previously been represented by Jeffrey Boone Gallery in Vancouver and Actual Contemporary in Winnipeg.

More about Neil Peter Dyck

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John Erkel was born in 1945 in Budapest, Hungary. He now lives and works in Winnipeg, Manitoba, and became a Canadian citizen in 1965. After attending the Illinois Institute of Design in Chicago, Erkel became an interior designer and a self-taught artist. He has taken some welding courses which speak to his work with metal. He has worked in silkscreen, mixed media painting as well as plastic and metal sculpture and reliefs since 1972. 

Erkel’s work has shown in group and solo shows throughout Canada and parts of Europe.

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[This text has been published in many versions since the early 1990s.]

When I was a student at the Nova Scotia College of Art & Design, I made installations of various kinds in the school's library. In 1981 I cut up Arneson's History of Modern Art into file card sized pieces and then spent two months inserting these cards amongst the file cards of the School library's catalogue.

This project had sources in conceptual art, in an early 1960s file card piece by Robert Morris, and in the work of artists who are systematic about what they do like On Kawara and Daniel Buren. The work also had and has to do with the history of painting. The library projects I did at art school reflected my thinking about the organization of art and documentation in libraries and art galleries, and about how libraries work. 

Before I had made the piece using the chopped-up art history text, I had begun to use 3"x5" file card sized supports for painting.

As I paint I have always tried to make successful individual works. Afterward I think about the cumulative project which, since 1981, is made up of thousands of paintings and drawings the same size.

Jorge Luis Borges' stories "The Library of Babel" and "Funes the Memorious" had a bearing on my original impulse to make file-card-sized paintings in 1981, but if I once thought of myself as a librarian painter -- maybe one of Borges' "Librarians of Babel" -- I now aspire to Funes' atomized vision of the world, in which things represent each other in a precise way.

The beginning of my work in file card sized paintings and library installations coincided with the historical demise of the library card and the replacement of card catalogues by computers; I don't dwell on the metaphor of a file card sized work as a "library" card when I paint.

Sometimes I think of my individual paintings as being like one Cubist facet broken off from a larger painting the way a hologram breaks up: in a hologram, each fragment contains a whole image. Of course, this "Cubist" thinking does not always extend to the stylistic aspects or content of my individual paintings. Many of my paintings are self-conscious dream-works made with an interest in the history of artists who have worked in the same way.

I try to make a whole image as I paint, a painting which can exist on its own. In contemporary culture we get many "whole" images, but it is difficult to make sense of them. As I continue to paint and draw, I keep in mind that first big project in the N.S.C.A.D. library, as if I am making my own art historical grid.

The small format of my paintings has led me to study, among other subjects, English portrait miniature painting, Indian miniature painting, and the manuscript illuminations of many traditions. This small size has affected the way I look at all art, big and small.

I have made abstract "samples" which resemble tiny excerpts from larger abstract or figurative works or the details of paintings reproduced in conservation books; landscape paintings; figure paintings; portraits; collages with photographs and found objects; paintings and drawings of women I have been close to; many drawings of my parents, sisters and brother and friends.

Once I begin painting using a 3"x5" piece of sanded and primed 1/8th" Masonite and acrylic paint, but more recently I have used thicker MDF panels. I also make many drawings on paper. Sometimes I begin by pasting photographs and other materials on supports; I also make watercolours on watercolour paper. I have glued colour photocopies of paintings onto gessoed wood and painted over them, sometimes with added bits of close-value colour. I keep sketch pads bigger than my favorite format, sometimes cutting a sketch down to size or reducing a drawing by means of photocopy machines. Some paintings are reproduced as black and white or colour photocopies for further painting. Since 1999 I have made computer drawings using the Adobe Illustrator drawing program. (I like the fact that a computer vector drawing has no inherent scale and that, big or small, it has the same high resolution.)

Usually I compose images out of my imagination as I paint and draw. I also paint from life, but more often I work with an image that gets formed before my eyes in the painting without using models of any kind.

I have a discipline about work which permits me to produce art no matter what my circumstances. Sometimes I work on a painting for several years, but sometimes the work congeals into something acceptable in a few minutes. Work on individual paintings is absorbing enough for me to quickly forget that my 3"x5" format never changes.

