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Join award-winning and acclaimed Indigenous storytellers in lively conversation about their work and artistic projects. Register for this free online event: http://ow.ly/J8dX50zX1du This panel of past VPL Storytellers in Residence includes: Joseph Dandurand Jules Koostachin Nova Weipert Reane Morriseau T’uy’t’tanat-Cease Wyss To join you will need a computer, tablet or phone with camera and microphone. Headphones are recommended. |
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Bob Ross:
Happy Little Accidents JULY 4, 2020 TO SEPTEMBER 13, 2020 #BobAtThePAG Main Gallery The Penticton Art Gallery is thrilled to present the first-ever Canadian exhibition of the internationally celebrated pop culture icon and American artist, Bob Ross. I, like millions of others, was captivated and seduced into the world of art by his public television series The Joy of Painting. Like millions before me it was an invitation to try my own hand at landscape painting. Growing up in Vancouver in the early 80s with only a dozen TV channels to choose from, it wasn't long before I discovered KTCS 9 public television, with its quirky shows, documentaries, and best of all, no commercials. Years earlier in grade five we had artist Daniel Izzard come visit our class. Within an hour I watched in amazement as he created a world right before my eyes. This was |
the first time I remember seeing an artist in action, and it’s made an impression. I don’t recall exactly when I first encountered Bob Ross’ The Joy of Painting, but it would have been by accident as I idly flipped through the dials waiting for something to come on.
Bob Ross was a magician, one who could pull a landscape out of thin air. I was immediately seduced by the ease with which he could articulate a landscape that was nowhere in particular yet totally familiar at the same time. In the solitude of our basement I even tried to paint along, cobbling together whatever craft paints we had lying around to little effect or success. As I grew into my teens, my interests changed, and as the years passed my memories of Bob Ross faded and morphed from a magician to a pop culture icon and purveyor of kitsch.
While serving as a tribute to the artistic legacy of an artist whose name and work is as well known, this exhibition looks to explore the deeper questions around nostalgia, high and low art, art history, the cult of celebrity, pop culture, the art market and ultimately what is worthy of being exhibited and preserved in our museums. Bob and I both agree there are no wrong answers and I am fascinated to explore these questions.
The Penticton Art Gallery owes a great deal of thanks to Sarah Strohl and the team at Bob Ross Inc., and Elizabeth Bracey of the Visual Arts Center in Loudoun County, Virginia, which hosted the first gallery-curated exhibition of Bob Ross paintings.
Paul Crawford, Curator
Bob Ross was a magician, one who could pull a landscape out of thin air. I was immediately seduced by the ease with which he could articulate a landscape that was nowhere in particular yet totally familiar at the same time. In the solitude of our basement I even tried to paint along, cobbling together whatever craft paints we had lying around to little effect or success. As I grew into my teens, my interests changed, and as the years passed my memories of Bob Ross faded and morphed from a magician to a pop culture icon and purveyor of kitsch.
While serving as a tribute to the artistic legacy of an artist whose name and work is as well known, this exhibition looks to explore the deeper questions around nostalgia, high and low art, art history, the cult of celebrity, pop culture, the art market and ultimately what is worthy of being exhibited and preserved in our museums. Bob and I both agree there are no wrong answers and I am fascinated to explore these questions.
The Penticton Art Gallery owes a great deal of thanks to Sarah Strohl and the team at Bob Ross Inc., and Elizabeth Bracey of the Visual Arts Center in Loudoun County, Virginia, which hosted the first gallery-curated exhibition of Bob Ross paintings.
Paul Crawford, Curator
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Speed:
The History of Speed Painting in Canada JULY 4, 2020 TO SEPTEMBER 13, 2020 Toni Onley Gallery Long before I had ever considered doing an exhibition of Bob Ross, I had been fascinated by the work of Levine Flexhaug (1918–1974), whose works I would find from time to time at thrift stores. I would purchase them as they were somewhat beguiling, something that I couldn’t quite place into the landscape of our art history. At the beginning I had a $5 limit as to what I would pay for them and I would then turn around and sell them on eBay, typically between $19.99 and $29.99, always to an address in Toronto. This was in the early 2000s while I was living in Grand Forks, and after the third or fourth one I sold I decided it might be worth following the trail and digging a little deeper. It turned out that my paintings were being purchased by a folk art dealer, and in doing some online research I was amazed to discover that an art student in Toronto had done an installation using Flexhaug’s work in a thrift store, and |
another had used his works as the inspiration for a huge installation in the prairies. Years later while visiting my friend and artist George Shawchuk in Fanny Bay, he handed me a copy of a catalogue for an exhibition he was in at the McMichael Gallery, and wouldn’t you know it, there was Flexhaug. This all further fueled my interest and I continued my hunt for his paintings and would spend more and more time trying to unravel the mystery of who this artist was.
