ART GALLERY IS CLOSED FOLLOWING PROVINCIAL MANDATE
GIFT SHOP OPEN - TUE to FRI 12 - 4, SAT 1 - 4
GIFT SHOP OPEN - TUE to FRI 12 - 4, SAT 1 - 4
EMERGENCE - VENUE: ONLINE April 3 - May 2 annual, high school student show from CCHS and Livingstone High School
click on poster below to go to online gallery
"JOURNEY TO THE HOME OF THE THUNDERBIRD (A RETROSPECTIVE)"
Michael J. Leeb May 8 - June 6
This exhibition consists of predominantly mixed media etchings and ledger art as a retrospective of art previously created during artist residencies at the Banff Centre in 2010 and a residency at the Gushul Artist Studio (Blairmore) in 2020. The works in 2010 were created with the assistance of a project grant from the Canada Council for the Arts (ACDI program) for a project entitled: “Canoe Journey.” The theme of this exhibit is therefore an extension of this project and chronicles in a narrative way the journey to the West of Hiawatha, a Chippewa Cree immortalized in H. Longfellow’s poetry in his The Song of Hiawatha.
In Indigenous culture, the Rocky Mountains located in the Crowsnest Pass are considered to be the traditional home of the mythical creature known as the Thunderbird; hence the theme: Journey to the Home of the Thunderbird. Some new ledger art works of mixed media drawings/collage will have been created to further portray this narrative; and include artworks that reveal the story of the Thunderbird’s journey to the Pacific Northwest. As a métis of Chippewa Cree/German heritage, the story of Hiawatha and his legendary yet mythical wife, known as Minnehaha (Laughing Water) is an important legend of the Chippewa. I hope to share this story with those that visit the gallery during this exhibition.
In Indigenous culture, the Rocky Mountains located in the Crowsnest Pass are considered to be the traditional home of the mythical creature known as the Thunderbird; hence the theme: Journey to the Home of the Thunderbird. Some new ledger art works of mixed media drawings/collage will have been created to further portray this narrative; and include artworks that reveal the story of the Thunderbird’s journey to the Pacific Northwest. As a métis of Chippewa Cree/German heritage, the story of Hiawatha and his legendary yet mythical wife, known as Minnehaha (Laughing Water) is an important legend of the Chippewa. I hope to share this story with those that visit the gallery during this exhibition.
RURAL ROOTS
Rick Gillis JUNE 13 - JULY 11
It is possible that the combination of a small-town upbringing and a background in journalism and fictional literature provided the motivation to undertake this series of paintings—character driven works rendered semi-realistically while portraying subject matter on the fringes of actuality. The landscapes in the paintings are for the most part real, several of which are in the Crowsnest Pass. The characters depicted, however, are inventions of the artist. One can imagine that, with the exception of a foray into semi-fantasy, the characters are all part of some extended family.
For the most part, this extended family is not particularly prosperous, living in run down conditions of semi-poverty and eking out a marginal existence, often on the very outer fringes of lawfulness. References to moonshining, for example, are apparent in at least three of the works in the exhibit.
Painting landscapes has never quite engaged me, yet in “Rural Roots” they provide the ideal setting for the portrayal of character and personality. In virtually all of these paintings it has been important that I capture these personalities before embarking on completion of the surrounding environment. Additionally, I have felt it necessary, in this series at least, to depart from a “painterly” approach and concentrate on a “faux reality” to recreate a sense of truth, even in the works that are so obviously fantasies."
Most of all, however, there is an underlaying sense of fun in the portrayal of often imperfect people reflective of my sometimes-subversive sense of humour. The images are visceral rather than intellectual. No one is left to analise them for any deeper truth or meaning. ~Rick Gillis
For the most part, this extended family is not particularly prosperous, living in run down conditions of semi-poverty and eking out a marginal existence, often on the very outer fringes of lawfulness. References to moonshining, for example, are apparent in at least three of the works in the exhibit.
