June 20 - September 14
Julie Cosgrove, Fair Warning, 2014, acrylic
on canvas, 208.3 x 127 cm.
Some of the earliest maps in Western history illustrated spatial and geographic concepts that were heavily grounded in cultural and religious worldviews. Unknown places were often depicted in estimations – from their geographic approximations to their supposed landscapes. As mapping became more reliant on measuring devices– particularly as we now have become exclusively reliant on computer-based tools, such unknown places have become numerically gridded on a screen, providing a visual representation that is often far removed from the actualities of the location.
In her most recent works, Julie Cosgrove explores the very technically mediated world of mapping and place finding. Using various methods to map and measure distances, both geographic and spatial, Cosgrove’s explorations in colour and balance begin with such measurements of distances. As the paintings evolve, these marks and shapes used to indicate proportions are abstracted and overlaid with paint, leaving faint traces behind. In a sense, these traces represent the blurred, yet perceptible presence of technology in our contemporary world.
Julie Cosgrove’s formal education began with a two-year Diplôme d’études collégiales in the visual arts from Dawson College in Montréal. She completed an Honours Degree in Fine Arts at Lakehead University where she majored in painting and ceramics and her work won numerous accolades and scholarships including the University President’s Award, the Dean’s Award for Painting in 2002-3, the Millennium Scholarship Award in 2003-4, the Dean’s Award for Ceramics, the University Alumni Purchase Prize, the Biljana Baker Prize and the Hilda May Utting Award for Abstract Painting. In 2010, she completed an MFA from the University of Calgary. Julie Cosgrove lives and works in Thunder Bay.
- Nadia Kurd, Curator
Summer Exhibitions Sponsor
PUSH: Contemporary Glassworks
June 20 - September 15
Organized by FUSION, the Ontario Clay and Glass Association’s Glass Mentorship Program features new works by nine artists selected for the program under the direction of Koen Vanderstukken, a renowned glass artist and educator. Artists bring to this exhibition a sense of balance, energy, and a close examination of the world around them.
Artists participating in this exhibition include: Camilla Clarizio, Jerre Davidson, Valerie Anne Dennis, Debbie Ebanks Schlums, Cheryl Wilson Smith, Laurie Spieker, George Whitney, Bridget Wilson and Koen Vanderstukken.
About the FUSION Mentorship
This yearlong Mentorship was facilitated and funded by FUSION. The nine artists brought together each desired a change in their work and artistic practices. Each artist began by reviewing their existing practice and then experimenting with new modes of working with glass. Under the guidance of Koen Vanderstukken and with the support of their fellow artists, each artist has since discovered new paths, growing both personally and creatively which has caused a positive shift in the direction of their work.
Cheryl Wilsdon Smith, Ancient Broch, 2013, granite
lichen, 17.8 x 12.7 cm.
Permanent Collection: Benjamin Chee Chee
June 20 - September 14
Widely known for his abstract and minimalist aesthetic, Ojibwe artist Benjamin Chee Chee (1944- 1977) mastered the study of positive and negative space, lyricism of line and form. While a great number of Woodland artists during his time were adhering to the stylistic conventions most commonly associated with Norval Morrisseau, Chee Chee diverged from the norm and emphasized a reduction in form, focusing on simplified line and shape. It is the linear, spare quality to his work for which Chee Chee is best remembered.
Among his fifty-five prints and paintings in the Permanent Collection, however its Chee Chee’s experimentation with colour that are lesser known. From the Collection: Benjamin Chee Chee features the artist’s work as a colourist and his experimentation with composition. Despite the artist’s short life, these works showcase his talent as a modern abstractionist.
Benjamin Chee Chee, Untitled, 1974, acrylic on canvas
121.2 x 212 cm. Bert Curtis Benjamin Chee Chee
June 20- September 14, 2014
The history of domestic silver in Canada can trace its roots to pre-Confederation. During the early colonial period in Canada, domestic silver was commonly found in homes as it occupied an important religious and societal function. In New France, French trained silversmiths from Quebec City and Montréal significantly contributed to the production and circulation of silver items throughout the colonies. As times changed, the influx of British silversmiths saw the traditions and styles of silverware change to reflect changing tastes and function.
Moving Metal brings together 13 contemporary artists from across Canada and showcases the detailed and dynamic process of silversmithing. Organized by the Metal Arts Guild of Canada, the exhibition features the varied techniques these artists employed while creating objects made from 6 inch sterling silver discs.
The exhibition featuring the work of Lois Betteridge, Beth Biggs, Linda Brown, Karen Cantine, Brigitte Clavette, Charles Funnell, David Ivens, Zahava Lambert, Michael Massie, Ross Morrow, Mike Sharp, Kye-Yeon Son, Don Stuart.
Linda Brown, For Zeus, 2013, 0.999 fine silver, 12.7 cm
diameter x 2.5 cm.
Everyday Light: Family Photographs Selected by Contemporary First Nations Artists
A Project of Discovery by The Sweet Grass Collective and the Thunder Bay Art Gallery
Now showing at The Reach extension building at Confederation College until further notice.