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Gallery Calendar
Shenkman Arts Centre is home to six visual arts exhibition spaces as well as public art installations. Works by a diverse set of local, regional and national artists are exhibited throughout the Centre. Admission to all of the galleries is free. Meet the artists at monthly receptions. Consult our Events Calendar for details.
The AOE Gallery showcases visual art by emerging and professional artists who are members with AOE Arts Council. The office space doubles as a gallery and is equally suitable for readings, gatherings, meetings and presentations. Individual, duo, and artist collectives show their work here in 2D and 3D mediums. AOE Arts Council provides the space to local artists so they can add to their exhibition experience, to sell their work and have conversations with the community.
Open Monday to Friday, 9 am to 5 pm
Open on select Sundays for Meet the Artist, 1 to 3 pm
www.artsoe.ca
Puck Janes:
Politics on My Plate: Serving our Daily News
April 5 to May 8, 2018
Meet the artist event: April 22, 2018 - 1 to 3 pm
With this exhibition I am aligning myself with a lengthy tradition of political ceramic art. Themes I touch are the role of the media, inequality and fighting back. I explore the economic and political paradoxes that arise in our day to day lives with dry wit, irreverent thought, combinations of imagery, and a sharp knife. My source material is found in the day to day absurd, books, the rabbit hole of the internet, daily news reports and an examination of my various roles and responsibilities as maker, teacher, consumer, and family member. I want to fuse a contemporary critical artistic practice with the sensory, hand built nature that comes from working with clay as part of the craft arts.
To start, I riff on the idea of the traditional commemorative plate; I play with a DIY aesthetic and provide accompanying frank and irreverent political imagery and commentary. My subject matter is found all around me: the women’s march and Mary Poppin’s boots, airport security confiscating mini sticks from my daughter, cheeky fly swatters, and text from Jane Austen writing in the late 1700’s that has been adopted for today, “facts are such horrid things.”
Working with hand crafted paper clay, the regular circle of the homey plate is eschewed. Because my large wall plates are hand stretched, they become misshapen during the handling process and the red clay edges, although rough, become the frames. On top of this I pour a surface of white porcelain which crackles, as a reference to our shared colonial history. On this surface I add images and text. The look is not precise and precious but stressed, to depict a world in flux and conflict. My images, when viewed in the context of their narrative background stories can be politically fun, frank, and possibly rude and confrontational. Ultimately, I want to connect with the sympathetic viewer to share common concerns and experiences.
My personal challenges for this exhibition are technical and material based. I am new to using paper clay and to incorporating various texts, ceramic transfers and photographic decals into my work.
Politics on My Plate: Serving our Daily News
April 5 to May 8, 2018
Meet the artist event: April 22, 2018 - 1 to 3 pm
With this exhibition I am aligning myself with a lengthy tradition of political ceramic art. Themes I touch are the role of the media, inequality and fighting back. I explore the economic and political paradoxes that arise in our day to day lives with dry wit, irreverent thought, combinations of imagery, and a sharp knife. My source material is found in the day to day absurd, books, the rabbit hole of the internet, daily news reports and an examination of my various roles and responsibilities as maker, teacher, consumer, and family member. I want to fuse a contemporary critical artistic practice with the sensory, hand built nature that comes from working with clay as part of the craft arts.
To start, I riff on the idea of the traditional commemorative plate; I play with a DIY aesthetic and provide accompanying frank and irreverent political imagery and commentary. My subject matter is found all around me: the women’s march and Mary Poppin’s boots, airport security confiscating mini sticks from my daughter, cheeky fly swatters, and text from Jane Austen writing in the late 1700’s that has been adopted for today, “facts are such horrid things.”
Working with hand crafted paper clay, the regular circle of the homey plate is eschewed. Because my large wall plates are hand stretched, they become misshapen during the handling process and the red clay edges, although rough, become the frames. On top of this I pour a surface of white porcelain which crackles, as a reference to our shared colonial history. On this surface I add images and text. The look is not precise and precious but stressed, to depict a world in flux and conflict. My images, when viewed in the context of their narrative background stories can be politically fun, frank, and possibly rude and confrontational. Ultimately, I want to connect with the sympathetic viewer to share common concerns and experiences.
My personal challenges for this exhibition are technical and material based. I am new to using paper clay and to incorporating various texts, ceramic transfers and photographic decals into my work.
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A.M. Benz & Brenda Dunn
Duplexity
May 10 to June 12, 2018
Meet the artist event: May 27, 2018 - 1 pm to 3 pm
“Duplexity” combines two artists and their unique visions of the use of space.
Brenda Dunn explores the grid formations of our farmlands, incorporating a ‘drones eye view’ as a primary base in a series she refers to as ‘Architectonics’. Dunn layers colourful squares of ink and watercolour in imitation of a patchwork landscape viewed from above. Overlayed are ink drawings of buildings and grid work, a playful representation of the very real pressure of urban sprawl.