Painting landscapes has never quite engaged me, yet in “Rural Roots” they provide the ideal setting for the portrayal of character and personality. In virtually all of these paintings it has been important that I capture these personalities before embarking on completion of the surrounding environment. Additionally, I have felt it necessary, in this series at least, to depart from a “painterly” approach and concentrate on a “faux reality” to recreate a sense of truth, even in the works that are so obviously fantasies."
Most of all, however, there is an underlaying sense of fun in the portrayal of often imperfect people reflective of my sometimes-subversive sense of humour. The images are visceral rather than intellectual. No one is left to analise them for any deeper truth or meaning. ~Rick Gillis
ROOM FOR THOUGHT July 20 - August 21
annual, juried, summer show curated by Karen Tamminga-Paton
“A room hung with art is a room hung with thoughts.” (Sir John Reynolds)
Picture yourself in a gallery. You are cruising around to see what’s new in the art world and you happen to wander over to a collection of landscapes. You think, “Hmmm, nice, but I’ve seen this stuff before.” You move on. You see a non-representational piece, a large purple stripe across a grey background and you mutter, this is art? The fellow in the black jacket shoots you an irritated glance. You hadn’t meant to say it out loud. But the uncomfortable feeling this stuff gives you, like there’s a secret code. It makes you feel terribly small town. You decide it’s bad art and move on. This time, though, you intentionally pause at the next piece. It’s even stranger, but you stand there. You’ll show this art-dude that this is like your home turf. You murmur quietly, head cocked, as though in a private conversation together, but let’s face it, you’re totally befuddled. You happen to glance at the title and, despite your cynicism, experience a flicker of recognition. Something about this piece – what is it? Okay, so maybe you judged too quickly. You take a breath, squinting as you try to penetrate the surface. What is it about this one? Maybe there’s art, and then there’s art. Right?
Most of us have had a wide range of reactions when viewing art: the pleasure of looking at an exquisitely executed painting, the curious sensation of being beckoned by an image, or of being turned inside out by a piece that challenges assumptions we didn’t even know we had. And this is only from a viewer’s perspective. What of the artist’s experience in the creating of those pieces? As we shift from viewer to artist and back again, consider for a moment what a marvellous gift the world of art is.
The elegant poetry of a line, the surprising juxtaposition of objects, a particular combination of materials – why do we do it? As humans, as artists, we are compelled to seek meaning and purpose in what we do. Art speaks the poetic language of soul. It feeds something in us and connects people to one another in new and unexpected ways. And, as our visual repertoire expands and we grow increasingly comfortable with the complexities of the creative process, there comes with it a natural invitation to move into new territory; to be curious and experiment, to grow.
This show is an invitation to consider and celebrate the privileged space we hold as both artist and viewer. As you prepare, consider trying something you haven’t done before. A new colour palette, unusual materials, a topic you’ve shied away from… Give it some thought. ~Karen Tamminga-Paton
Picture yourself in a gallery. You are cruising around to see what’s new in the art world and you happen to wander over to a collection of landscapes. You think, “Hmmm, nice, but I’ve seen this stuff before.” You move on. You see a non-representational piece, a large purple stripe across a grey background and you mutter, this is art? The fellow in the black jacket shoots you an irritated glance. You hadn’t meant to say it out loud. But the uncomfortable feeling this stuff gives you, like there’s a secret code. It makes you feel terribly small town. You decide it’s bad art and move on. This time, though, you intentionally pause at the next piece. It’s even stranger, but you stand there. You’ll show this art-dude that this is like your home turf. You murmur quietly, head cocked, as though in a private conversation together, but let’s face it, you’re totally befuddled. You happen to glance at the title and, despite your cynicism, experience a flicker of recognition. Something about this piece – what is it? Okay, so maybe you judged too quickly. You take a breath, squinting as you try to penetrate the surface. What is it about this one? Maybe there’s art, and then there’s art. Right?
