Articles tagged with: Marilyn I. Walker School of Fine and Performing Arts

  • MIWSFPA community mourns the loss of Dramatic Arts graduate Dana Morin

    Pictured above: (Left) Elena Milenkovski, Roberta Doylend (Head of Wardrobe, holding Miss Bit), Paige Morris, and Dana Morin in the Green Room of the MIWSFPA Theatre. 

    Dana Morin standing in the hallway outside of the Costume Shop at the MIWSFPA, seen beside the emptied boxes and crates used to move costume inventory.  Dana assisted with the move from main campus to the new MIWSFPA at 15 Artists’ Common in the Summer of 2015.

    The staff, faculty and students at Brock University’s Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) are mourning the death of Dana Grace Morin, a beloved former student at the School.

    In 2017, Dana graduated with First-Class Standing in Dramatic Arts, Concentration in Production and Design.

    “Dana was a very large and generous heart in the student community of the Department of Dramatic Arts.  Following her updates to a Facebook group set up to keep everyone updated on her progress through treatment for cancer, we shared our hopes and encouragement for a successful outcome.  We are deeply saddened by the news of her passing and so very thankful for the time she shared with us at the MIWSFPA,” reflects David Vivian, Associate Professor of Scenography and Director of the MIWSFPA.

    Roberta Doylend is creating a rainbow for Dana in honour of her life and memory. Roberta will find a permanent location for the rainbow backstage at the MIW Theatre – a place that Dana loved to be.

    Memorial donations in Dana’s honour can be made to Pink Pearl Canada and Young Adult Cancer Canada.

    Dana Morin’s obituary can be found on Smith’s Funeral Homes website.

     

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  • Online symposium celebrates new publication on theatre pedagogy and climate crisis

    Image caption:The Marilyn I. Walker School of Fine and Performing Arts in downtown St. Catharines.

    An upcoming weekend of online events will explore the role that theatre education plays in relation to climate crisis.

    To launch the new Routledge publication Theatre Pedagogy in the Era of Climate Crisis, the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) is hosting a two-day online symposium featuring historians, theatre practitioners, playwrights, designers, professors and activists.

    Presented as part of the 2020-21 Walker Cultural Leader’s Series program, the online symposium “Theatre Pedagogy in the Era of Climate Crisis” runs Saturday, March 20 and Sunday, March 21 and will be livestreamed free on the MIWSFPA YouTube channel.

    Convened by volume co-editors David Fancy, Professor and Chair of the Department of Dramatic Arts at Brock University, and Conrad Alexandrowicz, Associate Professor of Theatre at the University of Victoria, the event features four online panel discussions with contributing authors of the volume, each a theatre scholar and/or practitioner.

    Through these panel discussions, volume contributors will answer the question of how theatre pedagogy can be transformed in response to the global climate crisis. Panelists are purposely divided into groups that mix their different expertise, encouraging a rich and invigorating discussion.

    “Nothing could be more pressing than understanding how to evolve our theatre training and pedagogy to address the climate crisis,” says Fancy.

    The volume’s authors, he adds, also “unpack how supremacy thinking informing the climate crisis — that humans are more important than nature — is echoed across racial and gendered violence in contemporary societies.”

    Each panel is based on a theme in the anthology: Intersectionality and the Body of the Earth; Eco-Aesthetics in Performance and Design; Eco-literacies in Teaching Theatre; and Theatre Pedagogy and the Climate Crisis.

    A summary of the volume can be found in a manifesto signed by all contributing authors in the epilogue of the book.

    Upcoming Walker Cultural Leaders events:

    Saturday, March 20

    1 to 2:15 p.m. — Theatre Pedagogy and the Climate Crisis
    Moderated by David Fancy with Lara Aysal, Derek Davidson, Katrina Dunn and Beth Osnes.
    Watch the livestream.

    3 to 4:15 p.m. – Eco-Aesthetics in Performance and in Design
    Moderated Conrad Alexandrowicz with Tanja Beer, Rachel Bowditch, Joan Lipkin and David Vivian.
    Watch the livestream.