A.M. Benz creates some sort of dimensional space for each of her pieces, whether it is a physical dimension of a raised section or an implied depth through the use of negative space. Her materials are chosen and placed in specific spots to catch the light in order to simulate energy movement across the span of each composition.
Duplexity
May 10 to June 12, 2018
Meet the artist event: May 27, 2018 - 1 pm to 3 pm
“Duplexity” combines two artists and their unique visions of the use of space.
Brenda Dunn explores the grid formations of our farmlands, incorporating a ‘drones eye view’ as a primary base in a series she refers to as ‘Architectonics’. Dunn layers colourful squares of ink and watercolour in imitation of a patchwork landscape viewed from above. Overlayed are ink drawings of buildings and grid work, a playful representation of the very real pressure of urban sprawl.
A.M. Benz creates some sort of dimensional space for each of her pieces, whether it is a physical dimension of a raised section or an implied depth through the use of negative space. Her materials are chosen and placed in specific spots to catch the light in order to simulate energy movement across the span of each composition.
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Virginia Dupuis:
Best Before
June 14 to July 17, 2018
Meet the artist event: June 17, 2018 - 1 pm to 3 pm
My mother baked bread and “put up” preserves, all using a wood cook stove. Such domestic accomplishments required skills of patience, nurturing and being truly present; crops only lasted a short time, both in the field and when picked. Bread making required a skillful hand and attention to timing. The bread had to be kneaded to allow it to rise; attention to the baking time and heat in this truly made-by-hand method were crucial.
Contrasting such time-consuming tasks of the past, with today’s easy access to food products and smart appliances, the “Best Before” date takes on a meaning of metaphoric significance.
“Best Before” instigated by the ephemeral nature of crops, and continued through the necessitation in the quiet urgency of making preserves and bread.
Recognizing the patient nurturing of women in domestic tasks, - preserving fruit and making bread, I have created a loaf of bread, a loaf of “wonder”, with slices full of berries. The exaggerated scale calls attention to the importance of these, perhaps taken for granted, domestic skills. A series of oil paintings related to preserves and baking will round out the exhibition.
The artworks are indicative of an era where efforts were hard wrought, and when “Best Before” was not only finite, but a way of life.
“I respect perseverance, patience and resilience and am drawn to a subject by its beauty, colour and rhythm. Exploring colouristically the drama in patterns, suggestive of creation, growth and endurance, allows me to see beauty in the ordinary.”
My artistic practice always revolves around paying respect to domesticity and traditions. In so doing I usually play with the scale, in a sense enlarging the reverence around the subject matter. Whether looking at women’s crafts of sewing, knitting, darning, or picking and preserving berries, or baking bread, I am thinking of the continuity of keeping the home fires burning. The theme is of a time when these chores were more labour intensive, a time of wood cook stoves, even coal oil lamps.
Working in the traditional medium of oil, I work on a body of work at a time developing a narrative. I like to add some form of mimicry; in this case I am painting on Styrofoam insulation, which today is used to insulate and warm a home. This is a nod to the similarity of the domestic tasks in keeping the home-fires burning and of traditions which have always added warmth to a home in many ways.
Best Before
June 14 to July 17, 2018
Meet the artist event: June 17, 2018 - 1 pm to 3 pm
My mother baked bread and “put up” preserves, all using a wood cook stove. Such domestic accomplishments required skills of patience, nurturing and being truly present; crops only lasted a short time, both in the field and when picked. Bread making required a skillful hand and attention to timing. The bread had to be kneaded to allow it to rise; attention to the baking time and heat in this truly made-by-hand method were crucial.
Contrasting such time-consuming tasks of the past, with today’s easy access to food products and smart appliances, the “Best Before” date takes on a meaning of metaphoric significance.
“Best Before” instigated by the ephemeral nature of crops, and continued through the necessitation in the quiet urgency of making preserves and bread.
Recognizing the patient nurturing of women in domestic tasks, - preserving fruit and making bread, I have created a loaf of bread, a loaf of “wonder”, with slices full of berries. The exaggerated scale calls attention to the importance of these, perhaps taken for granted, domestic skills. A series of oil paintings related to preserves and baking will round out the exhibition.
The artworks are indicative of an era where efforts were hard wrought, and when “Best Before” was not only finite, but a way of life.
“I respect perseverance, patience and resilience and am drawn to a subject by its beauty, colour and rhythm. Exploring colouristically the drama in patterns, suggestive of creation, growth and endurance, allows me to see beauty in the ordinary.”
My artistic practice always revolves around paying respect to domesticity and traditions. In so doing I usually play with the scale, in a sense enlarging the reverence around the subject matter. Whether looking at women’s crafts of sewing, knitting, darning, or picking and preserving berries, or baking bread, I am thinking of the continuity of keeping the home fires burning. The theme is of a time when these chores were more labour intensive, a time of wood cook stoves, even coal oil lamps.
