Kathy M Haycock | Landscapes
Niki Parry, Gordon Wallace & Heather Wanamaker | Surfacing
Yukon Art Society Members | Water
Anthony DeLorenzo | Water's Edge
Goran Sreckovic | Yukon or the Yukon: A Matter of Perception
Northern Fibres Guild | Fibre-Optics: Inspiration to Creation
Catherine Jamnicky | Wuthering Beauty
Heather Von & Rebecca Manias | Cosmic Bodies
Rhoda Merkel | It's a BEADIFUL World
Marty Samis | Boreal Reverie
Claire Strauss, Bianca Martin, Josh Lesage, Jessica Hall & Charles Hegsted | What We Become in the Shadows
On view: February 7 - 29, 2020
Exposition: 7 au 29 février 2020
Civilisations fabriquées est une collection de personnages, d’artéfacts, d’images, de rituels ou d’écrits représentant des sociétés tantôt imaginées de toutes pièces et tantôt, puisées dans le folklore international. Certains artistes de l’exposition s’inspirent du thème pour rendre hommage à des peuples qui se sont éteints ou dont la culture est en danger de disparition. Civilisations fabriquées met de l’avant le génie et la créativité dans la manifestation culturelle.
Il s’agit de la sixième année de collaboration de l’Association franco-yukonnaise avec Yukon Art Society. Les artistes Françoise Laroche, Catherine Jamnicky, Marie-Hélène Comeau, Gorellaume, FMR et Joe La Jolie vous invitent à découvrir leur interprétation du thème de l’exposition 2020.
Crafted Civilizations is a collection of characters, artefacts, images, rituals and stories that represent societies, sometimes imagined out of thin air and sometimes drawn from international folklore. This theme also inspired some artists in the exhibit to pay homage to those peoples who are extinct or culturally endangered. Crafted Civilizations presents the genius and creativity of how cultures manifest themselves.
This is the sixth year of collaboration between the Association franco-yukonnaise (AFY) and the Yukon Art Society. Artists Françoise Laroche, Catherine Jamnicky, Marie-Hélène Comeau, Gorellaume, FMR and Joe La Jolie invite you to come discover their interpretation of this theme at the 2020 exhibition.
Association franco-yukonnaise (AFY)
Porte-parole officiel et leader du développement de la communauté francophone du Yukon.
A non-profit organization, AFY aims to improve the Yukon Francophone's quality of life in French.
It’s estimated that one-third of Canadians suffer from insomnia. I am one of them.
It was during one of my sleepless nights in 2018 that the first of these 100 ‘insomniacs’ was born. These creatures – made from discarded toilet paper rolls – personify the thoughts, worries, and fears that inhabit our brains and grow ever stronger during the night hours.
This exhibit pays homage to the bleary eyed among us. You could be a parent of a newborn, or perhaps you have a secret weighing on your soul. You might be brokenhearted or grieving. You may be imagining all kinds of ‘what if’ scenarios as you wait for a teenager who’s out past curfew or a partner who is overdue from a hunting trip. You could be worrying about how you’re going to pay the rent or feed your family. You might be praying that it’s not cancer.
Whatever the circumstance, may you (literally) rest in peace.
The papier mache bust that you see as you enter this room fights to shed the dozens of unwelcomed, sometimes dark thoughts and emotions that can hold sway over the mind.
The accompanying soundtrack is of J.S. Bach’s Goldberg Variations, performed by Glenn Gould and recorded by the Canadian Broadcasting Corporation in 1954.
It is said that a Count by the name of Hermann Karl von Keyserling suffered from insomnia. During his bouts of sleeplessness, he would have his hired harpsichordist, Johann Goldberg, play for him.
Bach’s reputation as a great composer reached the ears of Kaiserling, and so in 1741 the Count asked him to write some new pieces for Goldberg.
Bach was reportedly not fond of writing variations; apparently he looked upon them as a form of musical ‘sheep counting’. In this case, sheep counting is exactly what was called for.
Since this body of work was created in the dark hours, I invite you to experience this exhibit in near darkness, with the aid of the flashlights I’ve provided. Please return the lights as you leave so others may use them too.
Thank you to Arts Underground for showing my work, to my former Yukon Energy co-workers who contributed material for this exhibit, to Primary Wave on behalf of Glenn Gould for giving me permission to use the recorded music, and to Whitehorse artist Neil Graham for his sage advice and input. Profound gratitude to the Kwanlin Dun First Nation and Ta’an Kwach’an Council on whose beautiful land I live and create.
Janet Patterson is an emerging Whitehorse artist who has spent the last 40 years as a CBC journalist/radio show host and a communications specialist before retiring in 2019.
For many years she was involved in the performing arts as a musician/piano instructor and a recreational dancer. She is now focussing on developing her skill as a visual artist.
While she particularly loves working with oils, she is enjoying exploring many different mediums.
Her work has been included in the Arts Underground July 2019 show Water, the Arts Underground December 2018 show Light, and the 2018 fundraiser for the Yukon Artist Relief Fund. Her pieces can be found in private collections across Canada.
Exhibition on view January 10 - February 1, 2020
Focus Gallery and Edge Gallery
Within our clothing, we find our identities, ourselves and to some extent our homes. We inhabit our clothing as we do our skins. The notion of the skin as a form of clothing – a covering, as well as a primary indicator of the form in question – is a central concept within my practice.