    Sunday, March 21

    1 to 2:15 p.m. – Eco-Literacies in Teaching Theatre
    Moderated by Sasha Kovacs with Mary Anderson, Dennis Gupa and David Fancy.
    Watch the livestream.

    3 to 4:15 p.m. – Intersectionality, Solidarity and the Body of the Earth
    Moderated by Rachel Rhoades with Gloria Akayi Asoloko, Soji Cole and Conrad Alexandrowicz.
    Watch the livestream.

    More event information, including full biographies of each panelist, can be found online at brocku.ca/tpcc

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    Categories: Alumni, Announcements, Current Students, Department/Centre News, Events, Faculty & Instructors, Future Students, In the Media, Media Releases, News, Uncategorised, Walker Cultural Leader Series

  • Brock welcomes Indigenous artist, curator and scholar to MIWSFPA

    Originally published in The Brock News on WEDNESDAY, MARCH 03, 2021 | by 

    Caption: Suzanne Morrissette has joined the Department of Visual Arts at Brock’s Marilyn I. Walker School of Fine and Performing Arts, where she is teaching Studio Art. (Photo courtesy of Red Works Photography)

    First and foremost, Suzanne Morrissette is an Indigenous artist. Métis by way of the Red River Valley and Interlake regions in Winnipeg, Man., the artist, curator and scholar is a transplant to the territories of southern Ontario.

    She vividly remembers the work of Indigenous artists on the walls of her childhood home and in her father’s office space, as well as the murals on buildings in her community.

    “Growing up and being surrounded by this creativity was an exciting part of my everyday experience,” Morrissette says.

    She always knew that working in the arts is where she would land professionally.

    Working across disciplines in Indigenous and curatorial studies, Morrissette is the newest member of Brock’s Visual Arts Department, teaching Studio Art at the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA). A trained artist, she holds a Bachelor of Fine Arts from Emily Carr University of Art + Design, a master’s degree in Criticism and Curatorial Practice from OCAD University, and a PhD in Social and Political Thought from York University.

    Morrissette has worked extensively in the field with Indigenous artists curating diverse shows with focuses ranging from perceptions of Indigenous political thought to relationships between land and place.

    As a studio-based artist and scholar, Morrissette is deeply engaged in research creation, committed to exploring how creative work can be used to find solutions to research questions or problems. Her identity as an Indigenous artist and curator has a lot to do with the type of research she is involved with, and also shapes the way she participates in projects.

    Engaging with Indigenous methodologies, histories and knowledge systems will be critical to her teaching and continued research work that she now brings to the Brock community.

    “At Brock, I see a great opportunity to continue the research and work that I am doing alongside colleagues who share a commitment to rigorous visual arts and studio arts-based research, and in a strong program and facility that is incredible for student research and work,” she says.

    Morrissette is currently working on a project close to her heart and personal history,  a research study with collaborators Richard Hill of Emily Carr University of Art + Design and Jamie Isaac of the Winnipeg Art Gallery entitled “Social Histories / Indigenous Art: Curating Social Work’s Influence on Winnipeg’s Indigenous Art of the ’80s and ’90s.”

    The project examines the relationship between the early developments of Indigenous social work that were taking place in Winnipeg in the ’80s and ’90s, and how these efforts supported concurrent developments in Indigenous arts.

    Even though it wasn’t necessarily in the mandate for these organizations, they supported the arts and creative practice in the community, Morrissette says.

    “My father and uncle were two of the people really involved in growing Indigenous social work capacity,” she says. “Our research team wants to learn about how this unstated but nonetheless important support of the arts came to be at that time.”

    In addition to work on the study, Morrissette is currently taking part in an exhibition out of Kingston’s Agnes Etherington Gallery featuring Métis artists, and is involved in ArtworxTO: Toronto’s Year of Public Art, a new initiative reflecting the city’s renewed commitment to public art.