I never forget that this project is absurd. There is negation in my work, a Dada impulse that grows out of my veneration for a fractured European tradition that includes everything from Renaissance art to Marcel Duchamp.

The paintings are given titles (or not) after they are made. I often group works thematically for exhibitions. I have also made new versions of paintings to illustrate poems and stories. (Although I rarely accept illustration commissions, I am interested in challenging high art proscriptions against illustration.)

Titles are always post-facto things, and the uses I put paintings to in exhibitions are also post-facto. For me, the work of public display and interpretation is curatorial work, whether I do it or someone else does it. Arranging my paintings in an exhibition is an opportunity for work on other levels. I have encouraged curators to show the work in ways that interest them: Susan Gibson Garvey at Dalhousie Art Gallery in Halifax once showed all the paintings in their storage cabinets. Michael Lawlor of Struts Gallery in Sackville, New Brunswick, jammed the paintings together on one wall; in Saint John's, Newfoundland, Marlene Creates placed the paintings in Eastern Edge Gallery above and below eye level. I usually show the paintings unframed along one line at eye level, with generous space around them, but I have also installed the paintings in other ways, for example as points on a wall, or even as captions to works by other people, as I did in 1994 in an exhibition at the Confederation Centre Art Gallery & Museum and in 2000 at the Art Gallery of Nova Scotia.

About Cliff Eyland

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Mitchell Fenton

I love painting. I love the challenge…

I grew up in Winnipeg and now live with my family on Toronto Island. During the school year, I work part-time at the Ontario College of Art & Design University. Months in the summer, I enjoy loading the kids in our VW camper van and heading west. Along the way, there are many stops at our favourite spots to camp and paint – Killarney on Georgian Bay, Pukaskwa National Park on the north shore of Lake Superior and Lake of the Woods are a few such spots. We always stay near Victoria Beach on Lake Winnipeg where I spent time as a boy. However, I also must always carry on across the prairies to the mountains, sometimes with my family, but mostly solo for some intense painting.

I paint en plein air with oils on small wood panels while traveling. My set-up is very portable, enabling me to hike into remote areas. Hiking has become an integral part of my painting process; clearing of the mind, acceleration of the pulse - all in anticipation of stopping to begin a composition, whether it be in small details in the lichen and rocks with wildflowers, or cropped abstract patterns of rocks meeting a lake, to the perfect alignment of a grand vista. I also take photographs. It has been said that, "It is not the destination but the journey, that is more important." This is certainly true for my process.

Back in the studio, some panels are chosen and worked up into larger canvases. Sometimes in the studio canvases I like to include a still-life in the landscape or people in the landscape and recently I have laid a play button on some canvases to reflect the influence of technology on our contemporary lives. I look forward to exploring new landscapes and new ways portraying them (climb a little higher).

There is a strong tradition of landscape painting in Canada. When I first began painting the Canadian landscape, I went to Lake O'Hara, because of the many paintings I had seen from this area; work by John Singer Sargent, J.E.H. MacDonald, Lawren Harris - just to name a few. There is a reason why Lake O'Hara was and continues to be so popular with hikers and artists alike. The trails around these three intersecting valleys have been groomed and maintained for over a hundred years. Lake O'Hara is spectacular; I have been back many times!

The land we live in shapes our history. We are all connected to it.

Although there are many places in Canada I enjoy working in and others I have yet to explore, I think I will be back to the Rockies many more times.

My favourite painting is usually the one on the easel.

– Mitchell Fenton

About Mitchell Fenton

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Born in St. Boniface (now Winnipeg), Canada, Carole Freeman holds degrees from the University of Manitoba (BFA Honours, Dean’s Honours), and the Royal College of Art (MA), School of Painting, London, England, tutored by Peter de Francia, E.H. Gombrich, Norbert Lytton, Phillip Rawson, and John Golding, with a residency at the Cite Internationale des Arts, Paris.

