The cover of the current issue

Current Issue: SUMMER 2017

CODES + SYMBOLS

STEPHANIE YEE

URSULA JOHNSON

JORDAN BENNETT

Florilegia

Florilegia

Beth Biggs’ work engages with symbols, signs, gender classification and their social and political implications. The installation of her work explores the tension between the intimate nature of jewellery and the public space of the gallery.

Beth Biggs, Seduced: Chrysanthemum, sterling, copper enamel, cast, fabricated, 25x12x1.5cm, 2016. photo credit: Roger Smith

Holding Patterns

Holding Patterns

Working in textiles, Rachel Ryan paints fabrics and stitches together a variety of techniques, blurring the boundaries between painting, drawing and quilting.

Rachel Ryan, Juggernaut, fabric collage, 69 x 55 cm, 2014

Ritual Objects of Everyday Life

Ritual Objects of Everyday Life

Functional Porcelain Objects

Gina Etra Stick,Porcelain Plate: Flower signifying ‘intrinsic goodness’, arrowhead icon signifying human bravery – gentleness married to fearlessness, Fanhong red background, youhong red and xincai flower, 24k gold, handpainted, 2017

 

Fencelines

Opening Reception: March 23, 6pm

Fencelines is an immersive artwork combining the blacksmithing of Ruben Irons, ceramics by Fenn Martin and gestural drawing by Raina McDonald. These Antigonish based artists share their collaborative exploration of the rural landscape, ownership, permissions and borders. Given the current global climate of fear and separation, this fence and gate with imagery reflecting on rural outmigration and the collapse of small farms, is an elegy and challenge to re-imagine rural life in Nova Scotia.

Exuvia

Exuvia is an exhibition of funerary jars, sometimes referred to as reliquaries or urns. At the end of its time developing undergound, the cicada digs to the surface to move from one life stage to the next.  In this process of change the cicada leaves behind a shell, called the exuvia, and it flies away. At some level the finished jar is a likeness of who it is that will transition, important not for what it holds but for what has stepped out and flown away leaving an essential hint of what lives on.

Rachel Morouney, crenellated fan pattern, carved and glazed ceramic, 2014. photo credit: images courtesy of the artist

Golden Moons

Naturally Dyed & Handwoven, each moon piece is bisected horizontally between sky and ground or water, and collectively they ask questions about location, space, scale, concreteness, control. As we speed up in all our interactions, the slow, incremental woven, dyed progress of these pieces seems satisfying and rich, and possessing of serenity.

Frances Dorsey, Black Moon, handwoven and naturally dyed fibres,2015. photo credit: image courtesy of the artist

Frances Dorsey and Rachel Morouney, Black Moon and Crenellated Fan,handwoven and naturally dyed fibres, carved and glazed ceramic, 2015. photo credit: images courtesy of the artists