    While she uses different mediums in her studio practice, Morrissette has recently been working with video and image projection in conjunction with audio recordings to create interactive experiences. As part of ArtworxTO, she aims to take over the walls and facades of Toronto’s trendy Junction neighbourhood at night throughout 2021.

    Ultimately, the motivation for Morrissette’s research and creative practice is born of her work as a Métis curator and artist.

    “I am working to address concerns that not only interest me and make me curious, but also to understand how I can contribute to healthier Indigenous communities in the future,” she says.

    She plans to develop a course at Brock over the next few years centred on Indigenous representation that will enrich the educational experience for all students at the MIWSFPA.

    “Issues of representation for Indigenous people are very important considerations for anyone with a creative practice, in any genre,” she says.

    Morrissette is strategizing long term with her goals at Brock, acknowledging the history of the University and ongoing moves toward Indigenization.

    “I bring a speciality in Indigenous art and I am mindful of the work done before my arrival. I am excited to learn what have my colleagues been working towards, who are the students, and how I can support Brock in its commitment to inclusivity and decolonization through my teaching and research practices.”

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  • Virtual workshops for Brock Choral Ensembles open to the public

    Caption: The Brock University Chamber Choir directed by Rachel Rensink-Hoff gathers virtually to rehearse and attend Shared Perspectives, a new virtual workshop series offered by Brock’s Department of Music.

    Originally published in The Brock News THURSDAY, FEBRUARY 25, 2021 | by 

    Brock’s Choral Ensembles are getting front-row access to a diverse lineup of artists — and the public has been invited to tune in.

    Rachel Rensink-Hoff, Associate Professor of Music and Director of the Choral Ensembles at Brock University, launched a virtual workshop series called “Shared Perspectives: Live talks featuring guest conductors, composers and vocal choral specialists” in the fall. Funded by the Centre for Pedagogical Innovation (CPI) and the Walker Cultural Leaders Series presented by the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA), the series is continuing this semester, welcoming a guest speaker each week.

    The online presentations are hosted on Zoom, with some artists choosing to give a formal presentation and others engaging in an interview-style format. Time is always allotted for a question-and-answer period, enrichening the experience for all participants.

    “Any opportunity to hear more than one voice should be cherished,” says Rensink-Hoff. “Teaching online synchronously is challenging because there is always only one person talking. I knew in August that I needed to shake things up.”

    Rensink-Hoff has since brought in a diverse roster of guests, many of whom speak to issues relevant to today.

    “This semester, a number of our guest speakers will be engaging us in conversations around cultural appropriation and appreciation in the arts — and how we can navigate these pathways more respectfully and thoughtfully,” she says.

    Upcoming sessions include topics such as cultural appropriation and culture sharing in choral music; decolonizing the music curriculum; debunking myths around vocal health; and traditional South African music.

    Even in a fully online format, the Brock Choral Ensembles meet every week, rehearse online, and discuss musical elements. Rensink-Hoff believes that adding guest speakers in the mix has brought something unique to the “Zoom classroom.”

    “The opportunity to hear different perspectives on a wide variety of topics related to singing and choral music has been very rewarding. In normal circumstances, we would not have had such a rich display of voices in just one year,” she says. “The students are so fortunate to have been introduced to so many amazing artists.”

    The Shared Perspectives series is also open to the public, making this a valuable opportunity for Brock’s Music Department to connect with the local community. Past sessions have seen up to 20 community members in attendance, Rensink-Hoff says.

    The series continues Brock and the MIWSFPA’s strong history of community engagement in Niagara, enhancing vitality in the region and offering experiential opportunities for connection through the arts.

    While this initiative was always designed to be virtual, given its success and positive response, Rensink-Hoff plans to run the series again next year.

    “I hope to partner with other colleagues who want to bring in guests on a range of music related topics. Stay tuned for Shared Perspectives 2.0 next year.”

    To learn more about upcoming Shared Perspectives workshops, please visit ExperienceBU.

    To register for a free workshop, please email sing@brocku.ca

    More information available on the Sing! At Brock website. 

    Upcoming Shared Perspectives workshops

    • Wednesday, March 3, 2:30 p.m.: Rollo Dilworth — Cultural Appropriation and Culture Sharing in Choral Music
    • Monday, March 15, 12:30 p.m.: Cynthia Peyson Wahl — Decolonizing the Music Curriculum
    • Wednesday, March 17, 2:30 p.m.: Leanne Vida — A Spectrum of Sound: Vocal Resonance
    • Wednesday, March 24, 2:30 p.m.: Christianne Rushton — Fact or Fiction: Debunking the Myths Around Vocal Health
    • Monday, March 29, 12:30 p.m.: Ardelle Ries — The SingAble Society
    • Wednesday, March 31, 2:30 p.m.: Michael Barret — Traditional South African Music

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  • Brock students selected to participate in national Black theatre initiative

    Caption: Sid Malcolm (left), fourth year Dramatic Arts student with a minor in Music, and Soji Cole, second year PhD student in Interdisciplinary Humanities, are two of 21 students selected for “Seeding the Future”, a new initiative highlighting young Black voices. 

    Two Brock University students will be joining a historic group of Black theatre makers as part of the digital performance series “21 Black Futures.”

    Presented by Obsidian Theatre in partnership with CBC Arts, “21 Black Futures” has brought together 63 Black Canadian playwrights, actors and directors to create art during the pandemic and answer the question, “What is the future of Blackness?”

    The result is 21 filmed monodramas (theatre pieces featuring one person) that are currently premiering on CBC’s streaming channel, CBC Gem.

    Now, 21 students from across the country will join the movement, including fourth-year Dramatic Arts student Sid Malcolm, and Soji Cole, a second-year PhD student in Interdisciplinary Humanities.

    From a national call that attracted more than 60 applicants, Malcolm and Cole have each been awarded a spot in “Seeding the Future,” which invites Black students to create theatre pieces in response to each of the 21 monodramas of “21 Black Futures.”

    “Seeding the Future” is a partnership between Brock University, York University, Obsidian Theatre and CBC Arts, and allows students to create spoken word poetry, audio recordings, video recordings or written responses.

    “As we work at Obsidian to develop and advance Black artists across the country, we also recognize the glaring lack of Black voices in arts criticism and journalism,” said Michael Sinclair, General Manager of Obsidian Theatre. “Black and other BIPOC artists deserve to have voices at the table from their own communities engaging in dialogue about their work. We can’t wait to see what these 21 Black students have to say.”

    For Malcolm and Cole, being a part of this creative response highlighting young Black voices is very meaningful.

    Malcolm said being part of the project gives her and a large group of Black theatre students the chance to have their voices heard.

    “This is a space specifically intended to cultivate young Black artists and help them express what their experience is, and how that shapes the future of Blackness,” she said. “As a young woman of colour, it is often extremely difficult to find pieces of theatre I am able to connect with. There’s often very little representation for People of Colour within the world of theatre. Being a POC in theatre is seen as a rarity and is often trivialized.”

    Cole is excited about the project, and said it speaks to him on many fronts.

    “As a Black person, a migrant and an international student, I have been involved in conversations on the theme of Blackness and racism since I came to Canada in 2019,” he said. “This is the first one that intersects with a discipline and profession that I have identified with all my life.

    “This means a lot to me, as I have always believed that beyond the rhetoric of racism, arts — and especially theatre — can be used as twine to bind community together and dismantle the boundary of segregation.”

    The 21 student responses, including those of Malcolm and Cole, will be released in three instalments, initially on the students’ own social media channels and then re-published on the CBC Arts website. The first group of responses are now live. Malcolm’s work will be published on Monday, March 1 and Cole’s will be published on Monday, March 8.

    Cole, who is a playwright, director and actor, anticipates using his creative and critical wits to respond.

    “As someone who has a deep interest in the sociology of arts, I might want to connect my response to the social implication of the performance,” he said.

    Malcolm anticipates she may draw on specific aspects of her artistic practice.

    “I have a recent reignited passion for poetic writing,” she said. “Typically, I enjoy weaving controversial topics into my writing, which often means critiquing the way that race is perceived around me today.”

    She is also intrigued by the marriage of critical thought and artistic expression.

    “The arts are a dialogue and having Black theatre students continue the conversation begun by “21 Black Futures” is a hugely exciting prospect,” said Karen Fricker, Associate Professor of Dramatic Arts and the co-ordinator of Brock’s participation in “Seeding the Future.” “I can’t wait to see and hear how they all respond.”

    David Fancy, Chair of Dramatic Arts at Brock’s Marilyn I. Walker School of Fine and Performing Arts, said the Department is committed to “the ongoing labour of decolonization, Indigenization, and anti-racism. We are particularly pleased to be involved in such an important initiative,” he said.

    Malcolm is energized by the many conversations “Seeding the Future” ignites, noting the opportunity for discussion while fostering growth through shared experiences.

    “I think a large outcome from this project will be the amount of networking that is possible for young Black artists that would be difficult to do without this project,” she said.

    Cole acknowledges the significance and enduring nature of this project.

    “While this is not a policy project, the expectation is that it will strengthen our understanding of memory, redress, and inclusivity,” he said. “The outcome should be able to resonate with every community; it should generate a peculiar echo of its own that will resound in the heart and mind of everyone.”

    To read the entries in “Seeding the Future,” visit CBC Arts.

    To view the performances in “21 Black Futures,” visit CBC Gem.

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  • BIPOC Speaker Series explores anti-racist stage management practices in theatre

    Picture above: Narda E. Alcorn is the next speaker in the 2020-21 BIPOC Speaker Series presented by Brock University’s Department of Dramatic Arts and Marilyn I. Walker School of Fine and Performing Arts.

    Originally published in The Brock News on WEDNESDAY, FEBRUARY 17, 2021 | by 

    Celebrated Professor and stage manager Narda E. Alcorn from Yale School of Drama will discuss anti-racist stage management practices during a virtual talk on Tuesday, Feb. 23.

    Alcorn will lead the next instalment of the 2020-21 BIPOC Speaker Series, conversations in which Black, Indigenous and People of Colour theatre leaders address issues of interest to the theatre community. The series is presented by Brock’s Department of Dramatic Arts and Marilyn I. Walker School of Fine and Performing Arts and supported by the Faculty of Humanities.

    The Feb. 23 event takes place on Zoom from 7 to 8:30 p.m. and is open to the Brock and theatre community as well as the general public.

    Alcorn, who has worked on Broadway, off-Broadway, regionally and internationally, will share her evolving anti-racist stage management practice, placing it in the context of her career, experience and point of view. She will offer ideas and steps that others can take to cultivate anti-racist practice and pedagogy.

    In 2019, Alcorn was appointed Chair of the Stage Management Department at Yale School of Drama. She co-authored Stage Management Theory as a Guide to Practice: Cultivating a Creative Approach with Lisa Porter.

    To register for the free event, please visit Brock University Tickets.

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  • Art kits allow VISA students to hone skills at home

    Caption: The VISA Art Stores at Brock University has been providing access to course materials to students for more than 37 years.

    Half the battle in creating a beautiful piece of art is finding a spark of creativity and having the skills to bring it to life. The other half, however, is having access to the right materials and equipment to turn that vision into reality.

    Aspiring artists and scholars studying Visual Arts (VISA) at Brock University have continued to hone their skills despite the pandemic thanks not only to dedication to their disciplines, but also to staff and faculty who have made it possible.

    Studio Art instructors at Brock’s Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) have been challenged to reimagine drawing, painting, sound and video courses to suit an online setting. That has also meant ensuring students have access to the materials and equipment necessary to continue their studies.