While this exhibition will give you an insight into the life and work of Levine Flexhaug, it's really intended to give you an introduction and a sense of the tradition of speed painting in Canada. For Levine, most of these paintings were done in the late 1940s, before Bob Ross was even born, and sold at the train stations in Banff and Lake Louise.
In addition to the work of Levine Flexhaug we will also feature the work of Joe Prokopchuk, also known as Yukon Joe, (1905-2000) who sold his work from Prince George to the Yukon. Two years ago while visiting Ft. Nelson I was amazed to see the local museum was filled with his work. In doing more research into his life I found out that Yukon Joe’s Diary is one of the 100 Objects of Interest at the Royal B.C. Museum.
We will also display a number of paintings for your consideration by the renowned artist Toni Onley (1929-2004). Toni was well known for being able to paint one of his watercolours in 20 minutes and when asked how he could charge $2,500 for them he would quip, “it may be 20 minutes now, but it’s a lifetime of learning.”
Paul Crawford, Curator.
While this exhibition will give you an insight into the life and work of Levine Flexhaug, it's really intended to give you an introduction and a sense of the tradition of speed painting in Canada. For Levine, most of these paintings were done in the late 1940s, before Bob Ross was even born, and sold at the train stations in Banff and Lake Louise.
In addition to the work of Levine Flexhaug we will also feature the work of Joe Prokopchuk, also known as Yukon Joe, (1905-2000) who sold his work from Prince George to the Yukon. Two years ago while visiting Ft. Nelson I was amazed to see the local museum was filled with his work. In doing more research into his life I found out that Yukon Joe’s Diary is one of the 100 Objects of Interest at the Royal B.C. Museum.
We will also display a number of paintings for your consideration by the renowned artist Toni Onley (1929-2004). Toni was well known for being able to paint one of his watercolours in 20 minutes and when asked how he could charge $2,500 for them he would quip, “it may be 20 minutes now, but it’s a lifetime of learning.”
Paul Crawford, Curator.
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En Game Air JULY 4, 2020 TO SEPTEMBER 13, 2020 Project Room Gallery This exhibition explores and challenges our notion of landscape painting by asking: is this the future of landscape painting as we know it? A number of years ago while talking with artist Connor Kenney, he revealed that he was engaging in plein air painting while gaming, taking time to document the landscapes in the video games he was playing. I was fascinated by this on so many levels as it seemed to me, for Connor, that there was little or no separation between the real landscape outside his home and the ones depicted in the virtual world he was immersed in. En plein air is a French expression meaning “in the open air,” and has up to this point referred to the act of painting outdoors with the artist’s subject in full view. In doing so, artists are able to capture the spirit, essence, and the subtle nuances of the landscape or subject as it is a dynamic |
environment, constantly moving and changing with the light and environmental conditions.
Later that summer Connor was participating in an intensive artist in residency program where he set up his gaming system, and over the residency he continued down this path. Was this merely an addiction to gaming or was there something more? Over the subsequent years I have wanted to explore this idea more thoroughly and had looked for the appropriate opportunity to develop an exhibition around the subject. This past year I started to explore the virtual landscape myself. The first thing I stumbled upon was Clifford Kamppari-Miller’s website en Game Air. It took a great deal of sleuthing to track down and contact Clifford in Portland, as I was fascinated by his approach and the way he documented his thoughts and process. Not being a gamer myself I was given a window into this mysterious world and wanted to know more and kept searching the internet for others, when I came across Dr. Merlin Seller in Scotland.