Working in the traditional medium of oil, I work on a body of work at a time developing a narrative. I like to add some form of mimicry; in this case I am painting on Styrofoam insulation, which today is used to insulate and warm a home. This is a nod to the similarity of the domestic tasks in keeping the home-fires burning and of traditions which have always added warmth to a home in many ways.
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Anna Wagner-Ott:
Interlaced Narratives
July 19 to August 21, 2018
Meet the artist event: July 19, 2018 - 7 pm to 9 pm
Anna Wagner-Ott’s studio stands beside a pristine lake near Algonquin Park so she has a view of the reflections of the sky over the lake and the color variations of the hillside that surrounds her. These views inspire her and she abstracts aspects of the land, sky, and water in each artwork. Additionally she is fascinated with woven textiles and art quilts so weavings and fabric constructions are the other source of inspiration for her paintings. Each painting begins with a landscape and then she meticulously paints a weaving design over that landscape. Her paintings address the connection between coverings and barriers as metaphors.
Encaustic is her painting process and was used to paint the Egyptian Fayum Mummy Portraits during 100-300 AD. Before discovering Encaustic Wagner-Ott had only used oil paint so she did not know how to paint with a medium that cooled and hardened instantly when brushed onto the surface of a panel.
In 2013 she took a workshop at the International Encaustic Conference and learned the basics of painting with hot liquid wax. She enjoys the sculptural process of scraping back and building up layers of wax with a blade, using pigment sticks and adding transparent and opaque layers of colours.
Anna Wagner-Ott studied fine art at the University of Alberta and has a PhD in art education from Penn State University. She had a tenured teaching position in the art department at California State University in Sacramento. Throughout 25 years of teaching she kept a professional presence in the art world by having solo exhibitions at the National Exhibition in Fredericton, the Robert McLaughlin Gallery in Oshawa, the Guild Gallery in Toronto, the California State University Union Gallery in Sacramento, and the Fine Art Centre in Sacramento. Additionally, she participated in numerous juried exhibitions. Since retiring in 2012, Wagner-Ott became a full-time artist and maintains an art studio in Barry’s Bay, Ontario, Canada.
Interlaced Narratives
July 19 to August 21, 2018
Meet the artist event: July 19, 2018 - 7 pm to 9 pm
Anna Wagner-Ott’s studio stands beside a pristine lake near Algonquin Park so she has a view of the reflections of the sky over the lake and the color variations of the hillside that surrounds her. These views inspire her and she abstracts aspects of the land, sky, and water in each artwork. Additionally she is fascinated with woven textiles and art quilts so weavings and fabric constructions are the other source of inspiration for her paintings. Each painting begins with a landscape and then she meticulously paints a weaving design over that landscape. Her paintings address the connection between coverings and barriers as metaphors.
Encaustic is her painting process and was used to paint the Egyptian Fayum Mummy Portraits during 100-300 AD. Before discovering Encaustic Wagner-Ott had only used oil paint so she did not know how to paint with a medium that cooled and hardened instantly when brushed onto the surface of a panel.
In 2013 she took a workshop at the International Encaustic Conference and learned the basics of painting with hot liquid wax. She enjoys the sculptural process of scraping back and building up layers of wax with a blade, using pigment sticks and adding transparent and opaque layers of colours.
Anna Wagner-Ott studied fine art at the University of Alberta and has a PhD in art education from Penn State University. She had a tenured teaching position in the art department at California State University in Sacramento. Throughout 25 years of teaching she kept a professional presence in the art world by having solo exhibitions at the National Exhibition in Fredericton, the Robert McLaughlin Gallery in Oshawa, the Guild Gallery in Toronto, the California State University Union Gallery in Sacramento, and the Fine Art Centre in Sacramento. Additionally, she participated in numerous juried exhibitions. Since retiring in 2012, Wagner-Ott became a full-time artist and maintains an art studio in Barry’s Bay, Ontario, Canada.
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Roy Whiddon:
Naked Amid the Ruins
August 23 to September 25, 2018
Meet the artist event: August 23, 2018 - 7 pm to 9 pm
This photographic exhibition represents six years of work with more than 20 nude models in one abandoned paper mill.
The Howard Smith paper mill in Beauharnois, Québec, was built in 1912. In 1932, the Bank of Canada commissioned the mill to produce Canadian currency, which continued for roughly seven decades. When the currency was redesigned to be more difficult to copy, the mill was unable to meet the new requirements and lost the contract. With their main source of revenue gone, the mill closed in 2004. Under a new owner, the abandoned mill became a haven for paintball players and photographers. A fire of suspicious origin destroyed over half of the mill in 2012, while the remainder continued to deteriorate and be prey to vandals. At the time of this writing, the property is up for sale and the remaining structure planned to be demolished.