    The results have been overwhelmingly positive, resulting in experiences that might not have been encountered by students in a pre-pandemic semester.

    The extensive efforts of the VISA faculty have been supported by two key players: Max Holten-Andersen, Instructor, Media Resource Co-ordinator, and co-ordinator of the VISA Equipment Kiosk, and Arnold McBay, Instructor and VISA Department Facilities Technician, who manages the VISA Art Stores.

    Central to the course work of Visual Arts students, the VISA Art Stores have provided Brock students access to art materials related to drawing, painting and sculpture courses since the mid-1980s. The Equipment Kiosk, established in 2015 after the move to the current MIWSFPA downtown campus, provides students with access to digital and analogue photography, sound and video equipment.

    Both outlets are usually staffed by student assistants during the day and evening, six days a week. Students visit for their materials and equipment needs, as well as for advice and mentorship from the managers, who are also both VISA instructors.

    With the switch to online course delivery, McBay and Holten-Andersen were met with the challenge of facilitating materials and equipment support for students in a manner that met provincial and Brock pandemic protocols, and without the students being on site.

    Fourth-year student Rea Kelly knows first-hand how important access to creative tools are for her degree.

    “Having the VISA Art Stores at the MIWSFPA has become a necessity for my four years at Brock as a Studio Art major,” she says. “I cannot count the number of times myself or my peers have run out of paint or drawing materials mid-class and have had to run to the art store for materials. I can’t imagine the school without it.”

    Answering the call for a solution, McBay developed kits in consultation with faculty that include all of the art supplies and materials students require to complete their course work and develop their art practice.

    The kits are available for convenient curbside pick up for local students and are shipped to those outside of the Niagara region. For students wishing to remain in their hometowns while continuing their educational experience, the kits have been essential.

    Similarly, Holten-Andersen, aware of the necessity of audiovisual equipment for supporting photography, sound and video courses, has added to the initiative.

    McBay and Holten-Andersen have established a central distribution point in the MWS151 Foundation Studio at the MIWSFPA. The room is large enough to allow for required physical distancing and is staffed by one student monitor during weekdays.

    Access to the room is limited to one student at a time using all pandemic protocols including required personal protective equipment. As a result, students can safely visit the distribution centre and access art materials and digital equipment, all in one place.

    “Despite the limitations of not being able to access the usual range of materials available in the VISA Art Stores and Equipment Kiosk, students have been able to meet all their project objectives through the distribution of materials kits at the pickup centre,” McBay says.

    Students have had to get creative with the supplies they have available to them.

    “These are real-life challenges that artists might face in their career, and circumstances students would not usually encounter in an academic experience prior to the pandemic,” McBay says.

    For audiovisual equipment, students are able to submit online equipment requests that are fulfilled within 24 hours, using MWS151 as the pickup hub where items get loaned out and returned. This method has shifted the equipment consultations from an in-person approach to a remote approach via email, phone or video conferencing.

    “At times, consultations are extremely necessary as I am able to provide expertise on what is the most suitable equipment for a production; and most importantly, what accessories are needed to properly support a production,” Holten-Andersen says.

    Although students have gained new experiences from the current circumstances, the two instructors look forward to resuming their previous mode of operation once it is safe to do so as per University and public health protocols.

    While the new system is working, Holten-Andersen says conversations had during in-person occurrences of the past are simply irreplaceable and certainly missed.

    “It is a precious moment to notice the realization in a student’s eye as they tap on the creative opportunities that professional equipment can grant,” he says.

    McBay echoes this sentiment.

    “We very much look forward to when the VISA spaces come back to life with the vigour, curiosity and vibrance students bring into our campus.”

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  • Call for Student Participants: 21 Black Futures, Seeding the Future

    Call for Student Participants
    21 Black Futures
    Seeding the Future
    A partnership between Obsidian Theatre Company, CBC Arts, York University, Brock University

    **

    As part of Obsidian Theatre Company’s 21 Black Futures season, we are seeking 21 Black theatre students from across Canada to offer creative responses to 21 monodramas written, directed, and performed by Black artists responding to the question “What is the future of Blackness?” The monodramas will premiere exclusively on CBC Gem in three parts, on February 12, 19, and 26.