Through the act of skinning, whether it is through the tactile imprint of the architecture, the removed exterior of a natural object or the reinterpretation of its form, I aim to provide an entry point into the elemental home, itself forming the matrix of our relationship to the natural world. It is through this process that I intend the viewer to gain a deeper understanding of our relationship to nature through the metaphoric inhabitation of these skins as well as to transport the viewer back into a landscape outside of modern culture – to a habitation more heavily rooted in the subliminal but also anchored in basic practices such as hunting, gathering, building and dwelling.
Within this work, I want to convey a sense of desire to return to this lost place through an idealized notion of the past while paradoxically denying the viewers entrance through the works materiality of the skin actualized. It is this tension between what is represented through the exterior physical barrier of the subject and the perceived interior space for reception which intrigues me most. My own futile desire to gain entrance into these skins propels me through the work. The skins of these works are characterized by their inherent inability to produce the substantiated form. In its place, they are presented as mere husks of the original. This disparity between the idealized and actualized subject is meant to enhance the uncanny feeling of an unsettling familiarity as well as the sense of futility evoked through these works. Throughout this series, I attempt to provide evidence of the forms and places in question rather than to represent their presence in full. What remains is only a whisper of their former selves, eulogized through the delineation of skin.
Rebekah Miller is a visual artist working in various mediums including drawing, sculpture, printmaking, textiles, and photography. She completed her BFA at Alberta College of Art and Design in 2008 and her MFA at the San Francisco Art Institute in 2011. Rebekah's art practice focuses on human interactions with nature, including rural Canadian homesteading and hunting practices. She is interested in examining lifestyles of our collective past and applying this knowledge to her own life, as well as expressing her findings and experiences through her studio practice. Rebekah lives and works in Dawson City, YT.
Exhibition on view December 6 - 28, 2019
Focus Gallery and Edge Gallery
ABOUT THE EXHIBITION
Blankets often signify warmth or shelter during winter months. They can be gifts, or heirlooms passed from generation to generation. A blanket can be a patchwork assembled from many sources, or even serve as a record of community histories and stories. References to these important objects even extend to other areas of our vernacular. In winter, we say that the landscape is blanketed in snow. For our December 2019 show, Yukon Art Society members are examining this theme using a variety of styles and materials.
Astrid Kruse | Barbara Pratt | Carolyn Steele Lane | Catherine Deer | Chantel Goodman | Christian Bucher | Dee Bailey | Emma Cezerac | Gloria Andison | Heather Von | Hyfen (Terri-Lynn Driemeyer) | Joanne Radzimirska | Judy Tomlin | Karen Andersen | Laurie Larkin-Boyle | Lea-Ann Dorval | Leslie Leong | Lyn Fabio | Marie-Hélène Comeau | Mary Beattie | Maya Rosenberg | Pat Bragg | Rebekah Senko | Renate von Oppeln | Sheelah Tolton | Valerie Ross
Exhibition on view November 1 - 30, 2019
The Northern Cultural Expressions Society is dynamic, a non-profit organization, committed to providing opportunities for young people; channelling their energy to artistic expressions and business development. Their programs are directed at Yukon First Nations students but are open to all cultures.
The series Dwellings grew out of an affinity for old, rough-hewn, backwoods cabins. Looking at these structures, with their off-kilter construction and textured log exteriors, I see them as existing visually as an in-between state between the “human” and “natural” worlds. Even more, as these structures decay and their right angles fall apart, this shift along the spectrum of “human” and “nature” becomes more apparent. In the end these structures will return completely to the wild, leaving little trace that they ever existed.
The second source of inspiration for this series was historical scientific illustration: I am drawn to the visual language in field guides and textbooks of natural science, but see the natural world as being deeper and richer than science can ever hope to describe. By juxtaposing biological and geological imagery with renderings of these human structures I aim to create a dream-space subverting the rigidity of scientific understanding.
The canon of Canadian and Yukon artwork features many depictions of bush cabins- there is a draw to the romantic notion of wilderness living, and an appreciation for imperfect, hand-built structures in our age of increasing mechanization. I always appreciate these artworks but am interested in exploring new connections between what is considered human and what is considered natural. The series Dwellings imagines dream-like relationships between human structures and the world of nature, drawing from both the visual language of scientific illustration and the genre of cabin-landscape depictions.
Dan Brown Hozjan was born in Okotoks, Alberta. He first came to Dawson City, Yukon to attend the Yukon School of Visual Arts and subsequently fell in love with the community. After finishing a Bachelor of Fine Arts degree at Emily Carr University he moved back to Dawson and currently maintains his art practice from an off-grid cabin on the west side of the Yukon River. His work explores the connections between human imagination and the natural world.
Exhibition on view October 4 - 26, 2019
- le français suit -
Originally, the title for this art exhibition was supposed to be Altered Kingdom and the inspiration for my work was supposed to be humankind’s presence in the woods. My pieces were supposed to represent the impact that our economic activities, recreation and traditions have on the wild. Strangely enough, during the creative process I soon felt the desire to eliminate the presence of man and of all things related to the human race.
The forest itself wanted to be at the heart of my work, conceived with a folklore and an identity all its own, as an independent entity which functions according to a different code altogether.
As such, I created a new collection where mythical figures lead a parallel existence in areas of the forest unknown to us. In turn, this exhibit evokes that which we do not see in the forest and, inversely, speaks to that feeling we sometimes have of being watched when we are there.