I reached out to Dr. Seller, currently working at the University of Edinburgh, and I was thrilled not only to receive a reply but to read what they wrote: “Thank you for getting in touch — this sounds like a fascinating (and timely) exhibition. With the recent widespread adoption of in-engine 'photo-modes' in many open-world games, there is a definite interest in the aesthetics of digital landscapes and scope for significant critical trans-media painting practices...”
And so it came to pass! Over the course of the exhibition, the games they have drawn their inspiration from will be on display for the public to try their hand at. Connor and Clifford will both be in Penticton to talk about their work and to host a workshop.
Paul Crawford, Curator
Later that summer Connor was participating in an intensive artist in residency program where he set up his gaming system, and over the residency he continued down this path. Was this merely an addiction to gaming or was there something more? Over the subsequent years I have wanted to explore this idea more thoroughly and had looked for the appropriate opportunity to develop an exhibition around the subject. This past year I started to explore the virtual landscape myself. The first thing I stumbled upon was Clifford Kamppari-Miller’s website en Game Air. It took a great deal of sleuthing to track down and contact Clifford in Portland, as I was fascinated by his approach and the way he documented his thoughts and process. Not being a gamer myself I was given a window into this mysterious world and wanted to know more and kept searching the internet for others, when I came across Dr. Merlin Seller in Scotland.
I reached out to Dr. Seller, currently working at the University of Edinburgh, and I was thrilled not only to receive a reply but to read what they wrote: “Thank you for getting in touch — this sounds like a fascinating (and timely) exhibition. With the recent widespread adoption of in-engine 'photo-modes' in many open-world games, there is a definite interest in the aesthetics of digital landscapes and scope for significant critical trans-media painting practices...”
And so it came to pass! Over the course of the exhibition, the games they have drawn their inspiration from will be on display for the public to try their hand at. Connor and Clifford will both be in Penticton to talk about their work and to host a workshop.
Paul Crawford, Curator
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To Talk With OthersSEPTEMBER 18, 2020 TO NOVEMBER 8, 2020
Main Gallery To Talk With Others responds to the minutes of a meeting in August of 1977 between Prime Minister Pierre Elliot Trudeau and five Yukon First Nations leaders regarding the then-approved Mackenzie Pipeline. Held in the Tr’ondëk Hwëch’in archives, this document illustrates the ongoing dichotomy of two opposing cultures and ways of understanding economic, social and cultural development with the land and its inhabitants. Through a diverse range of media, Yukon artists Ken Anderson (Tlingit/Scandinavian), Lianne Marie Leda Charlie (Tagé Cho Hudän | Big River People), Valerie Salez (1st Generation Canadian), Doug Smarch Jr. (Tlingit), and Joseph Tisiga (Kaska Dene) activate this archival document and ultimately continue the conversation surrounding self-determination in the face of federal and corporate agendas. Spanning from late 1800s well into the 1960s, mass in-migration of foreign gold seekers, military, proprietors, |
labourers and religious sects, altered Indigenous land and culture in Yukon Territory. For the first peoples of these lands, the most impacting events included the Klondike Gold Rush, the construction the Alaska Highway by USA military, and church-run, federal government approved residential schools. Many Yukon First Nations refer to this period of time as "The Dark Age.”
Within this span of time Yukon First Nations had lost many of their people, languages, traditional lands and cultural practices, plagued with traumas affecting the mind, body and spirit. Recovery seemed impossible and one more intrusion could prove detrimental. In the late 60s a network of pipelines was federally approved to snake throughout the territory. Formalized First Nations consultation did not exist at the time. Pipelines were going to be built, and again, almost overnight, the Yukon’s population more then doubled.
The threat of this major resource development did, ironically, force a long, heavy fog to lift for Yukon First Nations. Change-makers and revolutionary thinkers throughout the Nations began to talk. A common understanding surfaced. The pipeline project(s) needed to be stopped and a plan towards a self-determined future was a must.
A monumental task does not begin to describe what lay ahead. Historically, Indigenous groups all over the globe have attempted to be heard, to mobilize, and yet have remained marginalized, facing great discrimination.
How, still dealing with the trauma of years of oppression and abuse, were Yukon First Nations going to commit to mobilize and be heard by the very institutions who were the oppressors? How were these fourteen culturally and geographically distinct Nations going to speak to each other?
In 2018, Tr'ondëk Hwëch'in Elder Percy Henry described this pivotal moment:
"Fire was dim. Almost out. We throw a stone in and little spark happen. And that's how we got the fire going again."
Step by step. Spark by Spark. Conversation by Conversation. Talking became the key towards a self-determined future.
TALKING Nation to Nation.
TALKING grassroots leaders to federal politicians.
TALKING hunter to lawyer.
TALKING elders to youth.
TALKING community members to bureaucrats.
TALKING to others.
Through speech, opposing worlds / ideas / systems of governance and protocols, collided, misunderstood, patronized, repeated, repeated, and repeated again, their sides of the story. Their sides of the agenda. Walls were broken down, footholds were created and agreements were made.
One such meeting, held in August of 1977 between Prime Minister Pierre Elliot Trudeau and five Yukon First Nations leaders regarding the then-approved Mackenzie Pipeline, is contained in a document archived in the Tr’ondëk Hwëch’in Government collections. These minutes of the meeting allows us to be a fly on the wall within a tension filled boardroom. Captured word for word these minutes vividly illustrate the dichotomy of two opposing ways of understanding economic, social and cultural development of a land and its inhabitants. A conversation that simply starts out about the pipeline ultimately became a conversation about First Nations way of life and a declaration for autonomous self-determination.
Valerie Salez, Artist
Within this span of time Yukon First Nations had lost many of their people, languages, traditional lands and cultural practices, plagued with traumas affecting the mind, body and spirit. Recovery seemed impossible and one more intrusion could prove detrimental. In the late 60s a network of pipelines was federally approved to snake throughout the territory. Formalized First Nations consultation did not exist at the time. Pipelines were going to be built, and again, almost overnight, the Yukon’s population more then doubled.
The threat of this major resource development did, ironically, force a long, heavy fog to lift for Yukon First Nations. Change-makers and revolutionary thinkers throughout the Nations began to talk. A common understanding surfaced. The pipeline project(s) needed to be stopped and a plan towards a self-determined future was a must.
A monumental task does not begin to describe what lay ahead. Historically, Indigenous groups all over the globe have attempted to be heard, to mobilize, and yet have remained marginalized, facing great discrimination.
How, still dealing with the trauma of years of oppression and abuse, were Yukon First Nations going to commit to mobilize and be heard by the very institutions who were the oppressors? How were these fourteen culturally and geographically distinct Nations going to speak to each other?
In 2018, Tr'ondëk Hwëch'in Elder Percy Henry described this pivotal moment:
"Fire was dim. Almost out. We throw a stone in and little spark happen. And that's how we got the fire going again."
Step by step. Spark by Spark. Conversation by Conversation. Talking became the key towards a self-determined future.
TALKING Nation to Nation.
TALKING grassroots leaders to federal politicians.
TALKING hunter to lawyer.
TALKING elders to youth.
TALKING community members to bureaucrats.
TALKING to others.
Through speech, opposing worlds / ideas / systems of governance and protocols, collided, misunderstood, patronized, repeated, repeated, and repeated again, their sides of the story. Their sides of the agenda. Walls were broken down, footholds were created and agreements were made.
One such meeting, held in August of 1977 between Prime Minister Pierre Elliot Trudeau and five Yukon First Nations leaders regarding the then-approved Mackenzie Pipeline, is contained in a document archived in the Tr’ondëk Hwëch’in Government collections. These minutes of the meeting allows us to be a fly on the wall within a tension filled boardroom. Captured word for word these minutes vividly illustrate the dichotomy of two opposing ways of understanding economic, social and cultural development of a land and its inhabitants. A conversation that simply starts out about the pipeline ultimately became a conversation about First Nations way of life and a declaration for autonomous self-determination.
Valerie Salez, Artist
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Call for Artists Brilliant Moments Online |
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Yard Sale & Fundraiser at the Shatford Centre
Saturday, July 18
Saturday, July 18
The Okanagan School of the Arts (OSA) will host a yard sale and fundraiser on the front lawn of the Shatford Centre on Saturday, July 18 from 10:00 am to 2:00 pm.
The OSA has been unearthing the treasures found hidden in the many corners of the Shatford, and looking for ways to fundraise for the future. A yard sale was a logical choice. Cash, credit, and debit will be accepted. Physical distancing will be practiced, so please be prepared to take your time.
“As we prepare to vacate the Shatford Centre, we’re looking for ways to continue to offer unique arts programming,” said Executive Director Kim Palmer. “Every dollar we raise will help us cover our moving costs, so we can focus on bringing creativity and connection to the community.”
About Us: Established in 1960, the Okanagan School of the Arts (OSA) is one of the longest running schools of its kind in Canada. The OSA offers a variety of performing and visual arts courses and programs for students of all ages and stages of development.
Contact:
Kim Palmer, Executive Director
250-770-7668 | Cell: 250-274-8639
director@shatfordcentre.com
https://www.okanaganschoolofthearts.com/
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Diana Skelhorne October 14, 2019 - For the next two weeks, Diana Skelhorne, a member of the Federation of Canadian Artists, is the Feature Artist at the Front Street Gallery. Skelborne embraces a wide variety of subject matter whether abstract, landscape, portrait...or anything in between. Drop by the gallery over the next two weeks to see her work in person and consider adding some to your collection! |
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A solo exhibition at the Lloyd Gallery in Penticton June 20 – July 4. Opening night ARTWALK - Thursday, June 20 - 6 to 8 pm - a full evening of art! All of the Penticton Galleries are having their art walk that same night; so it is an artwalk through Penticton to see all of the art - there is a classic car show gathering as well that same night. So loads of fun!!!! |
We are open from 11am - 5 pm Tuesday through Friday and 10 am - 3 pm on Saturdays. Please feel free to make and appointment Mondays and other desired times by calling Renée at 250 488 4999
We offer a selection of paintings, bronze sculpture, Jewelry and ceramics by Canadian Artists as well as antiques. We are happy to help you find that special piece for your home or business.
Commissions available.
Enjoy a coffee or tea in our Paris Tea Room or book a Private Event.
We offer a selection of paintings, bronze sculpture, Jewelry and ceramics by Canadian Artists as well as antiques. We are happy to help you find that special piece for your home or business.
Commissions available.
Enjoy a coffee or tea in our Paris Tea Room or book a Private Event.
127 Elm Avenue, Penticton
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The Swamp
Manitoulin Sunset
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Exhibition of Okanagan artist
Peggie Collins's Cross Canada Tour Gallery One-Twenty-Seven 127 Elm Avenue, Penticton You're invited to the Opening, Saturday, November 30, 1 to 7 pm In 2018, on an art sabbatical, Okanagan artist Peggie Collins crossed Canada and back (15,000 km) from the Pacific shores of Vancouver to the northern tip of Newfoundland and the cold Atlantic. She started out sharing her journey by painting in large canvases but soon realized the impracticality of such and turned to working on 4” x 4” canvas sheets which she calls her Mini Memories. Collins claims, “My Canadian Tour inspired me and gave me a special appreciation for our beautiful and varied country. I am blessed to have had this opportunity and each Mini Memories painting evokes a smile as my brush strokes lock each special story onto canvas.” On Saturday, November 30 from 1 to 7 pm, member Peggie Collins invites you to join her at the opening of her new Gallery One- Twenty-Seven at 127 Elm Avenue in Penticton. All 100 of her Mini Memories series of original paintings and more will be on display and for sale. |
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OLIVER 
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Creative Minds
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CALL FOR ARTISTS: Wine Capital Art Walk
The Oliver Community Arts Council is proud to present the Wine Capital Art Walk! The main event is on Saturday, May 9 from 10 am – 2 pm. Display / Demo Artists are accepted in a variety of media. They share space with businesses on Station Street. OR Artists can choose to participate as a Wine Barrel Artist. See below for details. The art walk will also include wine tastings, live music, draws, children’s art activities, food vendors, and live art demonstrations.
This Call for Artists is open to all visual media: photography, digital media, three-dimensional art such as pottery, sculpture, mixed media installations, metalwork, woodwork, jewelry and other artisan crafts; fibre and fabric arts, such as quilting, weaving, spinning, clothing/fashion; painting including acrylics, oils, watercolours; and mixed / other two-dimensional media, such as charcoal, ink, encaustic, and collage. Space may also be available for performing arts: street theatre and improv, dance, street musicians, and other performers. NOTE: This component will be limited by available space and noise level.
