Nov
7
to 30 Nov
Dec
5
to 18 Jan
Saturnalia 2024
Opening Reception: Thursday, December 5, 5 PM til late!
Vera Saltzman, The Wintering No.1, Photograph, medium format film, archival ink on paper, 20 x 20 ", ed of 5
Oct
10
to 31 Oct
Holly Fay - Drawing Water
Opening Reception: Thursday, October 10, 5:30-8:00PM
Drawing Water engages with concepts of cycle and flux within the hydrosphere. All water present at the beginning of the planet is present today, cycling through and over the earth, moving through the sky, and moving through all the planet’s beings.
Water unequivocally demonstrates the interconnectivity of all natural phenomena.
I use drawing processes to visually conceptualize the wonder present in the hydrosphere. In my series of large-scale drawings, subtle layers of graphite are applied to paper in successions of building up, lifting, and reapplying. The forms produced are void of defined contours, evoking fluidity and continual flux. Linear marks break up the recessive space of conventional landscape to propose the multidimensional aspects and transitory qualities of water, energy, and physical space.
In creating the Water Graphs series, I worked outside, in concurrency with active precipitation. The resulting exquisitely patterned watercolour and graphite works record the presence, actions, and interactions of the precipitation within the time frame the papers are exposed. Correspondingly, dates and the form of precipitation are recorded in the title of each work.
In creating the States of Flow series, I allowed watercolour and liquidized graphite to do what water does when applied to paper—pool, dilate, bloom, stream and merge. Through brushwork, I controlled the application of media to produce forms suggestive of water in states of solid, liquid and vapour.
Water in liquid, vapour, and solid states make up the life system of the planet.
Coinciding with the need for scientific analyses of the natural world, there is also a necessity for meaning gained through personalized acknowledgement and acclaim for the marvels and wonder present in the natural systems which sustain us. In this time of climate crisis and climate anxiety our felt connection to, and the interconnectedness of all natural phenomena is ever more profound, conspicuous, and present.
In the Annex…
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Sept
12
to 5 Oct
Jul
4
to 7 Sept
SUMMER RHUBARB 2024
ANNUAL MULTI-ARTIST EXHIBITION FEATURING SLATE GALLERY’S ROSTER OF ARTISTS!
OPENING RECEPTION: THURSDAY, JULY 4, 5:30 - 8PM
Daphne Boyer, Gingko Biloba Lotus, photo printed on canson rag, acrylic paint, laser cut, 42 x 42 "
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May
23
to 23 Jun
VERA SALTZMAN ‘HOPE HAS ITS HUSH
VERA SALTZMAN ‘HOPE HAS ITS HUSH’
OPENING RECEPTION: THURSDAY, MAY 23, 5:30 - 8:00PM
'hope has its hush' depicts the beauty and peace found in Saskatchewan’s landscape, while entreating us to consider our responsibility to the land.
Vera Saltzman, the orchestra, medium format film, archival ink on paper, 2024, 15 x 15 "
Artist Statement
“hope has its hush”
Since moving to southern Saskatchewan, I have used my photography practice to help me find a “sense of place” or belonging. Along the way my heart has been opened to welcome a relationship I never expected: one with the land itself.
In this exhibition “hope has its hush” I have included images that, for me, convey an emotional sense of the peace and wonderment found in the inherent beauty of this land. American photographer Robert Adams suggests that the beauty of nature can instill in us “the silence of light”.
But as I wandered with my camera, I also witnessed the ravages inflicted on the land in the name of “progress”. In contrast to images celebrating the beauty of the land, I found myself making images to question if I, and others, have been clinging to a nostalgic view of Saskatchewan.
If we are interwoven with this fragile land, as I now believe we are, how can we not be concerned for its welfare and for all the other beings who call it home? Robert Adam’s book, American Silence, referenced this line from a Theodore Roethke poem, “hope has its hush”. I love that line: it asks us to care.
Through the quiet of my images, I offer an invitation to slow down, to pause in thoughtful introspection and consider the future: How we can live on and care for this land with respect and reciprocity.