A human body is soft, warm, and fragile. An abandoned industrial site is hard, cold, and unforgiving. The figures in my photographs interact with the harsh surroundings in a variety of ways: sometimes succumbing to its power, sometimes actively engaging, and sometimes exploring playfully. The contrast between naked flesh and the dilapidated machinery allows me to explore themes of alienation, oppression and vulnerability on the one hand; freedom, resiliency and rebellion on the other.
My photographs attempt to symbolize the humanity that shines through a challenging world.
Naked Amid the Ruins
August 23 to September 25, 2018
Meet the artist event: August 23, 2018 - 7 pm to 9 pm
This photographic exhibition represents six years of work with more than 20 nude models in one abandoned paper mill.
The Howard Smith paper mill in Beauharnois, Québec, was built in 1912. In 1932, the Bank of Canada commissioned the mill to produce Canadian currency, which continued for roughly seven decades. When the currency was redesigned to be more difficult to copy, the mill was unable to meet the new requirements and lost the contract. With their main source of revenue gone, the mill closed in 2004. Under a new owner, the abandoned mill became a haven for paintball players and photographers. A fire of suspicious origin destroyed over half of the mill in 2012, while the remainder continued to deteriorate and be prey to vandals. At the time of this writing, the property is up for sale and the remaining structure planned to be demolished.
A human body is soft, warm, and fragile. An abandoned industrial site is hard, cold, and unforgiving. The figures in my photographs interact with the harsh surroundings in a variety of ways: sometimes succumbing to its power, sometimes actively engaging, and sometimes exploring playfully. The contrast between naked flesh and the dilapidated machinery allows me to explore themes of alienation, oppression and vulnerability on the one hand; freedom, resiliency and rebellion on the other.
My photographs attempt to symbolize the humanity that shines through a challenging world.
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Sylvie Grenier & Viktoriia Krasiukova:
Memory Space
September 27 to November 6, 2018
Meet the artist event: September 30, 2018 - 1 pm to 3 pm
Viktoriia Krasiukova presents artworks made with watercolours and ink using a “monotype” technique. This body of works was influenced by her travels to different countries and towns. The works reflect her real life experience. From each travel she gathers subjects that stay in her memory for years and which find their way into her paintings.
Two approaches were used to create the artworks. The first approach was an application of paintings chaotically on a glass surface. Then, the colourful shapes of composition uniquely formed themselves on paper throughout the printing process (the majority of artworks: “Florence”, “Paris”, “Autumn Ottawa”, etc.). The second approach consisted of painting the main subject on a glass surface and making a monotype print on paper (“Blooming Ottawa” and “Moscow”). Nevertheless, both approaches intriguingly led to spontaneous composition where artist should detect the subjects' shapes (buildings, animals, different symbols) equal to those that live in the memory space.
Viktoriia’s exhibition reveals how we can find subjects in a vague and unstructured layer of painting.
In this new exhibit, Sylvie Grenier takes landscapes into new territory. She boils down the idea of landscape into a simple horizon, sometime nearly hidden, and then explodes it with light and colour. Think of her horizons as waterscapes where the flash in the sky is captured and transformed in the reflection below. Her works are landscapes in the hall of mirrors.
This new collection explores the boundaries between figuration and abstraction to create a space based on memories, somewhere between seeing and feeling. The works are characterized by the simplicity of composition, strong colours, high contrasts and bold strokes.
Memory Space
September 27 to November 6, 2018
Meet the artist event: September 30, 2018 - 1 pm to 3 pm
Viktoriia Krasiukova presents artworks made with watercolours and ink using a “monotype” technique. This body of works was influenced by her travels to different countries and towns. The works reflect her real life experience. From each travel she gathers subjects that stay in her memory for years and which find their way into her paintings.
Two approaches were used to create the artworks. The first approach was an application of paintings chaotically on a glass surface. Then, the colourful shapes of composition uniquely formed themselves on paper throughout the printing process (the majority of artworks: “Florence”, “Paris”, “Autumn Ottawa”, etc.). The second approach consisted of painting the main subject on a glass surface and making a monotype print on paper (“Blooming Ottawa” and “Moscow”). Nevertheless, both approaches intriguingly led to spontaneous composition where artist should detect the subjects' shapes (buildings, animals, different symbols) equal to those that live in the memory space.
Viktoriia’s exhibition reveals how we can find subjects in a vague and unstructured layer of painting.
In this new exhibit, Sylvie Grenier takes landscapes into new territory. She boils down the idea of landscape into a simple horizon, sometime nearly hidden, and then explodes it with light and colour. Think of her horizons as waterscapes where the flash in the sky is captured and transformed in the reflection below. Her works are landscapes in the hall of mirrors.
This new collection explores the boundaries between figuration and abstraction to create a space based on memories, somewhere between seeing and feeling. The works are characterized by the simplicity of composition, strong colours, high contrasts and bold strokes.
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Barb Lougheed:
Erasure
November 8 to December 11, 2018
Meet the artist event: November 25, 2018 - 1 pm to 3 pm
This series, entitled Erasure, explores how urbanization is stripping wildlife of their habitat and leading to their demise. While the process is going on worldwide, my focus is on the Canadian wilds: the World Wildlife Fund's September 2017 report shows that half of Canadian wildlife species are in serious population decline and that a key factor is habitat loss.