During numerous hikes and outings in the forest, I took photos of textures and colours that I later modified and mixed with images from vintage magazines. This compilation presents landscapes which are inspired by the spirit of folktales and by the imaginary world of our childhood.
I hope that Secret Kingdom will move you, since the joy I had in creating these pieces can only be equalled by the magic of an adventure lived in the heart of a forest, far beyond our reach.
À l’origine, cette exposition devait s’appeler Altered Kingdom (Royaume modifié) et mon travail devait s’inspirer de la présence de l’humanité dans les bois. Mes œuvres auraient représenté l’impact de nos activités économiques, loisirs et traditions sur la vie sauvage. Étrangement, dans mon processus de création, j’ai eu rapidement envie d’éliminer la présence de l’homme et tout ce qui a trait à l’espèce humaine.
La forêt avait envie d’être au centre de l’œuvre, imaginée avec un folklore et une identité qui lui sont propres; une entité indépendante qui opère avec d’autres codes.
J’ai donc réalisé une nouvelle série où des personnages mythiques mènent une existence parallèle dans des espaces forestiers qui nous sont inconnus. Par le fait même, cette exposition évoque ce qu’on ne voit pas en forêt et, vice versa, parle de ce sentiment que nous pouvons parfois avoir d’être observés quand nous y sommes.
Lors de plusieurs expéditions et randonnées dans les bois, j’ai pris des photos de textures et de couleurs que j’ai ensuite modifiées et mélangées avec des images de revues vintage. Cet assemblage présente des paysages inspirés de l’esprit des contes et de l’imaginaire de l’enfance.
J’espère que Secret Kingdom vous touchera, car le plaisir que j’ai eu à réaliser ces œuvres n’a d’égal que la magie d’une aventure vécue au cœur de la forêt, hors de notre emprise.
Born and raised in the Yukon, my paintings come from my love for the Yukon wilderness and the adventures I have had in it. I am inspired by the mountains, rivers and forests around me, and aim to capture the wonder I feel in such wild places. Entirely self taught, I experiment with acrylic paint and play with colours, light and techniques until I find something that speaks to me in that moment and captures the feel of my memories. Many of my paintings grow from feelings I get when I see something truly amazing, whether it be a fierce grizzly momma, rushing rivers, or awe-inspiring mountain vistas. I hope to let others glimpse theses sights that give me such wonder through the viewing of my paintings and inspire people to get outside and chase these sights themselves.
Exhibition on view September 6 - 28, 2019
I have always been fascinated by the world of modern production and the relationship that First Nations people have to artwork. Our societies were always broken up into clans or groupings of people, and always being matrilineal, following our mothers and inheriting our identities through them. In today’s world, we still associate ourselves deeply with the symbolism of our clans or matrilineal relations. I know for myself, whenever I see something with a Killer Whale or an Eagle on it, I feel instantly drawn and connected to it, I think of my mother, my grandmother and aunties, my sister. This is part of the beautiful relationship First Nations people have with art and their deepest family connection. With block printing, the possibilities are truly limitless, from the inking techniques, to the changes you can make to the block post printing, and the layers you can include. There were elements of simple block printing in Tlingit society and it mostly came in the form of carved wooden stamps that would be kept and used over and over for body painting in celebrations and also war times. I’ve followed in this fashion of using wood for the prints I created. My intention with creating this show is to give an extreme example of the limitless potential of traditional Tlingit art, as well as the medium of block printing. I have drawn off the obsessive nature of Andy Warhol in his factory style of art reproduction to execute a show that will attempts to create as many different variations of the same designs. I have focused on using common everyday imagery for this experience, and creating things that people have a deep connection to in today’s world. While not all have the same experience of art, there are images and themes used over and over today that do draw on a deeper connection, a connection of the emotions. I hope that through this show I can expand the examples of Tlingit art to the everyday viewer, but also to allow people to see the beauty in reproduced artworks in different variants.
Blake Lepine, or Shaá’koon, was born and raised in Whitehorse, Yukon. He is of Tlingit, Han, Cree and Scottish descent and grew up with the Tlingit culture. Blake is inspired by the old designs from carving books his mother had. Over the years, Blake has practiced and perfected his own stylized form and interpretation of this art while adhering to the traditional foundations. This gives a modern voice to an ancient art, but also carries it into modern mediums other than the traditional forms of carving and painting of his ancestors. Blake has also worked with silkscreen, design, beadwork, textile work, sewing and painted leather, collage, block printing and watercolour. Through these mediums Blake has found a way of expressing his everyday experiences and life lessons through this art.
With each step along my path as an artist I continue to find my biggest waves of inspiration from the Pop-Culture-world that often [like it-or-not] surrounds us. This show is based around the theme of 21st Century pop-art. With my skills emerging in mixed-media, using foam-core and watercolour painting techniques, with images often raised directly off of the canvas, I am excited to offer my new creations. This exhibit is specifically inspired by the clean, catching and easily-digestible solid-colours and lines, like seen in The Simpsons [also a major inspiration]. It is also centrally inspired by the state of quality Hip-Hop music [Frank Ocean, NoName, Kendrick Lamar], the current cultural gravity of the NBA, food culture, and combining words and images to create playful juxtapositions. It’s not unlike a culture-blog that has come to life as visual art. These images, sounds, tastes, words: are all around us, everyday, whether we like it or not; whether we are aware of it, or not. My hope is that others will find a joy, a fresh breath, a chuckle, or that new thought(s) may be born out of this playfulness. I create all of this out of my home, tucked down the back roads of Whitehorse, Yukon.