May this contemplative approach open minds, and form a bridge to carry the “silence of beauty” into our hearts, to find our way to a more thoughtful existence, one that includes a reverence for this land.
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Apr
25
to 18 May
Jeff Nachtigall - Nightshift
Opening Reception: Thursday, April 25, 5:30-8:00PM
Jeff Nachtigall - Artist Statement
This latest body of work coincides with a recent job I’ve taken relining ball mills at mine sights throughout North and South America.
The work is relentless. The physical demands seem super human and the 12 hour shifts feel endless. I work with men who sacrifice their bodies, their health and their safety on a daily basis so that they can provide for themselves and their families.
These paintings have an urgency about them. They are loosely painted, allowing for over-spray and paint to drip or pool, marring the surface and insisting on an immediacy that emphasizes a process that is evident in the final work.
The narratives remain open ended and non linear. Although the paintings are inspired and informed by my blue collar adventures, they stop short of merely illustrating a singular experience and instead invite the viewer into the conversation so that they might complete the story.
Apr
12
to 14 Apr
Mar
21
to 20 Apr
Heather Cline - Waterways
New Works by Heather Cline focusing on the Prairie Waterways.
Opening Reception: Thursday, March 21, 5:30 - 8:00PM.
Heather Cline | Waterways Wandering Water
acrylic on birch panel, 2023, 36 x 48 "
SOLD
Heather Cline: Waterways
When I first started documenting the landscape from the aerial perspective, I wanted to act as a witness to the constant change that human activity has on our environment. I was interested in trying to capture the impact that the initial survey of the land, the construction of the grid road system, and the ongoing practice of agricultural production, have on the prairie landscape. As I continued to view the landscape from the sky, it became more and more noticeable that it was in the small coulees, glacial valleys and river beds that natural habitat was more intact. It was this growing awareness that led to body of work entitled ‘Waterways’.
When I was a child, the most important geographical feature of my world was the South Saskatchewan River. The river was a constant in my life. There was nothing like the view from the centre of the CP rail bridge, a few kilometres from my home. It allowed me to see the city, the river and the river habitat from a Birdseye view. I felt linked to the river and was clearly aware that it was the source of water for our home.
I’ll never forget the Sundays when we go out to visit my grandparents in the small town of Zelma. Their source of water was a well, and the water was heavily laden with minerals and iron. We drank copious cups of tea, and occasionally we were allowed the treat of a Pic A Pop from my grand-parents root cellar. The water was not considered palatable by myself and my siblings. I have vivid memories of arriving home and running to the sink to turn on the water to the coldest setting and let it run until the pure cold water filled my glass. In my child’s eye I felt the connection from the stream of water running from the tap directly to the river.
When I moved to Southern Saskatchewan, I felt less connected to the water sources that provided me with my daily needs. As I contemplated the Waterways series, I decided to try to understand more clearly how the water flows to my home and other communities in southern and central areas. Somehow it seemed appropriate to start at a historically significant confluence. One of the most important water points recognized by the Hudson’s Bay Company was the area where the Qu’Appelle river meets the Assiniboine River. It was in this place that the company established Fort Ellice in 1831, prior to settlement on the prairies. Waterways is a body of work that follows a route from this starting point down the Qu’Appelle water system through the Regina area continuing on to the Diefenbaker dam. I then followed the water from River Landing, up the South Saskatchewan River to my childhood home in Saskatoon.
It quickly became apparent that many of the waterways are also being deeply impacted by human activity. Agricultural production crowds up against the small streams and the harvesting of hay impacts the river valleys. Recreational sites alter the banks of the larger bodies of water. Smaller streams and rivers have their courses altered by drainage, ditches and diversion. In many ways this body of work bears witness to the dwindling resource of natural habitat near water in South and Central Saskatchewan. I hope these artworks inspire people to think about how we interact with the waterways that are an important part of our daily life on the prairies.
Feb
17
to 16 Mar
SECOND CHANCE II
Second Chance - Annual secondary market exhibit.