The series places us in a space that is familiar yet askew – the colours are aggressively fluorescent and there are floating brains and wraithlike animals. This jarring world asks us to reflect on what is happening to nonhuman life on the planet and whether we are implicated in the paving over of animals’ space. The hybrid approach mixes realism with fantastic landscapes, flat with three dimensional and insistently bright colours to speak about our contemporary relationship with the wilderness.
Animals are shown overlooking their domains which, in some cases, have shrunk to postage stamp size. In other cases, the process is impending. In one of the sub-series, a giant brain hovers over the landscape, symbolizing human colonizing intentions and our tendency to overvalue our cleverness, set ourselves up as masters of the world and forget about our responsibility to other living creatures. The roughed in animals suggest that the process of erasing them from the landscape is well underway.
In other pieces, the suburbs are encroaching. A larger than life rabbit looks out, its size meant to suggest the magnitude of the anxiety created by the loss of its natural habitat. The diminutive and colourful suburbs are meant to point to the conflict we feel, knowing as we do that we need to engage in protecting our world while at the same time wanting to retreat home to refuge and shut the door on it all.
Moose and Fridges shows the iconic Canadian moose sandwiched between refrigerators, with the neon background evoking the urbanization of wild spaces. The fridges have either been discarded (the door is off one), symbolizing the throwaway society in which we live or, given that the fridges are lined up in fairly pristine order and there is a tiled floor referencing the indoors, we could in fact be in an appliance store which has set up on the spot where the forest once was. What is sure is that the moose’s available land has shrunk to dimensions just sufficient to fit his body. The TV and clouds suggest we’re living in a dream. The painting’s thesis is that our response to wildlife is nostalgic and romantic, like our appreciation of pastel coloured fridges, but that this is an inadequate response to the razing of our natural world.
The exhibit asks us to consider our role as defenders of wildlife for the sake of the animals and for our own, as the natural world and our heritage as Canadians and as world citizens is being diminished around us.
Erasure
November 8 to December 11, 2018
Meet the artist event: November 25, 2018 - 1 pm to 3 pm
This series, entitled Erasure, explores how urbanization is stripping wildlife of their habitat and leading to their demise. While the process is going on worldwide, my focus is on the Canadian wilds: the World Wildlife Fund's September 2017 report shows that half of Canadian wildlife species are in serious population decline and that a key factor is habitat loss.
The series places us in a space that is familiar yet askew – the colours are aggressively fluorescent and there are floating brains and wraithlike animals. This jarring world asks us to reflect on what is happening to nonhuman life on the planet and whether we are implicated in the paving over of animals’ space. The hybrid approach mixes realism with fantastic landscapes, flat with three dimensional and insistently bright colours to speak about our contemporary relationship with the wilderness.
Animals are shown overlooking their domains which, in some cases, have shrunk to postage stamp size. In other cases, the process is impending. In one of the sub-series, a giant brain hovers over the landscape, symbolizing human colonizing intentions and our tendency to overvalue our cleverness, set ourselves up as masters of the world and forget about our responsibility to other living creatures. The roughed in animals suggest that the process of erasing them from the landscape is well underway.
In other pieces, the suburbs are encroaching. A larger than life rabbit looks out, its size meant to suggest the magnitude of the anxiety created by the loss of its natural habitat. The diminutive and colourful suburbs are meant to point to the conflict we feel, knowing as we do that we need to engage in protecting our world while at the same time wanting to retreat home to refuge and shut the door on it all.
Moose and Fridges shows the iconic Canadian moose sandwiched between refrigerators, with the neon background evoking the urbanization of wild spaces. The fridges have either been discarded (the door is off one), symbolizing the throwaway society in which we live or, given that the fridges are lined up in fairly pristine order and there is a tiled floor referencing the indoors, we could in fact be in an appliance store which has set up on the spot where the forest once was. What is sure is that the moose’s available land has shrunk to dimensions just sufficient to fit his body. The TV and clouds suggest we’re living in a dream. The painting’s thesis is that our response to wildlife is nostalgic and romantic, like our appreciation of pastel coloured fridges, but that this is an inadequate response to the razing of our natural world.
The exhibit asks us to consider our role as defenders of wildlife for the sake of the animals and for our own, as the natural world and our heritage as Canadians and as world citizens is being diminished around us.
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Owned and operated by the City of Ottawa, the Trinity Art Gallery features the works of local and regional artists in two exhibition salons. Artists are selected through an annual peer assessment process. For submission information go to ottawa.ca. Trinity Art Gallery Salons A and B are located on the Lower Level of the Shenkman Arts Centre.
Young at Art 2018 – East
April 19 to May 14, 2018
Young at Art is an exceptional opportunity for Ottawa visual artists between the ages of 12 and 19 years to reach out to their communities – and beyond – through the experience of a citywide, juried art exhibition.