    Participants will receive a $150 honorarium and direct mentorship from a Black journalist, scholar, or artist. Your responses can take the form of a 300-400 word written response, a TikTok or IG video, or an audio recording (two minutes maximum). You will post your response on social media using the project’s hashtags. All of the responses will be posted on the CBC Arts website and a selection of them will be published in the Toronto Star.

    The ambitious, nationwide 21 Black Futures project celebrates the 21st birthday of Obsidian, Canada’s leading culturally specific theatre company, and is the brainchild of its new artistic director, Mumbi Tindyebwa Otu. Mumbi took over the company last year in the middle both of the Covid pandemic and the global outcry against anti-Black racism was at the forefront of cultural and political discussions. “I felt an urgent need to respond to the moment we’re in and to create an opportunity for artists to respond,” says Mumbi.

    A full list of the 63 Black writers, directors, and performers participating in this project is here – this is an amazing group of creative, outspoken, and innovative artists who are at the heart of Canada’s cultural life.

    What’s missing from this project is YOU – Black university and college-age students, who are part of the present and will be the future of Black theatre in Canada, and of the country itself! Please consider sharing your creativity and voice in this project: We want and need to hear you.

    How to apply

    Please send your name, a statement (one paragraph maximum) about why you want to be involved in this project, an idea of what form you’d like your response to take (which can be subject to change), and contact information for a reference to 21StudentVoices@gmail.com.

    DEADLINE: FEBRUARY 8, 2021

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  • Walker Cultural Leader Series: Visual Arts welcomes Jonathan Forrest

    The Walker Cultural Leader Series continues featuring Jonathan Forrest, abstract painter

    Monday, Feb. 1 at 7 p.m.

    Watch the video premiere on the Marilyn I. Walker School of Fine and Performing Arts YouTube channel.

    Jonathan Forrest is an abstract painter based on Vancouver Island, British Columbia. He divides his studio time between Vancouver Island and small town Saskatchewan. He was born in Edinburgh, Scotland and immigrated with his family to Canada in 1977.

    Forrest studied at the University of Saskatchewan receiving his BFA in 1983 and his MFA in 1991. Jonathan has participated in several artists’ workshops including The Emma Lake Artists’ Workshop (1985, 1988, 1991, 2001, 2003, 2005, 2007, 2009, and 2012), The “Saskatchewan Invitational artists’ workshop”, Emma Lake (2000), and Triangle Artists’ Workshop, Brooklyn, NY (2002). His work has been shown in Western Canada in museums including the Mendel Art Gallery, Saskatoon, The Edmonton Art Gallery and The Dunlop Art Gallery, Regina. He has an upcoming survey exhibition at the Art Gallery of Swift Current in 2021 and the Moose Jaw Museum and Art Gallery (2022). Public collections include the Art Gallery of Alberta, Canada Council / Art Bank, Dunlop Art Gallery, Glenbow Museum, Mackenzie Art Gallery, Nordstroms, Remai Modern, Robert McLaughlin Gallery, Saskatchewan Arts Board, University of Lethbridge and the University of Saskatchewan.

    To learn more about Jonathan Forrest and his work, please visit his website. 

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  • Art residency “A River Rises” now on view

    Caption: Brown Homestead (Photo by Shawn Serfas)

    STAC’s Research Centre in Interdisciplinary Arts and Creative Culture presents “A River Rises,” a collective investigation of a creative-writing piece, resulting in the creation of photography work, a recorded performance, an inverted sculpture, an experimental book, and more fiction writing. The project also documents the Brown Homestead, in close proximity of Short Hills Provincial Park and the oldest building in St. Catharines.

    View A River Rises here.

    To learn more about the Centre for Studies in Arts and Culture, please visit the STAC website.

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