Opening Reception: Saturday, Feb 17, 1:30 - 4:30PM
Jack Cowin
Jack Cowin | Joe Fafard | Peter von Tiesenhausen | Miranda Jones | Ernest Lindner | Heather Cline | Zachari Logan | W. C. McCargar | Sylvia Ziemann | Jane Zednik | Luis Jimenez | Gabriela Garcia-Luna | Victor Cicansky | David Thauberger | Jack Sures | Judy Anderson | Gwyneth Traven | Karen Holden | Gabriela Garcia-Luna | Mary Rawlyk | David Gilhooly | Rick Gorenko | Miranda Jones | Don Hall | Joe Mendleson | Molly Lenhardt | Jahan Maka | Harvey McInnis | Fred Moulding | Dmytro Stryjek and more.
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Dec
7
to 27 Jan
Saturnalia XI
Opening Reception: Thursday, December 7, 5:30 - 8:30PM
This exhibition has been extended until January 27th, 2024!
Frans Lotz, Three Ralphs, nickel plated steel with patina, 2023, 7 1/2 x 8 1/2 x 1 1/2"
Opening Reception: Thursday, December 7, 5:30 PM til late!
Slate Gallery's annual holiday exhibition featuring our full roster of artists and more!
This years Saturnalia will coincide with the annual 'Light up the Village' Event! Pop in from shop to shop for great products and great company.
Stop in at Slate Gallery to find your next piece of art and enjoy some holiday cheer!
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Nov
9
to 2 Dec
Oct
5
to 4 Nov
Sept
7
to 30 Sept
Jul
13
to 2 Sept
SUMMER RHUBARB 2023
Multi-artist exhibition featuring the works for Slate’s roster of Artists and more!
Opening Reception: Thursday, July 13, 5:30 - 7:30 PM
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Jun
15
to 8 Jul
GABRIELA GARCIA-LUNA
SOME GARDENS
OPENING RECEPTION: THURSDAY, JUNE 15, 5:30 - 7:30PM
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May
18
to 10 Jun
May
18
to 10 Jun
Apr
21
to 23 Apr
Apr
6
to 13 May
Feb
23
to 25 Mar
Jan
28
to 18 Feb
Second Chance
An exhibition of Second Chance. An eclectic exhibition of artworks that have reentered the market by prominent Canadian artists.
Victor Cicansky | Jack Cowin | David Blackwood | David Thauberger | Joe Fafard | Diana Thorneycroft | David Bierk | Jack Sures | Danny Singer | Wilf Perreault | David Alexander | Lorne Beug | Mac Hone | Dorothy Knowles | Molly Lenhardt | Art Mackay | Don McVeigh | Rick Gorenko | John Noestheden | Martha Cole | Kyle Herranen | Ned Herperger | Jeff Nachtigall | Heather Cline | Joesph Raffael
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Nov
17
to 31 Dec
Saturnalia 2022
Opening Reception:
Thursday, November 17, 5:30-7:30
Multi-Artist Exhibition featuring the Slate Fine Art Gallery Roster of Artists and more!
Greg Allen | Mel Bolen | Katherine Boyer | Victor Cicansky | Heather Cline | Jack Cowin (1946 - 2014) | Nancy Crites | Jay Dart | Joe Fafard (1942-2019) | Rob Froese | Gabriela Garcia-Luna | Brian Gladwell | Rick Gorenko | Belinda Harrow | Karen Holden | Michael Hosaluk | Ted Howorth | Marsha Kennedy | Marie Lannoo | Jefferson Little | Zachari Logan | Frans Lotz | Janet Macpherson | Noriko Masuda | Thom McInnis | Jeff Nachtigall | Laura Payne | Mary Lynn Podiluk | Vera Saltzman | Ward Schell | Maia Stark | Jack Sures (1934-2018) | David Thauberger | Diana Thorneycroft | Robert Truszkowski | Susan Wiebe | Zane Wilcox | Russell Yuristy | Sylvia Ziemann
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Oct
15
to 12 Nov
Zachari Logan #queerflowers
Opening Reception: Saturday October 15, 2-5 PM
Zachari Logan, Leshten No. 1, Fantasy Flower Series, pastel on coloured paper, 2022
Zachari Logan #queerflowers
#queerflowers continues Logan's fascination with flora as embodied representations through botanical exploration, recollection and self-reflection. Works in this exhibition employ a mixture of observed, recalled and imagined forms as metaphors for exuberance, resilience and the body as an extension of the land.
