April 4 – June 3

Joel Carignan - Butterfly Cages

Mind the Gap

Mind the Gap celebrates, with resounding exuberance, the wealth of talent amongst the diverse population of emerging artists in the province of Saskatchewan. The title refers to the often misguided term that Saskatchewan has recently come to be saddled with – the gap in the Canada’s geo-cultural landscape. The exhibition’s title also quotes the famous automated safety warning on the London tube, “Mind the Gap!” We do mind actually. And the world should mind Saskatchewan. This exhibition includes visual arts from 30 artists from 14 cities and towns across Saskatchewan.

A Dunlop Art Gallery Touring Exhibition

June 1 – July 23

Dimensions Growth 2011

The Saskatchewan Craft Council's biennial, open, juried, touring exhibition encourages and rewards excellence in hand-crafted work.

August 1 - September 30

WaterWorks

Curated by Holly Hildebrand and Kathy Dill from works by the Fibre Art Network Group

Waterworks is the title of an exhibition of fibre and textile artwork created by members of the Fibre Art Network (FAN). Through these artists eyes the subject is surveyed and transformed into two and three-dimensional tactile forms of varying sizes and styles. The proximity of the Chapel Gallery to the North Saskatchewan River and the stunning view of the river valley from its patio make it the perfect venue for this work, which was created specifically with this space in mind.

October 1 – November 26

Hybrid: Tim Moore

The exhibition Hybrid presents the collages, drawings, paintings and sculptures of Saskatchewan artist Tim Moore. Moore’s works explore the notion of personal and collective identities as a means of investigating what it means to be Métis. Without having clear distinctions and definitions of Métis culture to respond to or reflect on, Moore finds that he has creative freedom to explore the hybridity of a Métis identity, seeing it as a negotiation between two cultures. He explains, “It is my belief that we are a people of two distinct cultures with the ability to create our own identities on an individual basis. We wear culture like clothing. And we can change, making us an extremely versatile, adaptable and dynamic people. It is in these works that I have found a way to create new relationships concerning materials and objects from both ends of this cultural spectrum. The symbolic notions of these works are stripped during the hybridization process to make way for new forms to appear."”

November 28 – January 27, 2013

Progress Edie Marshall

For Edie Marshall the painting process is one of responding to the marks that I have made during the tracing process, bringing the figures forward and pushing them into the background of the canvas, blending with and at times losing them in the landscape. The images become fractured with autonomous brushstrokes that don’t necessarily conform to a given contour, creating a tension between image and brushstrokes.
By placing the figures of people into the landscapes that she has inhabited, it is her intention to bring the memory of them closer to her experience, altering the story. Because the photographs have the power to elicit nostalgic responses, the question arises, can or should nostalgia be erased from the paintings. In the end, it’s the act of painting that determines the story structure, what becomes important, what is blurred, what is saved and what is lost.

May

Saskatchewan Indian Institute of Technology - SIIT

Adult 12 students of the 'Art 30 - Foundational Goals' Course

These exhibition pieces represent the culmination of student’s work over a 3 and a half month period in completion of requirements for Art 30 accreditation. Various techniques, methods, and medium were explored throughout the course. Using selected Saskatchewan artists and others’ work as a focus of student study; students were asked to simply create “something” meaningful or personal on a theme of significance to themselves, their community, or their culture as reflected through the use of re-versioned recycled materials. Additional selections represent student’s interpretation of “Dreams” limited to the use of stains, dyes, and paint on a wood medium and several group projects involving paper Mache with student determined themes.

Karlie King - DeskArt (pronounced day-Kart, like the French Philospher)

This body of artwork utilizes old wooden desk tops to visually explore and represent the ideas of French Philosopher Descartes. The desk tops were collected from Mervin School previous to its demolition in 2010.

Entangled: Twyla Exner

Organized and toured by OSAC through its Arts on the Move program
Selected from the 2009 Call to Adjudicated Artists

Twyla Exner is interested in the relationships between cultural and natural production, consumption and waste, high and low technology, and biological and mechanical growth. Exner’s sculptures and drawings employ the notion of recreating the natural with the technological. Using wires, cords, and electrical connectors, she imitates plant pods, root systems and human physiological forms, reproducing hybrids of technology and nature that appear to be growing, evolving, reforming, overtaking and/or devouring electronic infrastructures and architectural spaces.