Noted exhibitions include Selections 2012 – 2016, Walnut Contemporary, Toronto; Portraits of Facebook, Edward Day Gallery, Toronto, opened by Jordan Banks, Director of Facebook Canada, with Facebook executive and public participation at the Portrait Painting Party during the run; Women’s Art Now, with works by Helen Frankenthaler, Elizabeth Peyton, plus, opened by Judy Larson, former director of The National Museum of Women in the Arts; Classical Values: Modern and Contemporary Drawings, with included work by Picasso, Matisse, Klimt, Hockney, plus. Three exhibitions of celebrity portraits were featured during the Toronto International Film Festival (2010 and 2011). Participation at ArtToronto (2014 and 2015), Canada’s largest international fair, included paintings featured in talks by art historian Holly Mazer, Fox (BA, Yale University, MA, Courtauld Institute of Art).

Freeman was invited to present her art practice to The Canadian Arts Summit (2012), a national leadership forum that yearly brings together the chief executives, artistic directors, and board chairs of Canada’s 50 largest not-for-profit cultural institutions, on the panel Making Art in the Age of New Media, moderated by Janet Carding, former Director CEO, Royal Ontario Museum, The Banff Centre, Banff, Canada

Commission work includes Jeremy Chilnick, commissioned by film director Morgan Spurlock, Leslie Sacks, commissioned for the publication “African Art from the Leslie Sacks Collection”, Skira Editore, Italy, and Nine Drawings of Man Friday, Collection Lord and Lady Glentoran, Dublin, Ireland.

Surprise Appearances, a sixteen-page profile of Freeman’s paintings written by Gary Michael Dault (former art critic Globe and Mail), was published in Arabella, Summer Issue, 2016. Freeman’s work has also been featured in The Globe and Mail, and The National Post, as well as blogs and websites such as Artoronto, ArtDaily Newsletter, ArtSlant, Akimbo Art and Tech Blog, ArtStars, Berkshire News, Los Angeles Magazine, Visual Art Source, and the Canadian Art Database.

Freeman is the recipient of grants and awards from the Canada Council, University of Toronto, and Royal College of Art. Her work is represented in private, corporate, and public collections throughout the U.S.A., England, Ireland, Italy, Australia, and Canada including Canada Council Art Bank and York University.

Freeman presently lives and works in Toronto, Canada.

About Carole Freeman

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Gabrielle Funk is a Winnipeg based visual artist and muralist. She works primarily in two dimensional format using combinations of ink and acrylic to render densely detailed characters imbedded in sparse, abstract environments. Gabrielle creates realist portraits that walk the line between the awkward and graceful, the familiar and foreign. She aims to beckon viewers into a world laced with quiet tension and subtle admission, seeking to find and represent the face of vulnerability and the essence of authenticity using subject matter and symbolism that is as hostile and wild as it is familiar.

Through her current work Gabrielle is grappling with the complex subtleties of femininity as a societal construct by comparing, contrasting or combining the vulnerable images of women’s bodies with those of culturally significant animals.  This work carefully and critically addresses the physical and psychological dynamics of wild and domesticated beings and the power hierarchies that exist amongst them. 

About Gabrielle Funk

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Sue Gordon

Winnipeg artist Sue Gordon's ethereal encaustic work bares the weight of her nostalgia for the prairie horizon. She now seeks to tell stories of longing associated with the increasingly disconnected world of social media set against her dramatic landscapes.

Borrowing from cinematic or photographic mood, Gordon employs purposeful shifts in value and contrast as layers of wax and ink are built up and removed. This body of work can be seen as the visual form of Pathetic Fallacy, John Ruskin's term for the literary device which attributes human emotion to nature, often anthropomorphizing landscape.

About Sue Gordon

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Robert Guicheret

Graduating from the University of Manitoba with BFA in 1977 Robert Guicheret paints oil on canvas. Heavily influenced by Matisse and Picasso his works, though seemingly simplistic, contain a boundless energy. His choice of rich colour pallets create a parenthesis within the real world - a forgotten paradise. Currently Guicheret resides in Texas. 

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Canadian interdisciplinary artist Kyle Herranen studied Classical Animation at Sheridan College (1997) before earning a BFA at York University (2004) and receiving his MFA from the University of Regina (2008).

Kyle produces a range of work including: installation, paintings, performance and sculptural objects. His work is invested in notions and concepts of material. Using materials as signifiers, he subtly interrogates hierarchical and dichotomous categories, including urban and rural, public and private, real and representational, masculine and feminine, modern and contemporary.