Canadian artist Zachari Logan works mainly with large-scale drawing, ceramics and installation practices. Exploring the intersections between identity, memory and place, Logan re-wilds his body as an expression of queerness. Logan has exhibited widely throughout North America, Europe and Asia and is found in private and public collections worldwide, including; National Gallery of Canada, Art Gallery of Ontario, Remai Modern, Mackenzie Art Gallery, McMichael Canadian Art Collection, Leslie-Lohman Museum, Nerman Museum of Contemporary Art (NMOCA), 21cMuseums Hotel Collection and Thetis Foundation, among others. Logan has attended many residencies; including Vienna's Museums Quartier MQ21 Program, the International Studio & Curatorial Program in Brooklyn, Wave Hill Botanical Gardens Winter Workspace Program in the Bronx and was artist in residence at the Tom Thomson Shack at the McMichael Gallery. Logan has worked collaboratively with several celebrated artists, including Ross Bleckner and Sophie Calle and his work has been featured in many publications worldwide, including BBC Culture, The Boston Globe, The Globe and Mail, Border Crossings, Huffington Post, Canadian Art and Hyperallergic to name a few. Logan’s recent projects include the 2-person exhibition, Shadow Of The Sun: Ross Bleckner & Zachari Logan, at Wave Hill Botanical Gardens in the Bronx, Wildflower a solo exhibition at the Canadian High Commission in London UK, and Ghost Meadows, at Remai Modern in Saskatoon, Canada. Logan’s current exhibition Remembrance opened at the Peabody Essex Museum in Salem Massachusetts, May of 2022.
Oct
15
to 12 Nov
Jay Dart "Ten Hundred Years of Yawns & Dust"
Opening Reception: Saturday, October 15, 2-5 PM
Jay Dart, Disintegration, Pastel & coloured pencil on panel, 12 x 12 inches, 2022
Jay Dart - “Ten Hundred Years of Yawns and Dust”
“If this endlessness’s a must,
then I’m a disintegrate int’ dust.”
– Jiggs
To commemorate the 10th anniversary of the inception of his Yawnder series, Jay Dart is showing new drawings alongside rarely-exhibited pieces from this body of work in a touring exhibition titled Ten Hundred Years of Yawns & Dust. This series features the exploits of his alter ego, Jiggs, and a cast of wanderers in a whimsical mindscape through which a narrative continues to evolve about the mystical nature of inspiration, the quest for innovative creation, and the dissemination of ideas. Within this conceptually layered world, Dart explores themes of identity, innocence lost/recovered, isolation, ecology, and interconnection in modern society.
Among the new works featured at Slate Gallery, the second stop on the tour, is an installation titled Out On Other PlaneS (OOPS), in which he continues to find new approaches to presenting his drawings so that the scenes extend beyond the picture plane. Each of the five pieces in this installation carry on from the front of the panels, along the sides, and continue onto the walls, with drawing in between them to present conjoined scenes from a new found part of the Yawnderverse called the Planes. Here, Dart is exploring his fascination with other planes of existence as he continues to contemplate the role of the artist in contemporary culture.
In the Postcards From Yawnder, we return to some of the earliest settings from the saga, only this time the mystical dust storm of Vooka has blown in. The name for this atmospheric event references the concept of VUCA (Volatility, Uncertainty, Complexity, Ambiguity) which has been used to describe the state of anxious, unpredictability that defines the “new normal” of our times. The wanderers in this mythical world who have been figuratively pondering what’s “in the air” are now also contending with what’s literally in their airborne surroundings.