I am a mixed-media artist, who often creates images/illustration with watercolour painting techniques that are affixed to foam-core, then affixed to painted canvas. I have no formal training, though have been creating, experimenting and growing as an artist continually. Coming off of a jury-selected Arts Underground exhibition “What’s Good” [April, 2017] along with private sales and increased artistic creations with music, I hope to take this opportunity to continue my growth as an artist and contribute to this special community that I am very proud to be a part of.
Exhibition on view August 2 - 31, 2019
I am very pleased to share with you a collection of Yukon landscape paintings completed over the past decade.
Painting here on-site within the vast powerful Yukon landscape is truly humbling, and yet richly rewarding.
On-site the senses respond to all the surrounding and enriching life-forces, as well as the scene out front. My brush reacts intuitively applying oils to canvas and panel creating a fresh feeling of really being there. Back in the studio larger canvases are expanded from onsite sketches, with memories and imagination. I pay homage to Yukon’s awe inspiring majesty, rich history, independent spirit and impulsive weather… and I’m utterly enchanted by breathtaking beauty everywhere.
My father, northern artist Maurice Haycock painted here extensively many years ago. His paintings are in numerous Yukon collections. My work is strongly influenced by him and by AY Jackson, his close painting partner and friend for 30 years. I grew up surrounded by their work and was first introduced to the Canadian North through their paintings. You will see some of his works in the show and you may see his and AYJ’s influence in my brushwork and colour palette.
Professionally, I’m a juried member of the Society of Canadian Artists (SCA), the Ontario Society of Artists (OSA) and international Artists for Conservation (AFC), and an invited Fellow of the Royal Canadian Geographic Society (RCGS).
Through my art I support conservation. I am delighted to support wildlife rehabilitation at Yukon Wildlife Preserve with a portion of sales from this show.
Kathy M Haycock began to paint in oils in 1998 after many years as a fiber artist and tapestry weaver living in Eastern Ontario’s Algonquin wilderness. Now a dedicated plein air painter, she is largely self-taught but cites the major influence of her father, Arctic artist Maurice Haycock, and his long time painting partner A.Y. Jackson, in her work.
There is an intimate connection to the natural world experienced in the wilderness landscape. Kathy shares this with delight, respect, awe and sense of belonging through her wilderness art. Each painting is an emotional reaction to a certain place, expressed intuitively in fresh nuances of colours, rhythmic compositions and playful brushwork. Painting trips have taken her across Canada’s Eastern Arctic and Greenland, the Northwest Territories, Yukon, northern BC and Alaska, the American Southwest, Newfoundland, Quebec and Ontario. She works up large canvases in her remote studio, a restored log barn, developing themes derived from her plein air field sketches.
Kathy exhibits in select solo and juried group shows and has received numerous awards. She presents lectures, slide shows, demonstrations and workshops. Her paintings are featured in numerous books and publications including “Wild Women, Painters of the Wilderness”, Inanna Press 2014. Kathy’s work is represented in public and commercial galleries and in private, public and corporate collections across Canada and internationally.
A firm supporter of conservation, Kathy donates a portion of all sales to environmental causes.
Kathy M Haycock Artist
Landscape painting is an important tradition in the Yukon and beyond. Surfacing features new landscape works by three emerging Yukon painters: Gordon Wallace (Faro), Heather Wanamaker (Whitehorse), and Niki Parry (Whitehorse).
Working with a variety of techniques, styles, and inspirations, all three artists offer their own distinct visions of the landscapes that surround us.
Niki Parry is an emerging visual artist working primarily in fluid acrylic painting. All her life, she has worked with many different types of artwork, drawn primarily to the projects where she can focus on and explore colour. Niki was introduced to fluid acrylics two years ago and has been intensively developing her skills and techniques ever since. She opened an Etsy shop in 2017 and has participated in local craft sales as well as the recent Arts Underground Light members show in December 2018. Niki moved to Whitehorse 20 years ago from Vancouver Island, and lives with her husband and 3 boys. While much of her time outside of work is spent taking her boys to hockey or the lake for paddling practice, she’s still able to find time to pursue her passion for fluid art.
Niki's Colour Adventures
Gordie has made the move from Beautiful British Columbia to Adventurous Faro, Yukon. He has brought with him a love of wilderness, hiking, and canoeing (inspired by some earlier trips to the Yukon) and a few decades of drawing and painting.
Enjoyment is found being outdoors plein air sketching mostly with charcoal, ink, and oil paint on paper or masonite board. Capturing the essence of the image relatively quickly is the challenge.
Studio work on canvas or wood is often sizeable, impressionistic, sometimes intimate, sometimes more abstract, and at times more finely detailed portraits.
Sketching ideas and experimenting with medium is a creative path that plays with capturing interest within the medium itself, the image, and what may be beyond the image.
I see my paintings of the Yukon as inventories of fragmented memories - each connected to the other as products of the landscape and long winters.
I have a Bachelors of Fine Arts from the University of Victoria and have been painting for close to twenty years.
Having relocated to Whitehorse seven years ago, it is no coincidence that this coincided with a rekindling of my active engagement with painting. With some time off in between, I have re-engaged yet again with my art.
More than any other discipline, screen printing had the most significant impact on my artistic approach, teaching me about the process of creating, about layering not just media but ideas.
I have travelled extensively, living in the UK and then travelling through Europe, North Africa, the Middle East, Russia, and Asia, and while these places inspired a number of paintings and drawings, it wasn’t until I moved to the Yukon that I began painting more frequently again. It was the colours, the hues, and shadows of the northern sun – the contrasts. But it was also the spectre of a long winter, which seemed to make the fall colours more vibrant. Of course, the winter can be vibrant, but the fall colours seem each year a kind of death knell of yellows, reds, oranges.
Art by Heather Wanamaker
Exhibition on view July 5 - 27, 2019
Focus Gallery and Edge Gallery
Water is a critical resource for all life on earth. It sustains us, conveys us, and inspires us. As Yukoners, many of us live on or near waterways and water sources which define our landscapes and provide for our communities.
However, many clean water sources around the world are in danger. As of April 2019, there are 57 long-term drinking water advisories on First Nations reserves across Canada. In light of this, Yukon Art Society members are reflecting on the value of water in their lives for our Summer 2019 Members' Show. Featured works include painting, drawing, sculpture, textiles, contemporary beadwork, sound art, and more.
Colin Alexander | Karen Andersen | Dee Bailey | Paul Baker | Nicole Bauberger | Mary Caesar | Marie-Hélène Comeau | Catherine Deer | Kim Fleshman | Anne Hoerber | Catherine Jamnicky | Leslie Leong | Rebecca Manias | Amelia Merhar | Alice Park Spurr | Niki Parry | Janet Patterson | Kathy Piwowar | Joanne Radzimirska | Martha Jane Ritchie | Maya Rosenberg | Valerie Ross | Cathy Routledge | Carolyn Steele Lane | Judy Tomlin | Teresa Vander Meer-Chassé | Heather Von | Gordon Wallace
Exhibitions on view June 7 - 29, 2019
The Focus Gallery
Anthony DeLorenzo // Water's Edge
Water’s Edge is a series of photographs taken from 2012–2019 along a short stretch of the Yukon River that remains open throughout the winter. I travel along these river banks almost daily and am constantly observing how the light and conditions change from day to day and year to year.
Many of these scenes I have revisited multiple times looking for the right image to capture the unique conditions of this area. While I began by focusing on the broader landscape, in more recent years I have been drawn to more intimate details, textures and graphical elements.
I work in black and white—without color I rely on light, texture and contrast to tell a story and create emotion. These silver gelatin prints are created by hand using a completely analog process. While technology can mimic the end result I believe it can never fully recreate the energy, artistic depth and tangible quality of a darkroom silver print.
Anthony DeLorenzo is a landscape and outdoor adventure photographer who works with film and traditional darkroom printing. He lives in Whitehorse, Yukon and he is passionate about exploring the remote landscapes of Canada’s North—his own backyard.
He uses a completely non-digital process from capturing images on film to making silver gelatin prints in the darkroom. His handmade prints explore the possibilities of the monochrome image through toning and alternative printing techniques.
Since 2017 his work has been exhibited in Whitehorse, Vancouver, Toronto and Montreal.
The Edge Gallery
The story goes that true Yukoners refer to the territory as the Yukon as opposed to Yukon. The Yukon seems to be the real deal – a place of authenticity.
We are biased in many ways, which sometimes leads us to make conclusions that are not based on facts. We reach for fleeting thoughts and emotions that might be deceptive and flawed. That creates a mismatch between what is in our minds and what is real, which can cause big problems.
I keep asking myself if I really wanted to spend time in (the) Yukon. At the first glance, it does not feel like I did, but the answer is not so simple. I might easily draw my conclusions from data that do not take into account my entire experience. I might not want to see the Yukon, the real deal, for what it really is, even though it is somewhere in my subconscious. There are gaps in my perception of reality.
The photographs that I took are an attempt to see my entire real deal - coming from a place of authenticity. Some of the images seem to fill in the gaps and reveal more than my mind is able to see.
Even though photography is not what Goran does for a living, it has been an important part of his existence. It provides him with different perspectives and makes him better in his day job.
His broad experience in the utility industry brought him to Whitehorse four years ago. In his position with Yukon Energy Corporation he and his team ensure that Yukon does not run out of electricity in the future.
As a part of his previous life, he was a professional photographer publishing his work in sports and car magazines in Yugoslavia. These days, his photography is conceptual. He presents universal human experiences such as pleasure, pain, power, love, illness, and wisdom through scenes and objects from everyday life.
Goran lives and works in Whitehorse, (the) Yukon.
Exhibition on view May 3 - June 1, 2019
Focus Gallery and Edge Gallery
Northern Fibres Guild // Fibre-Optics: Inspiration to Creation
Members of Northern Fibres Guild practice an incredibly diverse range of fibre arts. Fibre-Optics: Inspiration to Creation showcases the skills and work of individual members, and includes samples of work created during recent Northern Fibres Guild workshops. Workshops presented by the Guild in the past two years include indigo and shibori dyeing, willow weaving, skein painting, loom weaving, spinning, felted landscapes, braided rugs, and Qiviuq fibre.
Northern Fibres Guild is a group who enjoys working with and learning about fibres. Members’ interests are diverse and include all fibre-related activities. The purpose of the guild is to support members in increasing their skills and to provide support and education to the public regarding the fibre arts.
The Northern Fibres Guild had its origins in 1974, when a group of weavers met in October 1974 in Whitehorse to form the Yukon Weaver's Guild. The group held its first workshop a few months later, which was a 3-day workshop on weaving with 4-harness looms. In 1977, the name was changed to the Whitehorse Weavers' and Spinners' Guild. The group continued to diversify to include a broad range of fibre arts and in 1984 the name was changed to the Northern Fibres Guild, which was adopted along with a new constitution.
Exhibitions on view April 5 - 27, 2019
The Focus Gallery
Catherine Jamnicky // Wuthering Beauty
The aim with each of my art pieces is that they will reflect some sense of history, spirituality, and symbolism. I find it both thrilling and challenging to bring together a mix of organics, textile, nature and artifacts that seem like an unlikely collaboration. Without it being the aim, I am often tying the past into the present, or the present into the past.
All of my pieces are a collection of items that make up the whole but that whole is never fully known until I am well into the creative process with each form. Seldom do I know where the initial piece I start with is going to take me. That is both exciting and sometimes my greatest cause of frustration. The frustration mostly comes from not knowing how to make the items assemble, hang or stand on their own.
Over time, I have learned to work piece-meal on a few compositions at once because the methods of assemblage have numerous, interwoven stages such as deconstruction, modeling and assembly.
While I use many types of tools and equipment in both the deconstruction phase and reconstruction phase, to date, needles and my hands are still my most preferred tools. What I love most about my creative process is giving birth to the physical form of the many thoughts that come and go when I intentionally, or by hap chance, come across a unique artifact, find a new textile or uncover a piece of wood or an animal part in nature that beckons me to give it a greater expression.
Catherine Jamnicky was born in Montreal Quebec. For the past 25 years she has made her home in Whitehorse, Yukon.
During her formative years, Catherine and her family visited many art and historical museums. Her family, who not only had a great appreciation for art and history, were also keen outdoor enthusiasts and spent most summers canoeing and camping across Canada as well as, up and down the eastern seaboard. In the winter, it was family ski trips to a variety of ski resorts in both Canada and the US.
Catherine believes these early years of travel, spending a good amount of time in nature and being well immersed in the world of art and history might be why she is so drawn to artifacts, reclaimed items, organics and certain textiles – all the items she currently works with to create her one of a kind art form pieces. In 2015 after her only child, Alidas, whom she'd done extensive world travels with, had graduated high school, did she realize she might have a style of art somewhat unique to anything else out there. It was finally time to declare herself an artist.
Having some success selling a few art pieces through Yukon Artists @ Work, Catherine immersed herself in the art community. She took on the role of being the chair for Yukon Artists @ Work from 2015-2017 and is currently an active member of Arts Underground.
Along with all the wonders of nature, Catherine’s art pieces are also greatly influenced by the late fashion designer Alexander McQueen. When she is not at her full time job or in her home studio creating art, it is almost certain you will find Catherine in the arms of nature with her loyal sidekick, 7-year-old Benji.
The Edge Gallery
Living in the Yukon, it is easy to become whisked away in the supernatural effects of the setting sun’s colours amongst the moving landscapes. In Cosmic Bodies, we emphasize the imagined possibilities of parallel sceneries.
We use installations, paintings and drawings to define the extraterrestrial limits and beyond. We are exploring the possibilities of inviting extraterrestrials into familiar landscapes and supernatural terrestrials into unfamiliar landscapes. Playing with symbolisms we impose the art observer to seek meanings and interpretation, revealing wonders of this exploratory and fun artistic practice.
Rebecca Manias and Heather Von are two cosmic cats that came from another time and place (if you look closely, you can see that they each have a third eye). They are here on this planet, in this reality, expressing all the celestial wonders they have experienced through what is referred to as art.
Exhibitions on view March 1 - 30, 2019
Rhoda Merkel // It's a Beadiful World
It starts with Love...
A dedication to a life long Love for Beads, and the beauty they add to making our world BEADIFUL.
Rhoda is a Wolf Clan member of the Tahltan Nation. She was born and raised in Whitehorse, Yukon. Her love for creating has been a lifelong passion inherited from her mother and grandmother and from the many ladies who were associated with Yukon Native Products.
As an Artist she beads, sews First Nation regalia, tells First Nation stories, paints and writes. Rhoda applies her expertise to developing First Nation art-based curriculum, workshops and programs and to coordinating the Arts in Education -Yukon program; a program that hires artists to create art-based resources that teachers use to deliver core curricular requirements.
Rhoda is a passionate promoter of art, specifically First Nation art, culture and artists. Her studio is in Atlin, B.C.
The primary inspiration to create these images came from the desire to capture the vast and dynamic landscapes of the Kluane region. These montages attempt to evoke the mood of the area. Each one interprets the feeling of a specific part of the region and ties an animal to its habitat.
Each piece is a composite of up to eight individual images, layered with computer software. By focusing on multiple visual, natural elements in this way, I hope to suggest a new way of appreciating a landscape – one that gives viewers a more comprehensive sense of place than would a single image or idea.
At the same time, the layers in each piece permit a broader reading, allowing each viewer their own personal interpretation of the boreal forest.
A passion for photography has been instilled in Marty from an early age. His photographic education is largely self-taught, the result of experimentation and experience. A move to the Yukon in 2009 to work as a hiking guide in Kluane National Park allowed for countless opportunities to explore his enthusiasm for photography and the outdoors.
These images are composites of up to eight individual images layered and blended using computer software. Most of the original images were captured in the Kluane region of the Yukon.
Metal prints preserve the image by infusing dyes directly into specially coated aluminium sheets. The ultra-hard scratch-resistant surface is waterproof and can be cleaned easily – just avoid direct sunlight. Metal prints come with float mount hangers attached to the back of the print.
Exhibitions on view February 1 - 23, 2019
Association franco-yukonnaise // Gadgets et vieux tresors
Huit artistes francophones exposent leurs créations sous le thème Gadgets et vieux trésors. Des installations multimédias et interactives vous seront présentées lors d'une soirée d'échanges et de découverte à la galerie Focus. Les oeuvres seront exposées jusqu'au 23 février.
Noah, Maeva et Maryne Dumaine
Gadgets et vieux trésors explore les notions d'anciennes et de nouvelles technologies, de découvertes scientifiques et de jeux ou procédés ayant eu un impact considérable sur la société.
Veuillez noter que la salle d'exposition est accessible aux personnes à mobilité réduite.
Merci à :
Gouvernement du Yukon
Secrétariat du Québec aux relations canadiennes
Yukon Art Society
Ville de Whitehorse
Eight French-speaking artists will exhibit their work on the theme of Gadgets et vieux trésors (Gadgets and Ancient Treasures). Multimedia and interactive installations will be featured during an evening of sharing and discovery at the Focus Gallery. The exhibition will continue until February 23rd.
Noah, Maeva and Maryne Dumaine
Gadgets et vieux trésors (Gadgets and Ancient Treasures) explore the concept of old and modern technology, scientific discoveries, games and processes that have had an important impact on our lives.
Government of Yukon
Secrétariat du Québec aux relations canadiennes
Yukon Art Society
City of Whitehorse
Gestionnaire, Arts et culture
Arts and Culture Manager
Multiple elements contribute to the aesthetic impact of a book. These include, but are not limited to: it's height, width, proportion, materials, method of manufacture, form, binding, and content.
In Codex : Canon I systematically explore the proportion of the double opening of the book as an aesthetic unit using the modest material of a rectangular sheet of drafting vellum folded in half. The formal elements Codex : Canon considers are the height and width of the page in relation to geometry and human scale. The motif of the page folded in half subtly retains the three dimensional nature of the book.
Within these constraints, multiple taxonomies exist. I propose to install a selection of these taxonomies. Overt appeals to other aesthetic values of the book such as the tactile nature of the codex are suppressed to emphasize these aesthetic values.
Codex : Canon forms part of a series of works which explore, refine, and amplify the elements that inform a contemporary calligraphic practice.
Focus Gallery and Edge Gallery
Exhibition on view January 4 - 26, 2019
What We Become in the Shadows explores the literal, metaphysical, and psychological realms of shadow using ceramics, wood and stone sculpture, natural objects, poetry, mirrors, fabric, lights and video projection.
The term Shadow is used to describe the "darker side" or "disowned" part of our selves that often goes unexamined resulting in repressed qualities that subsides in our unconscious.
Exhibitions on view November 2 - 30, 2018
Solvey Johnsgaard and Ron Siu // Scintilla
Scintilla a small spark or flash
Bringing together our shared conviction that the nature of labour can only be dignified, that exertions of energy are uniquely tethered to bottomless pools of potential and sacrifice, these recent integrations of collage, painting, and sculpture were created in reference to both mass production and meticulous handiwork. We traded in practicality and efficiency for our trust in materiality. We cut corners only to pick them up and rearrange them again. Scintillating objects of amusement - decorative and fantastical icons and materials of pop culture convention - carry immeasurable histories that we wanted to honour as we painted, pressed, and hammered into their remnants. As possessions pass from hand to hand, acquired and discarded, worked and worn, we looked to their stories to guide our labour. Slices of material culture seem impossible to measure, and even harder to assess. Their edges are fuzzy and unfixed. Like small sparks, flashes of detail move about freely, igniting or dissipating without warning. We trusted that our roundabout exertions of handiwork would allow us to whittle away at “fixed” taste and value models, one scintilla at a time.
Solvey Johnsgaard is an emerging visual artist working primarily in collage and decoupage, with integrated language from painting, printmaking, drawing and sculpture. She was born and raised in Whitehorse, YT., and later moved to Dawson, YT., to attend the School of Visual Art. She completed her BFA in Drawing & Painting at Ontario College of Art and Design University in 2017, where she was awarded the Project 31 Drawing & Painting Award for excellence in drawing and painting, and the Eric Freifeld Award for excellence in figure draftsmanship. She has co-organized, curated, and participated in multiple group shows in Toronto, ON.
Ron Siu is a visual artist who was born in Toronto, ON and is currently based there as well. Working primarily in painting and mixed-media approaches, Siu has taken part in exhibitions across Canada and in Glasgow, UK. In 2018 he was one of the selected artists to participate in the Roundtable Residency in Toronto. He is presently pursuing his bachelor's in Drawing & Painting at the Ontario College of Art and Design University with expected completion in 2018.
Over the past few years, my personal artistic process has involved trying to merge with people remotely, to 'touch' them, using my body and all its systems and parts; my ‘antennas'. From Whitehorse I was craving physical contact with dancers elsewhere, so I made several dances from my own home. I then attempted to dance ‘with’ people from a distance in a duet. Video became a new medium, and thus a new skin. I digitally layered my body with other dancer’s, doing what I referred to then as choreography-as-editing and we got to ‘touch’ each other. The more I manipulated the works through the editing, the more intimate the duets became. As a dance-artist now working with video, I figured there must be many other dance-artists also working with video, and video-artists working with dance. I wondered, what are other dance artists creating, obsessing about, dealing with, or expressing about skin? I discovered that skin is an amazing metaphor: it is a shell, it is a conduit, it is a home, it is a hiding place, it is a container, it is how we feel and touch and give and receive.
ViDEOSKiN was conceived out of that strong desire to connect with dance and video artists from around the world who deal profoundly with the themes of bodily pleasure, pain, emotional expression, internal thought, human interaction, connection and isolation. The thread that binds this show is ‘skin’ and through this lens, international artists explore ideas of metaphor, race, representation, surfaces, canvasses, boundaries, homes, clothing, screens, organs, and many more. Categorized variably as ‘contemporary dance video-art’, ‘experimental dance film’, ‘dance and new media video’, ‘dance animation’, ‘videodance production’ and ‘dance on camera’, the selected works push boundaries through form and/or content. The richness of substance and the infinite diverseness presented in ViDEOSKiN are awe-inspiring. From intimate pieces to vast and digital works, you can expect to see videos from around the world ranging from one to thirty minutes in length. You will want to come back to the gallery several times to witness it all!
More information about ViDEOSKiN: https://videoskin2018.wordpress.com/
Exhibitions on view October 5 - 27, 2018
The Northern Cultural Expressions Society is dynamic, a non-profit organization, committed to providing opportunities for young people; channelling their energy to artistic expressions and business development. Our programs are directed at Yukon First Nations students but are open to all cultures.
Darcy Tara (Mcdiarmid)
My work is about the fundamental role of language in our experience of consciousness and external reality, and consequently, in our construction of ourselves. This particular show looks at the unravelling of our construction of the self through loss of memory. By using the "old", and to some obsolete, medium of calligraphy, as well as overt imagery of loss/absence (my pictures from the Pere Lachaise and Montmartre cemeteries in Paris, and Ashkeaton friary in Ireland) I'm interested in these spaces we eliminate or lose from our memories by ceasing to tell their stories, or by overwriting them with new ones.
I have used a patchwork of media – photography, calligraphy, stencil, fragmented literary references – to mimic the fragmented memory as well as the attempt to reconstruct something/anything from the remnants to understand and integrate this loss. We are used to and expect continuity in the stories of our selves, and these pieces examine what happens when this expectation of continuity is disrupted.
FMR has used a patchwork of media – photography, calligraphy, stencil, fragmented literary references – to mimic the fragmented memory as well as the attempt to reconstruct something/anything from the remnants to understand and integrate this loss. We are used to and expect continuity in the stories of our selves, and these pieces examine what happens when this expectation of continuity is disrupted.
Exhibition on view September 7 - 29, 2018
The Chu Niikwän Artist Residency is a unique partnership between three visual arts presenters: Kwanlin Dün Cultural Centre, the Yukon Arts Centre and the Yukon Art Society. Centred around the shared goal of artistic innovation, collaboration and professional development, this 3-week paid residency invites three visual artists as well as an emerging curator to gather in Whitehorse, Yukon to develop an exhibition of new work.
Blake Lepine, or Shaá’koon, was born and raised in Whitehorse, Yukon. He is of Tlingit, Han, Cree and Scottish descent and grew up with the Tlingit culture. Blake is inspired by the old designs from carving books his mother had. Over the years, Blake has practiced and perfected his own stylized form and interpretation of this art while adhering to the traditional foundations. This gives a modern voice to an ancient art, but also carries it into modern mediums other than the traditional forms of carving and painting of his ancestors. Blake has also worked with silkscreen, design, beadwork, textile work, sewing and painted leather, collage, block printing and watercolour. Through these mediums Blake has found a way of expressing his everyday experiences and life lessons through this art. For the Chu Niikwän Artist Residency, Blake is working with silkscreened designs and silkscreened photographic images that will be combined with form line designs of Tlingit art.
Lia Fabre-Dimsdale is an emerging artist who has grown up in a variety of northern communities and now calls Whitehorse her home. Lia is Dehcho Dene from Liidlii-Kue First Nation on her father's side and French-Italian on her mother’s side. Growing up in the north has greatly influenced her artwork. She draws inspiration from the land and the plants that inhabit these environments. Lia’s work is further influenced by old French traditional-style animated films and beautifully illustrated storybooks that are from her childhood. Growing up, she learned about the famous Ghibli Studio and their films, which has also served as inspiration to the work she produces. This studio is renowned for their highly detailed, nature-inspired and hand-drawn animation. Currently, film continues to be a main source of influence on Lia’s practice. She has a strong interest in the act of storytelling. Lia is taking an organic approach to her Chu Niikwän Artist Residency and playing off of the different themes that arise during this time.
Nicole Bauberger’s art practice spans many different mediums and fields. She has a finely honed skill in oil painting that begun over a 5-year apprenticeship in the 90’s. She will use encaustic, acrylic, clay, beadwork, teabags, doilies and crochet yarn, glass, research and writing, or songs on the ukulele, as required. Nicole’s work has been exhibited in public galleries since 1999. She embraces collaboration and often works with a variety of other artists. During the Chu Niikwän Artist Residency, Nicole will be working with found pieces of glass and metal that are located near the Yukon River and her artist residency studio at the Old Fire Hall in downtown Whitehorse.
Learn more about the Residency