Kyle was included in Mind the Gap! (Dunlop Art Gallery), a National touring exhibition featuring prominent emerging artists.  In the fall of 2012 Galleries West named Kyle one of Canada’s “Who’s Who of Collectable Artists”.  Herranen has exhibited both provincially and nationally, and his art is featured in numerous corporate, private and public collections across Canada and the United States including the Mosaic Corporation, the City of Regina, and the Dunlop Art Gallery.

Kyle currently lives and works in Regina Saskatchewan and is represented by Darrell Bell Gallery in Saskatoon, Gurevich Fine Art in Winnipeg, and SLATE Fine Art Gallery in Regina.

About Kyle Herranen

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E. J. Howorth

E.J.Howorth’s passion has been Printmaking throughout most of his artistic career. He received his BFA from the University of Manitoba,  apprenticed under Wilfredo Arcay of Atelier Arcay in Paris. and received an MFA from the University of North Dakota. In 1995 he was appointed to the Royal Canadian Academy of Arts, R.C.A.

Howorth has worked for Open Studio in Toronto, and MPA in Winnipeg. He and Michael Schonke introduced water-based screen printing to Druckwerkstatt/BBK in Berlin in 1991.         

For over 40 years he has exibited locally, nationally and internationally, received numerous commissions and is a part of many collections.

Howorth has exhibited in International Juried Print Biennales in Norway, Korea,. Yugoslavia, Germany, Macedonia, the Netherlands and Canada.  He was a medal winner in the International Grafik Biennial Freschen, West Germany. His work has been shown at the Winnipeg Art Gallery (1971); the National Gallery of Canada (1972); the Musee d’Art Contemporain in Montreal (1975) and the Grand Western Canadian Screen Shop Show at the Canadian Cultural Center in Paris. It toured France throughout 1977. In 2002, Howorth was invited to participate in Artists from Finland and Abroad, Gallery Villa Jankovsky, Kajaani, Finland and recently In Plain Sight: Printmaking from the Canadian Prairies, Marostica, Italy, & Venice, Italy. He has had solo exhibitions in Winnipeg, Toronto and Montreal.. Haworth was one of the founding members of <SITE> Gallery and exhibited regularly throughout its ten years of operation.

About E.J. Howorth

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Lisa Johnson graduated with honours from the Ontario College of Art and Design, where she also won the prestigious Mrs. W.O. Forsythe Award for 4th year women painters in 1996.  Lisa Johnson’s work has been shown in solo and group shows throughout Ontario and she has over 200 works in private and corporate collections in U.S.A., Europe and Canada.

"She is a modern romantic poised halfway between the world of purely painterly dreams and visions of grand mysterious Canadian places." 

--Robert Kameczura, Chicago
Big Shoulder's Magazine

About Lisa Johnson

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Japanese Kimonos

Kimonos are ancient Japanese robes, but they are still popular in Japan today. These vintage women's Furisode and Kakeshita style kimonos were traditional formal attire worn by young unmarried women. Imported from Japan each silk kimono features intricate oriental scenery and floral patterns which acted as indications of social status and personal identity. The customary butterfly sleeves are weighted with a touch of padding at the hem and again along the bottom to ensure the piece trails slightly and lies properly. Authentic and charming, each kimono is a piece of living art and rich history.

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Words and Photography: Brett Howe

Make-Up: Sarah Gurevich

Hair and Head Pieces: Meghan Kinita

Stylist: Daniel Gurevich

Model: Michelle Beltran for Panache Model Management

Kimonos and Location: Gurevich Fine Art

See The Feature From Charcoal Collaborative


Some paintings have planned narratives, while others are painted more intuitively. When produced either way, the completed paintings have no linear read, but suggest a sort of subliminal landscape through the incorporation of both the representational and the ambiguous.

Thematically, I reference the images and ornate patterns found in nature and contrast these organic forms with the inorganic man‐made forms that score the landscape. My paintings are reflective of the issues that surround the production, transportation and consumption of various resources, some being more obscure than others. The paintings with their warm colour palette appear light‐hearted, innocent and beautiful at first. However, there is an underlying chaos and acidity ‐‐ reflective of the rise in global temperatures as well as people's willingness, but also their resistance to change.

About Megan Krause

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