Over more than a decade, Jay Dart has created approximately 300 pieces for the Yawnder series which includes not only drawings but also mixed-media works, installations, animated videos and bookworks that add another dimension to the works on paper. Some of the pieces from the Yawnder archives that are included in this exhibition were featured in his bookworks Where Yawns Go, the first volume of a series recounts the narrative within his imagined world, and the Field Guide to Yawnder, a catalogue for his first touring public gallery exhibition which is also available at the Art Gallery of Ontario.
Jay Dart is a Canadian drawist and designer whose practice extends from drawings to bookworks, mixed media pieces, installations, and animated videos. His work has been shown in galleries across Canada and in art fairs including Paris (Drawing Now), New York (Art on Paper), Montreal (Papier), Amsterdam (100 Euro Show), Portland (100 Dollar Show) and Art Toronto (solo booth). He is the recipient of multiple grants and honours including from the Canada Council for the Arts, Ontario Arts Council, and National Magazine Awards. His work has been featured on CBC radio and television, including a profile on The Exhibitionists. Dart is a graduate of the University of Guelph’s Fine Art programme, and he currently lives and draws with his family in the small hamlet of Ashburn, Ontario.
Sept
8
to 8 Oct
Heather Cline | Above Below
Opening Reception: Thursday, September 8, 5 - 7 PM
HEATHER CLINE – Above Below
The view of the prairie landscape from above is a series of disappearing lines, the grid road system, bordering patterns created by human passage through the landscape. The light and clouds move across the land breaking up the geometric and revealing small counterpoints of habitat and housing. Throughout the year the terrain shifts with the cycles of agricultural activity. Large tracts of land in south and central Saskatchewan have been transformed by monoculture but more diverse plants and grasses still remain in small areas like the valleys left by the passage of glaciers and waterways. Viewed from above there are islands of marshland, coolies, groves of trees and shelterbelts like a strange code dotting the terraformed landscape. Below we move through a more contained countryside.
When I was a kid, we made frequent trips on the grid to visit my Grandparents. My Dad would challenge us to be the first to see the town elevator; reward a Nickel. Depending on which backroad it was usually seen from about 10km away. Now I find myself looking for different signposts, the micro habitats along the roadway, sloughs and poplar groves, a row of evergreens planted along the lane into a farmyard. I now experience even more of a sense of isolation on the grid roads as more and more home quarters are transformed into serving merely as storage points for grain and equipment. On the backroads there is often dust in the distance indicating an approaching vehicle. This is always an event as you slow down to save your windshield from the spray of gravel that coats the surface. This ritual has become more infrequent over the years. My passage through the roadways built along the grid has an edge of nostalgia built on secondary memories of rural life gathered from family and wider oral story collection. This emotional response to the landscape shifts with complexity in the aerial views. When I view the terrain from the above I feel pushed past reminiscence to reflect on land use and the every changing geography of the prairies. Both experiences act as testimony to the history of land use in Canada. To paint these views from Above and Below is to act as a witness to the blend of manufactured and natural in the prairie landscape.
The process of viewing the landscape from above and below gives us the opportunity to consider both historic and contemporary land use. I feel that the process I am using to create my landscapes mimics my complex feelings about this human interaction with the land as I apply layers of sculptural paint, carving, and sanding to rework the wooden surface of my panels. I feel like my colour palette and the shift between loose paint application and small precise details captures the very evocative experience I have observing my habitat. Pushing between abstraction and the real I try to explore the impact of human intervention on the land.
About the Series…
On the prairie the view through the car windshield often reveals a never-ending roadway. Landscape painting in Canada has frequently been dominated by work less rooted in human geography, artwork exploring the wilderness and generally downplaying or naturalizing the human reconstruction of the Canadian prairies. The body of work featured in the exhibition ‘Above Below’ started with a series of landscapes, the ‘Dashcam’ paintings. The roadway is central in these artworks, placing the viewer on a constructed path. As the work progressed I was drawn to places where more organic backroads and prairie trails intersect with the grid, often following along streams, riverbeds and glacial pathways. The ‘Skyhawk’ series explores a wider view of the prairie landscape as seen from above. This viewpoint reveals the patchwork grid, a geometric system of organization imposed upon the land. This collision of the carefully surveyed grid system and the reality of geography seems an apt metaphor for the complex implications we currently face in our interaction with the landscape. ‘Shifting Grid’ highlights the aesthetic interplay of the grid roadway system with the organic contours of the land as a way of considering themes around land use and the role we play in the constantly changing geography of the prairie landscape.