April 19 to May 14, 2018
Young at Art is an exceptional opportunity for Ottawa visual artists between the ages of 12 and 19 years to reach out to their communities – and beyond – through the experience of a citywide, juried art exhibition.
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JungHee Lee-Marles: Peace by Piece
May 17 to June 12, 2018
Lee-Marles’ series of mixed media installations is based on relationships between human history, culture and land. Monochrome pieces of handmade paper overlay colourful oils, acrylics, charcoal, ink, and rice paper to portray a superficial peace overlaying cultural diversity and social tensions.
May 17 to June 12, 2018
Lee-Marles’ series of mixed media installations is based on relationships between human history, culture and land. Monochrome pieces of handmade paper overlay colourful oils, acrylics, charcoal, ink, and rice paper to portray a superficial peace overlaying cultural diversity and social tensions.
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Marc Gagne: Out of the Past
June 14 to July 17, 2018
The mixed media constructions of Marc Gagne range from funky shaped abstractions that play with the shape of “word balloons” from comics, to large and heavily worked pieces incorporating doors, found objects and assemblage that are inspired by urban surfaces and decay.
June 14 to July 17, 2018
The mixed media constructions of Marc Gagne range from funky shaped abstractions that play with the shape of “word balloons” from comics, to large and heavily worked pieces incorporating doors, found objects and assemblage that are inspired by urban surfaces and decay.
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Ottawa Mixed Media Artists: Mixed Impressions
July 19 to August 21, 2018
Ottawa Mixed Media Artists (OMMA) presents a juried exhibition embracing the theme “Mixed Impressions”. The artists express personal styles and vision through unique media and techniques.
July 19 to August 21, 2018
Ottawa Mixed Media Artists (OMMA) presents a juried exhibition embracing the theme “Mixed Impressions”. The artists express personal styles and vision through unique media and techniques.
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Diane Laundy: Kaleidos
August 23 to September 18, 2018
This exhibition takes the viewer beyond the original photographic image to delve into the intricate details, patterns and textures of natural and architectural subjects. The composite images reflect, multiply and overlay one another resulting in photographic "textiles" that are a highly interpretative re-imagining of the original image.
August 23 to September 18, 2018
This exhibition takes the viewer beyond the original photographic image to delve into the intricate details, patterns and textures of natural and architectural subjects. The composite images reflect, multiply and overlay one another resulting in photographic "textiles" that are a highly interpretative re-imagining of the original image.
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AOE Arts Council: Sélections
September 20 to October 16, 2018
An annual, juried exhibition of works in a variety of media by members of AOE Arts Council - a vibrant, non-profit arts service organization. The Arts Council is dedicated to promoting, supporting and developing the arts in Ottawa.
September 20 to October 16, 2018
An annual, juried exhibition of works in a variety of media by members of AOE Arts Council - a vibrant, non-profit arts service organization. The Arts Council is dedicated to promoting, supporting and developing the arts in Ottawa.
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Jordan Danger: No green without blue
October 18 to November 20, 2018
This colourful exhibition urges us to awaken our connection with the seas. Artist Jordan Danger strives to reignite our affinity and spiritual bond with the oceans and its creatures through the elemental power of ceramic sculpture.
October 18 to November 20, 2018
This colourful exhibition urges us to awaken our connection with the seas. Artist Jordan Danger strives to reignite our affinity and spiritual bond with the oceans and its creatures through the elemental power of ceramic sculpture.
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Mario Cerroni: Double Vision
November 22, 2018 to January 8, 2019
This exhibition will consist of a series of images created using reflections, double exposures and layered composites. They show relationships between multiple views of various locations. Sometimes, opposing viewpoints will challenge the viewers' perceptions. The created tension caused by combining multiple images forces the viewer to resolve the reality behind what they are seeing.
November 22, 2018 to January 8, 2019
This exhibition will consist of a series of images created using reflections, double exposures and layered composites. They show relationships between multiple views of various locations. Sometimes, opposing viewpoints will challenge the viewers' perceptions. The created tension caused by combining multiple images forces the viewer to resolve the reality behind what they are seeing.
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Ottawa Watercolour Society: Brush and Water
January 10 to February 12, 2019
Ottawa Watercolour Society (OWS) is pleased to present the best in brush and water techniques from top watercolour artists in the Ottawa region. View over 30 masterful paintings and award winners chosen by jury at the Society’s 79th juried show.
January 10 to February 12, 2019
Ottawa Watercolour Society (OWS) is pleased to present the best in brush and water techniques from top watercolour artists in the Ottawa region. View over 30 masterful paintings and award winners chosen by jury at the Society’s 79th juried show.
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Arteast: Mosaic
February 14 to Mach 19, 2019
Member artists, from the beginner to the professional, were encouraged to submit their best two and three-dimensional works to this recurring juried exhibition. The selected works display the diverse talents of the Arteast membership.
