Current Exhibitions

Current Exhibitions



Assorted Boxes of Ordinary Life

Curated by Marcie Bronson
January 29 to May 1, 2016

Thursday, February 25, 7 pm

Inspired by a small found archive of personal photographs, documents, and objects, Amy Friend presents a new body of photo-based work that considers how identity comprises both fact and fiction. Composing images by overlaying fragments of the archive with anonymous secondhand photographs and her own original photographs, she infers narratives from the minimal details the remnants provide. Ambiguous and morphing, these composite images at once explore and confuse the history they reference, and Friend uses this to reflect on how we understand and interpret the people around us. When anomalous threads appear and begin to unravel the fabric of stories we think we know, we call into question what is accepted as truth. So little can say so much, and even greater is the unexplored mystery of the spaces between what is known.

Image: Amy Friend, Stargazing, 2015, archival pigment print




Curated by Stuart Reid
January 9 to March 20, 2016

Opening Reception
Thursday, January 28, 7pm

Thursday, March 10, 7 pm

Swirling, thrusting marks traverse complex surfaces in this new body of large-scale abstract paintings called the Inland Series by Shawn Serfas. The artist explores the toxic potential of oily black as it infuses the ground, almost extinguishing the incendiary bars of hot red and yellow that burn like a furnace in the bottom quadrant of several of the paintings. Manipulating the liquidity of paint, the artist creates wet layers and crackling surfaces that illustrate the alchemic properties of the material. Serfas addresses environmental issues in these works, the uneasy pollution of materials seeping into the unspoiled cells of pure colour. This world is in dramatic flux, churning and changing; each painting evidence of an arrested state of human-made unbalance.

Shawn Serfas, Cay, Portrait of a Mark Series, 2015, acrylic on fabric/canvas.



Curated by Stuart Reid
Presented by Rodman Hall Art Centre with financial support of the Government of Canada through Cultural Capitals of Canada, a program of the Department of Canadian Heritage

Continues on the grounds of Rodman Hall through September 2016

In creating this new outdoor installation for Rodman Hall, Barkhouse examines issues of sovereignty and confederacy from an indigenous ecological vantage point. As an aboriginal woman, Barkhouse is mindful of the history of conflict imprinted on this region of Ontario, particularly during this bicentennial commemoration of the War of 1812. Many of the conflicts and alliances between First Nations and settling cultures that played out two hundred years ago are still unresolved today.

Settlement incorporates sculptural elements into an artist’s garden built in the shape of a frontier house (16 x 20 feet). Last spring, the artist planted a series of border gardens of indigenous plants including corn, squash, beans and quinoa. Situated in the interior spaces of the garden are life-size bronze sculptures of a coyote and a badger, alluding to the cooperative nature of the allies involved in the 1812 conflict. Badgers and coyotes are known to be cooperative hunters in their search for small burrowing animals in the wild. Barkhouse is interested in the contentious nature of territory as is relates to struggles over land, whether between humans, amongst animals or plants.

An illustrated catalogue featuring an essay by Stuart Reid and an interview with the artist by Michelle LaVallee, Associate Curator at the MacKenzie Art Gallery, Regina, will be forthcoming in 2013. This publication is generously supported by the Canada Council for the Arts.

Barkhouse was born in Vancouver and belongs to the Nimpkish band, Kwakiutl First Nation. She graduated from the Ontario College of Art and Design in Toronto and has exhibited her work widely. A member of the Royal Canadian Academy of Arts, her recent solo exhibition entitled Boreal Baroque toured Canada.

In this audiocast, Barkhouse discusses some of her intentions behind the work: