“My response to the landscape is emotional,” says Meagan Musseau. “I observe and engage with the land and the social environment in which I live.”
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Billions are said to be in global circulation. In the United States alone, five hundred million are manufactured every year. They are everywhere, including inside and outside of our large retail shops. Their ubiquity and number, however, do not guarantee their visibility. Few of us look at, let alone think about the wooden shipping...
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“Something happens when you’re walking and you’re kind of selecting which plant you want ... Sometimes I’m just walking and I’m not even thinking of collecting plants, but I see a plant and its almost like our eyes meet.”
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“It can be powerful and provocative to bring decoration in. It’s unexpected and not always seen as high fine art."
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Living and working in K’jiputuk (Halifax), Lou Sheppard uses performance and media installation to explore the rifts between human experience and our attempts to define our place in the world. Sheppard turns data sets, medical texts and geographic information into movements of drawn line, dance and music. Their work tugs and pulls at the structures...
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The works in The Long Time transmit the sense that you’re missing or meeting something, getting just a trace of what came before and what is coming next.
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Jerry Ropson’s to kiss a goat between the horns is a memorial to a cultural vernacular and way of life that has already left us—his grandfather's rural Newfoundland culture.
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Representation of NSCAD across multiple shows and national delegations underline the school’s place in the broader art world, as well as Atlantic Canada’s slow move away from the international art world’s periphery.
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Johnson is concerned that Mi’kmaq baskets will become obsolete, referenced only in archives or glanced at as artifacts on the dusty shelves of art collectors.
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Johnson and Bennett create a fitting metaphor for the original and ongoing white-washing of Indigenous language and culture in our society at large and artistic culture in Canada.
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“People thought I was a guy. I kept secret that I had three kids. I kept secret that I was a woman.”
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Daniel Hutchinson explores the artistic possibilities of black paint, sculpted with striations that capture or reflect light in ways that create the illusion of space.
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