February 14 to Mach 19, 2019
Member artists, from the beginner to the professional, were encouraged to submit their best two and three-dimensional works to this recurring juried exhibition. The selected works display the diverse talents of the Arteast membership.
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Young at Art 2018 – East
April 19 to May 14, 2018
Young at Art is an exceptional opportunity for Ottawa visual artists between the ages of 12 and 19 years to reach out to their communities – and beyond – through the experience of a citywide, juried art exhibition.
April 19 to May 14, 2018
Young at Art is an exceptional opportunity for Ottawa visual artists between the ages of 12 and 19 years to reach out to their communities – and beyond – through the experience of a citywide, juried art exhibition.
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Sarah Jaworski: Icons of My Universe: Self Portraits in Pysanky
May 17 to June 12, 2018
This series of Pysanky – traditional Ukrainian eggs – and watercolour paintings, uses traditional folk symbols. Juxtaposing traditional symbols with modern symbols of plants, animals and her own hairstyles, Jaworski illustrates traits she feels are lacking in the traditional feminine iconography.
May 17 to June 12, 2018
This series of Pysanky – traditional Ukrainian eggs – and watercolour paintings, uses traditional folk symbols. Juxtaposing traditional symbols with modern symbols of plants, animals and her own hairstyles, Jaworski illustrates traits she feels are lacking in the traditional feminine iconography.
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Yulia Listsyna: My “Gardens of Earthly Delights”
June 14 to July 17, 2018
My work happily introduces colourful images of the unbelievable richness and beauty of natural objects common to our environment. I invite my audience to take a journey around and inside the fantastic and realistic landscapes I create, to become acquainted with the many fairylike, mythological creatures that dwell in my painted worlds.
June 14 to July 17, 2018
My work happily introduces colourful images of the unbelievable richness and beauty of natural objects common to our environment. I invite my audience to take a journey around and inside the fantastic and realistic landscapes I create, to become acquainted with the many fairylike, mythological creatures that dwell in my painted worlds.
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Adèle Gauthier: Poétique
July 19 to August 21, 2018
Ink on paper, thoughtful presence, in contrast with the sense of absence in a virtual society, where letters disappear in a click. Old words, out of context, take on new shape and form inspired by the lyrics of Leonard Cohen and layers upon layers of beeswax. Suddenly, the creation shifts from music to living matter, from impermanence to permanence.
July 19 to August 21, 2018
Ink on paper, thoughtful presence, in contrast with the sense of absence in a virtual society, where letters disappear in a click. Old words, out of context, take on new shape and form inspired by the lyrics of Leonard Cohen and layers upon layers of beeswax. Suddenly, the creation shifts from music to living matter, from impermanence to permanence.
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Sanjay Sundram: Silent Cities
August 23 to September 18, 2018
An architect by training, Sundrum finds inspiration in urban spaces. For him, these are places of everyday horrors and magic; and in so, a medium through which to explore ecological concerns at a time of unending growth.
August 23 to September 18, 2018
An architect by training, Sundrum finds inspiration in urban spaces. For him, these are places of everyday horrors and magic; and in so, a medium through which to explore ecological concerns at a time of unending growth.
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AOE Arts Council: Sélections
September 20 to October 16, 2018
An annual, juried exhibition of works in a variety of media by members of AOE Arts Council - a vibrant, non-profit arts service organization. The Arts Council is dedicated to promoting, supporting and developing the arts in Ottawa.
September 20 to October 16, 2018
An annual, juried exhibition of works in a variety of media by members of AOE Arts Council - a vibrant, non-profit arts service organization. The Arts Council is dedicated to promoting, supporting and developing the arts in Ottawa.
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Nancy Halpin: River’s Edge
October 18 to November 20, 2018
Sometimes ordinary moments by the river’s edge can become extraordinary when having a closer look. Photographs of these serene moments, combined with encaustics (an ancient technique using molten wax), bring a new dimension and ethereal quality to the images.
October 18 to November 20, 2018
Sometimes ordinary moments by the river’s edge can become extraordinary when having a closer look. Photographs of these serene moments, combined with encaustics (an ancient technique using molten wax), bring a new dimension and ethereal quality to the images.
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A. M. Benz: Achromatically Inclined
November 22, 2018 to January 8, 2019
In today’s colour-drenched world, Achromatically Inclined asks the viewer to see things a little differently. An exploration into the elegance of a limited palette, materials are placed to catch light while accentuating the design, to create an engaging piece.
November 22, 2018 to January 8, 2019
In today’s colour-drenched world, Achromatically Inclined asks the viewer to see things a little differently. An exploration into the elegance of a limited palette, materials are placed to catch light while accentuating the design, to create an engaging piece.
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Ralph Nevins: Cirrus'ly
January 10 to February 12, 2019
An interactive cloudy exhibit presenting elements of Conway's Game of Life and new media art; completely artificial in nature.