BIO Heather Cline is a painter and mixed media artist based in Regina, Saskatchewan. Cline has a deep interest in public interaction, and has participated in residency programs and community engagement across Canada. Her activities have included setting up a ‘Story Collection’ office from an inner-city store front in Oshawa, Ontario and riding along on combines in rural Manitoba. She is fascinated by how personal history intersects with human geography. In her most recent art work she is exploring what geography reveals about human occupation through a series of landscape paintings incorporating roadways and aerial views of the prairie.
Cline has her MFA from the University of Saskatchewan and has exhibited in multiple group exhibitions, with solo exhibitions at the Robert McLaughlin Gallery (Oshawa, ON), the Mendel Art Gallery in Saskatoon, and regional exhibition centers throughout Western Canada. Her work can be found in many public and private collections, including the Colart Collection, the Remai Modern and the Saskatchewan Arts Board.
Jul
14
to 3 Sept
Jun
18
to 9 Jul
May
12
to 11 Jun
Apr
7
to 7 May
Marie Lannoo - LIGHT FIELDS
Opening Reception: Saturday, April 9, 2 - 5 PM
Molecules in Heat #6, acrylic on canvas, 20 x 20 ", 2022
MARIE LANNOO - Artist Statement
Since the beginning of COVID in 2020, I returned to canvas for the first time in 25 years with a tremendous level of freedom. I could never have predicted that a global pandemic with the ensuing lockdown would have opened the floodgates in the studio. In the best works, decision-making has been entirely intuitive with direct and unfiltered connection to the painting. It is difficult to describe this place other than to say it is where I make the most profound connection with my materials and with my artistic self to embody those connections in the work. When I am in this place of deep connection and feeling, time dissolves and slips away. The works in Light Fields were painted during this period of intense focus.
I use colour to pierce and punctuate. Colour becomes a portal of heat, a beacon of light and a direct conduit to sensation - a vaccine to inoculate against sensory deprivation. The paintings are meditations through palette and compositional devices. They are stripped to essentials in the centre with the most painterly activity on the periphery. The viewer gets lost inside the painting and transported to another place.
The paintings are sized to facilitate intimate and personal contact through direct, experiential connection. Colour vibrates, pulsates, resonates, radiates. The radiant energy of colour creates sensations of experience as light interacts with each layer of transparent acrylic to change its luminosity. As the layers interact, overall illumination is revealed.
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Apr
7
to 7 May
Laura Payne - ISOSCELES
Opening Reception: Saturday, April 9, 2 - 5 PM
Radial 47, acrylic and glitter on panel, 30 1/2 x 46 1/2 ", 2022
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Mar
3
to 2 Apr
Marsha Kennedy - RATTLE THE TEAPOT
Rattle the Teapot is a series that grew from thoughts about the environmental changes and species loss I have witnessed during my lifetime. There is a nod to nostalgia in this series, but the comfort this sentiment could offer is denied, and replaced with solastaglia.*
The title Rattle the Teapot is meant to serve as a call toward change and an end to our colonial worldview. The title suggests an interruption, a noisy clatter to wake us up and invites conscious, responsible awareness of our relationship to nature. Old dolls, printed botanical fabrics and fake eggs represent my youth and familial history, but points to the many layers in which nature and ourselves have been replaced or mirrored through our constructed realities and technologies. The distinction between the real, the non-real, and representation have broken down, yet what of the Earth and the living systems that all life depends on?
These hand-coloured photographs refer to historical Nature Morte and Vanitas paintings
*unease and melancholy caused by the destruction of the natural environment; eco-anxiety.
Blend of "solace" and "nostalgia" Example: It has led to the coining of a new word, solastalgia: the distress induced by environmental change and the degradation of one’s home place. Collinsdictionary.com
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Acrylic/canvas/walnut (framed), 2024, 50 x 38 "
SOLD