All artwork must be display ready. Sale pieces are welcome. Display artists must be present during the event and take responsibility for their own sales. See Display entry form below for details.
One of the main attractions at the Wine Capital Art Walk is the Wine Barrel Art demonstration and silent auction, running Tuesday May 5 – Saturday May 9. The live art event features up to 10 skilled artists who transform wine barrels into cherished works of art. Artists may choose to prepare at home AND / OR work onsite May 5 – 9 from 10 – 4 p.m. (or a portion thereof). Barrel art is a wonderful fundraiser for groups! This year, Oliver Eats Ltd parking lot at 6060 Station St will be the barrel art location. A great high traffic location to encourage bidding and promote the art walk later in the week. Silent auction bids are accepted by email and onsite and the finished barrels are sold to the highest bidders on the Saturday afternoon. See Barrel Art entry form for details.
Artists are invited to apply in one of two categories: as a Display / Demo Artist or as a Wine Barrel Artist. One low entry fee. NO commission charged for Display Artists. To cover barrel costs, a flat commission will be charged. All participating artists must be members of the Oliver Community Arts Council. Membership forms are available at www.oliverartscouncil.org or OliverCAC@gmail.com
Artists should download and complete an application
WCAW 2020 Display Demo Artist – Application Download
WCAW 2020 Display Demo Artist – Terms and Guidelines Download
WCAW 2020 Barrel Artist – Application Download
WCAW 2020 Barrel Artist – Terms and Guidelines Download
Space is limited, and the event is popular.
For more information, contact OliverCAC @ gmail.com
The Oliver Community Arts Council is proud to present the Wine Capital Art Walk! The main event is on Saturday, May 9 from 10 am – 2 pm. Display / Demo Artists are accepted in a variety of media. They share space with businesses on Station Street. OR Artists can choose to participate as a Wine Barrel Artist. See below for details. The art walk will also include wine tastings, live music, draws, children’s art activities, food vendors, and live art demonstrations.
This Call for Artists is open to all visual media: photography, digital media, three-dimensional art such as pottery, sculpture, mixed media installations, metalwork, woodwork, jewelry and other artisan crafts; fibre and fabric arts, such as quilting, weaving, spinning, clothing/fashion; painting including acrylics, oils, watercolours; and mixed / other two-dimensional media, such as charcoal, ink, encaustic, and collage. Space may also be available for performing arts: street theatre and improv, dance, street musicians, and other performers. NOTE: This component will be limited by available space and noise level.
All artwork must be display ready. Sale pieces are welcome. Display artists must be present during the event and take responsibility for their own sales. See Display entry form below for details.
One of the main attractions at the Wine Capital Art Walk is the Wine Barrel Art demonstration and silent auction, running Tuesday May 5 – Saturday May 9. The live art event features up to 10 skilled artists who transform wine barrels into cherished works of art. Artists may choose to prepare at home AND / OR work onsite May 5 – 9 from 10 – 4 p.m. (or a portion thereof). Barrel art is a wonderful fundraiser for groups! This year, Oliver Eats Ltd parking lot at 6060 Station St will be the barrel art location. A great high traffic location to encourage bidding and promote the art walk later in the week. Silent auction bids are accepted by email and onsite and the finished barrels are sold to the highest bidders on the Saturday afternoon. See Barrel Art entry form for details.
Artists are invited to apply in one of two categories: as a Display / Demo Artist or as a Wine Barrel Artist. One low entry fee. NO commission charged for Display Artists. To cover barrel costs, a flat commission will be charged. All participating artists must be members of the Oliver Community Arts Council. Membership forms are available at www.oliverartscouncil.org or OliverCAC@gmail.com
Artists should download and complete an application
WCAW 2020 Display Demo Artist – Application Download
WCAW 2020 Display Demo Artist – Terms and Guidelines Download
WCAW 2020 Barrel Artist – Application Download
WCAW 2020 Barrel Artist – Terms and Guidelines Download
Space is limited, and the event is popular.
For more information, contact OliverCAC @ gmail.com
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FASS 2020 |
NOTE: Due to COVID-19 Pandemic the Oliver Community Arts Council is rescheduling the 2020 Fall Art Show and Sale for Saturday October 2 and Sunday October 3rd in 2021.
The theme remains the same.
