The Whitemud: Uncovering a Landscape

SSAC Corry Posters
The Whitemud (also known as “The Frenchman”) is a river valley, close to Eastend in the very southwest corner of Saskatchewan, tucked between the Grasslands and the Cypress Hills. It is a physically and historically emotional landscape. A place where artist Leslie Corry’s grandparents settled and had a ranch; the place where her father grew up living an idyllic childhood, and a place that Corry has only recently begun to get to know and understand through family reunions and trips to scatter her aunt’s, and, then, her father’s ashes.

Corry #1

A landscape of strata, emotional, familial, cultural and geological with layers of history from dinosaur skeletons (which sit on the layer of white clay found in the geological strata), to the remnants of “teepee” circles and to what remains of the lives of early settlers like Corry’s grandparents.

Through the years Corry’s work has often had a focus on loss and grief and “The Whitemud”” is no exception as she explores and grieves for passed on relatives, the cruelness and insanity of the Bison slaughters, the forced removal of the native peoples from their land, and the passing of a more simple way of life. To this end the bison, or buffalo, features strongly, appearing in prints and in paintings as well as cut out forms superimposed on the landscape. These shadowy silhouettes appear as if ghosts, reminders of when the grasslands shook to the power of the herds and before the non-aboriginal settlers chose to change the dynamic, forever, with their disdain for the importance and mortality of the natural world.

Corry’s task in her exhibition at Mahon hall is to bring this unique landscape to life for those […]

2017-07-26T17:30:04+00:00Categories: 2016|0 Comments


Chintan-Bolliger_life-1A meeting of worlds. From expressive, two dimensional, abstract yet fantastical paintings to a dramatic 3 dimensioned planet around which the paintings revolve.

chintan 2016

chintan 2016Within Chintan Bolliger’s current series, Life. Forms, the human figure is gone. Deciding she no longer wished to be tethered to the figure, which functioned as way to establish forms within her paintings, she has relinquished the face-less enigmatic bodies in her new work.

Bolliger now takes her cues from Nature. During walks, she pays attention to environmental, geological and biological formations. Her interaction with nature leads to multiple perspectives in her work: unfamiliar entities, ambient terrains, primordial details and microscopic views that create a sense of dislocation, drawing us to a physical, nameless, placeless place.

”I am attached to the idea of something indefinable; a contact of reality/perception/imagination.”

In ‘Streaming’ we are able to see the banks of a bog-like terrain-“an ecosystem”- with its mossy kelp-like structures of teal, green and coral reds situated along grey tributaries. ‘Earth Born’ shows a primordial, inchoate orb suspended in space – a new planetary-like organism starting from a cosmic happenstance. “This new series is a consideration of my relationship to the natural world and what it means to be alive. Awareness lies somewhere on the boundary between the landscape we walk through daily and the alternative environment of the imagination.”

Bolliger’s work […]

2017-07-26T17:29:07+00:00Categories: 2016|0 Comments

Object Lessons – Anna Gustafson

Friday, July 8-28:  On the stage at Artcraft, Mahon hall.

Friday, July 8, 6-8pm: Opening night celebration.

Sunday, July 172pm: Artist talk.


Sponsored by Henri Procter.

Summer 2016 is a busy season for Anna Gustafson. “Object lessons” is her third show of the still young summer but will be the largest and most complex of the three to date.

Inspired by a growing sense of horror at the wanton destruction of the environment to feed an insatiable and unnecessary demand for products, she, in turns exposes and covers up animals and objects, imploring the viewer to consider the consequences of their appetites.

Italian artist Federico Busonero responded to the exhibition with these words:

“Object Lessons suggests a new spatial and temporal dimension where our assumptions no longer suffice. These objects are familiar yet unknown, and with the elegant and yet disturbing X-rays of rescued wildlife, they remind us that the visible is only the surface we must cross.

It is necessary to listen to the world around us.”

The walls of the exhibition host groupings of small and larger X-ray images of rescued animals encased in beeswax. Dark and sombre, the viewer ponders the plight and fragility of these animals, exposed on the walls just as their habitats have been stripped away and adulterated by mud top removal, ocean plastics, oil production and the myriad actions of human beings all leading to the need for rescue. Gustafson is donating money from sales to purchase esophageal stethoscopes for animal rescue centres.

On the floor is a collection of domestic appliances, tools and supposedly useful objects, all strangely attractive, wrapped in individual, hand stitched linen shrouds. The outline of each object is clearly identifiable, as […]

2017-07-26T17:27:47+00:00Categories: 2016|0 Comments

Moving Parts: Peter Schnitzler

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Peter Schnitzler. 

An intense series of oil paintings chronicling the fragmentation of form. Abstract, physical and cerebral.

Opening 6pm on June 10th and running until July 6th. Artist talk: Sunday June 19th, 2pm.


The artcraft showcase gallery presents the first showcase of the 2016 season: “Moving Parts” the paintings of Peter Schnitzler.

Running from June 10th until July 6th on the stage at Mahon hall in Ganges there will be an opening celebration from 6-8pm on Friday June 10th.

Peter Schnitzler is a documentary filmmaker of great repute with over 200 completed films, often on social justice and psychological issues. He has been influenced by the jazz era, the colourfield paintings of abstract expressionism, cinema verite and by his grandfather, Austrian novelist and playwright, Arthur Schnitzler. This heady artistic melange has lead him in the last ten years or so to express himself in painting, the fruits of which make up the “Moving Parts” exhibition.

The paintings, oil on canvas, appear as semi-autobiographical, studies and emotional expressions on the mechanics of life; from well oiled machines, to fragmented, disjointed, less functional remnants of the power and symmetry of former selves. There is a real sense of time and movement that flows from canvas to canvas, charting the ups and downs of life, and the universe, and then culminating gloriously in utter rage. As the progression continues the methods of applying paint change, from precise geometric representations to explosive, angry dollops and swirls of thick, oil paint. Each work is abstract but clearly a part, a cog, in the overall journey; needing to be […]

2017-07-26T17:26:19+00:00Categories: 2016|0 Comments