Most of us have had a wide range of reactions when viewing art: the pleasure of looking at an exquisitely executed painting, the curious sensation of being beckoned by an image, or of being turned inside out by a piece that challenges assumptions we didn’t even know we had. And this is only from a viewer’s perspective. What of the artist’s experience in the creating of those pieces? As we shift from viewer to artist and back again, consider for a moment what a marvellous gift the world of art is.
The elegant poetry of a line, the surprising juxtaposition of objects, a particular combination of materials – why do we do it? As humans, as artists, we are compelled to seek meaning and purpose in what we do. Art speaks the poetic language of soul. It feeds something in us and connects people to one another in new and unexpected ways. And, as our visual repertoire expands and we grow increasingly comfortable with the complexities of the creative process, there comes with it a natural invitation to move into new territory; to be curious and experiment, to grow.
This show is an invitation to consider and celebrate the privileged space we hold as both artist and viewer. As you prepare, consider trying something you haven’t done before. A new colour palette, unusual materials, a topic you’ve shied away from… Give it some thought. ~Karen Tamminga-Paton
TETHERED TO INFINITY August 31 - September 25
Amy Sallenbach
"Oscilliate" mixed media, Amy Sallenbach
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"The space between dreams" mixed media, Amy Sallenbach
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"Birth" mixed media, Amy Sallenbach
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"Orbit" mixed media sculpture, Amy Sallenbach
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The Tethered to Infinity installation is the marriage of 2 bodies of work created concurrently. The Orbit mobiles, which are an investigation in to my childhood desire to become an astronaut, tapping in to the collective fascination of exploring the unknown. While utilizing found objects of a craft/ industrial/ scientific nature, Orbit speaks of boundless possibility juxtaposed with material excess. They are time machines made of heat, debris and memory. They are the toys of our theories circling the same dogmas over and over again until understanding expands, and we perceive a whole new universe. The form the mobiles take reference early astronomical and navigational equipment circa the 13th-19th centuries. The materials used are specifically found object, as being influenced by material circumstances is so often key to one’s perception of reality. I select and dismantle many curiosities to use, from timepieces to toasters to avionics, and all are an exercise in discovery and a new opportunity to learn how things tick.
The second aspect of Tethered to Infinity are mixed media paintings from the Atomo Series. Atomo is an exploration of the smallest unit of ordinary matter, the atom, via a deliberately meditative and instinctual method that allows the media to have significant influence on the outcome. It connects atomic musings with earthen textures, incorporating dream states and our innate yearning to elevate ourselves above what is considered ordinary existence. In dreams, day and night, we become pure energy, our consciousness orbiting our lives as we play out the tales imprinted on our psyche before emerging to this reality. Tethered to Infinity is about the forces that simultaneously tie us to this existence while revealing fragments of what reaches beyond.
The second aspect of Tethered to Infinity are mixed media paintings from the Atomo Series. Atomo is an exploration of the smallest unit of ordinary matter, the atom, via a deliberately meditative and instinctual method that allows the media to have significant influence on the outcome. It connects atomic musings with earthen textures, incorporating dream states and our innate yearning to elevate ourselves above what is considered ordinary existence. In dreams, day and night, we become pure energy, our consciousness orbiting our lives as we play out the tales imprinted on our psyche before emerging to this reality. Tethered to Infinity is about the forces that simultaneously tie us to this existence while revealing fragments of what reaches beyond.
Allied Arts Council of Pincher Creek
We wish to gratefully acknowledge our relationship with the Allied Arts Council of Pincher Creek. We will keep you informed of the ongoing schedule of exhibitions happening at their Lebel Gallery, in Pincher Creek. Check out their website here:
We wish to gratefully acknowledge our relationship with the Allied Arts Council of Pincher Creek. We will keep you informed of the ongoing schedule of exhibitions happening at their Lebel Gallery, in Pincher Creek. Check out their website here:
