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
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