January 10 to February 12, 2019
An interactive cloudy exhibit presenting elements of Conway's Game of Life and new media art; completely artificial in nature.
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Arteast: Mosaic
February 14 to Mach 19, 2019
Member artists, from the beginner to the professional, were encouraged to submit their best two and three-dimensional works to this recurring juried exhibition. The selected works display the diverse talents of the Arteast membership.
February 14 to Mach 19, 2019
Member artists, from the beginner to the professional, were encouraged to submit their best two and three-dimensional works to this recurring juried exhibition. The selected works display the diverse talents of the Arteast membership.
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The Dust Evans Gallery, located on the lower lobby of the Shenkman Arts Centre, is operated by the Gloucester Pottery School. Each year the work of six professional artists who sculpt in clay is featured. Most exhibiting artists also give workshops in the school’s studio.
Andre Breau: Music on Ceramic
April 20 to June 20, 2018
Musicians and listeners are both bonded by a common passion : Music
In my first exhibition as a clay artist I have attempted to convey the essence of jazz and blues through the perspective of bringing to life musicians and their instruments.
Biography:
André Breau is a self-taught sculptor with over 30 years of experience in woodcarving. In the last year he has explored underglazing and opted to pursue clay sculpting. As an expert in relief sculpting he strives to create three dimensional illusions.
He has been teaching woodcarving for many years in the Ottawa area at the Visual Art Center Orleans as well as at the Ottawa School of Art.
To find out more about his work and classes offered, you can contact the Gloucester Pottery School or the Ottawa School of Art. You may also reach him at breau.andre@yahoo.com
Upcoming Exhibition dates:
Kaitlyn Brennan - June 22, 2018 to August 15, 2018
Katherine King - August 17, 2018 to October 17, 2018
Heather Smit - October 19, 2018 to December 12, 2018
April 20 to June 20, 2018
Musicians and listeners are both bonded by a common passion : Music
In my first exhibition as a clay artist I have attempted to convey the essence of jazz and blues through the perspective of bringing to life musicians and their instruments.
Biography:
André Breau is a self-taught sculptor with over 30 years of experience in woodcarving. In the last year he has explored underglazing and opted to pursue clay sculpting. As an expert in relief sculpting he strives to create three dimensional illusions.
He has been teaching woodcarving for many years in the Ottawa area at the Visual Art Center Orleans as well as at the Ottawa School of Art.
To find out more about his work and classes offered, you can contact the Gloucester Pottery School or the Ottawa School of Art. You may also reach him at breau.andre@yahoo.com
Upcoming Exhibition dates:
Kaitlyn Brennan - June 22, 2018 to August 15, 2018
Katherine King - August 17, 2018 to October 17, 2018
Heather Smit - October 19, 2018 to December 12, 2018
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On the Centrum Level of the Shenkman Arts Centre, Ottawa School of Art-Orléans Campus Gallery features a broad range of works by local, national and international artists. Please note that this gallery is closed on Sundays.
The City of Ottawa and community arts organizations own visual arts spaces for exhibiting artwork. They are operated and programmed by the community arts organizations. Promenade Arteast features works by members of Arteast on the lower level of Shenkman Arts Centre.
Upcoming Exhibition dates:
- April 19 to June 12, 2018
- June 14 to August 21, 2018
- August 23 to October 16, 2018
- October 18, 2018 to January 8, 2019
- January 10 to March 19, 2019
- March 21 to May 20, 2019
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The LaLande + Doyle exhibition space in the lower lobby area at Shenkman Arts Centre features touring (mostly national, but some international) exhibitions of an artistic nature, embassies promoting artists with origins in their countries, festivals, special events and other short-term exhibitions.
Bulgaria in my Heart
April 10 to 29, 2018
“United We Stand Strong” is the motto of Bulgaria’s Presidency of the Council of the European Union for the period of January 1 to June 30, 2018. The artists participating in the photography exhibition “Bulgaria in my Heart” for this occasion are united in their love for Bulgaria.
Come and enjoy a vision of the world that brings together cultural memories, vivid emotions and new ideas!
Vernissage: April 22, 2018 from 1 pm to 3 pm
Meet the artists: 1 pm to 2 pm
Documentary on Bulgaria: 2 pm to 3 pm
This exhibition is organized by Bulgarian Arts Festival Ottawa.
April 10 to 29, 2018
“United We Stand Strong” is the motto of Bulgaria’s Presidency of the Council of the European Union for the period of January 1 to June 30, 2018. The artists participating in the photography exhibition “Bulgaria in my Heart” for this occasion are united in their love for Bulgaria.
Come and enjoy a vision of the world that brings together cultural memories, vivid emotions and new ideas!
Vernissage: April 22, 2018 from 1 pm to 3 pm
Meet the artists: 1 pm to 2 pm
Documentary on Bulgaria: 2 pm to 3 pm
This exhibition is organized by Bulgarian Arts Festival Ottawa.
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