The theme remains the same.
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Forms to Fill Out
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OSOYOOS |
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The Okanagan Art Gallery celebrates the spring art season with its “First Friday” monthly reception, JUNE IN BLOOM PAINTINGS AND FINE ART. Which opens Friday June 7th at the Okanagan Art Gallery #5 8302 Main Street, Osoyoos BC. The artist reception will be Friday June 7th from 5pm to 7pm.
According to gallery advertising director, Diane Carter the show will feature the full roster of professional artists represented by the gallery which brings together artists from all mediums including oil and acrylic artists, lithography specialists, photographers and fiber artists.
This June “First Friday” will feature wine presented by Quinta Ferreira Estate Winery. Don’t miss the opportunity to meet with the proprietor Maria Ferreira. Learn more about their select wines and how they relate to art.
For information about the June 7rd June Bloom Paintings and Fine Art, show at the Okanagan Art Gallery, call 604 308-3995. Or you can go to our website at www.okanaganartgallery.com
Gallery Show: June Bloom Paintings and Fine Art
Featuring artists from all mediums including oil and acrylic artists,
lithography specialists, photographers and fiber artists
According to gallery advertising director, Diane Carter the show will feature the full roster of professional artists represented by the gallery which brings together artists from all mediums including oil and acrylic artists, lithography specialists, photographers and fiber artists.
This June “First Friday” will feature wine presented by Quinta Ferreira Estate Winery. Don’t miss the opportunity to meet with the proprietor Maria Ferreira. Learn more about their select wines and how they relate to art.
For information about the June 7rd June Bloom Paintings and Fine Art, show at the Okanagan Art Gallery, call 604 308-3995. Or you can go to our website at www.okanaganartgallery.com
Gallery Show: June Bloom Paintings and Fine Art
Featuring artists from all mediums including oil and acrylic artists,
lithography specialists, photographers and fiber artists
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VERNON |
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CURRENT EXHIBITIONS |
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Wanda Lock ------------------ The Year We Disappeared January 9 – March 4 Wanda Lock, confidently transitions between painting and drawing, often combining the two mediums. her works are inspired by everyday objects, typically things found 'around the house'. Interiors, small animals and insects are familiar subjects in her pieces. Although she focuses on simple and mundane objects, her paintings and drawings appear far from lifelike; more symbolic renderings, than realistic. her exhibition, The Year We Disappeared, continues her focus on small, everyday occurrences and 'things', through works varying in size and method. This exhibition looks into Wanda's own experiences. Its "about books read, movies seen and stories told. it's about conversations had over morning coffee, late-night studio visits, and brief encounters with those who slip in and out of our lives. The Year We Disappeared is about the summer I turned 50." |
 Wanda Lock, Nobody Waved Goodbye, mixed media on paper 50x38, 2019.
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Heather Passmore ----------------- Roman Charity January 9 - March 4 Heather Passmore, often chooses discarded and historically valued materials for her artwork. From outdated milk, to a used mattress, to hand written sheet music, her unconventional materials bring another dimension to her pieces. She continues this technique in her exhibition Roman Charity, that explores the societal discomfort surrounding breastfeeding. For the pieces in this collection, she uses her own paint which she makes from cow’s milk and expired breast milk, The series includes three large self (effaced) portraits on fabric depicting the last time Passmore nursed her daughter, and images of mothers covering their faces instead of their breasts while breastfeeding. The images are based on photographs that circulated on social media in protest to admonishment that mothers should cover up while nursing in public. |
Heather Passmore, Milk Portraits #3, silkscreen and casein on panel, 14x21, 2017.
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Mat Glenn --------------- Fear Frequency January 9 - March 4 Mat Glenn is a recent graduate from the University of British Columbia Okanagan’s fine arts program and specializes in sculpture, installation, printmaking and digital media. In his current exhibition, Fear Frequency he uses the technique of sculpture with a digital media component to explore the idea of human and non-human “hybridity”. He shows that the human body not only coexists with the world and synthetic materials, but the two are connected. He removes the boundary between human and non-human with his sculptures of disfigured bodies with non-human like qualities; “These bodies illustrate unstable but inherent hybridity of human experience.” |
Mat Glenn, my Horse Was Hit by Lightning, Installation Photograph, 2019.
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