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2003 Exhibitions
Best Foot Forward
Sask Terra
March and April, 2003

Sask Terra's Best Foot Forward features fine pieces of sculpture by some of Saskatchewan's best known clay artists.

Sask Terra Group Inc. is a non-profit corporation registered in Saskatchewan which supports, develops and promotes works in ceramics by Saskatchewan artists. It was founded in 1997 and has approximately 50 members. It is administered by seven board members. Sask Terra does not have any permanent employees ( only casual human resources for projects) and serves Saskatchewan ceramists in and outside Saskatchewan.


2003 Exhibitions
Naked Soul, Working Mother: Mortality's Nemesis
Monique Martin
March and April, 2003

Iris is the sacred flower of the goddess of the rainbow, Iris, who would take messages of love from the "eye of heaven" to earth, using the rainbow as a bridge. Iris means "eye of heaven" and is the name given to the goddess, this flower, and the center of your own eye, meaning each of us carries a bit of heaven with us. Because of its connection with the goddess Iris, this plant is considered the symbol of communication and message. Greek men would often plant iris on the graves of their beloved women as a tribute to the goddess Iris, whose duty it was to take the souls of women to the Elysian fields.

Martin, Laura. Garden Flower Folklore. Globe Pequot Press, C. 1987




2003 Exhibitions
Emerging Images
Yorkton Regional High School students
May 3 to June 6, 2003

Emerging Images was created by students from the Yorkton Regional High School. This exhibit is the result of guidance by art educator Diane Koch on the development of imagery as a form of design and/or self-expression. Beginning with small ornamentally-decorated heads cut from magazines, Ms Koch's students extrapolated on the patterns so that each emerged as something personally unique and quite different from the original.







2003 Exhibitions
Wired
Don Hefner
May 3 to June 15, 2003
Sponsored by The Mendel

Farming and fine art go hand in hand for Saskatoon artist Don Hefner. He uses old farm machinery parts, salvaged wire and other metal scraps to make works of art.

Creating everything from intricate life-like wire works to monumental sculptures, Hefner’s work reflects his love of the land and nature. Fish, birds, coyotes, antelopes and other assorted wildlife spring to life from rusty barbed wire, discarded aluminum and cooper wire and even pot scrubbers.

He uses no high tech tools to create his art; just his hands and a pair of pliers. To relax, he rollerblades and has mastered more than 60 jumps and moves. He calls it "performance art".

-Saskatoon Sun, May 9, 1999


2003 Exhibitions
Breasts
Curated by Brenda Sherring, Director/Head of Programming, Godfrey Dean Art Gallery
June 27 to August 15, 2003

Fourteen works, by artists from across western Canada were selected from 80 submissions received. Working in a variety of media from sculpture to painting to collage to photography, these artists have presented their answer to the question: "Breasts, what are they good for?"







2003 Exhibitions
Dimensions 2003
August 18 to September 30, 2003

A juried exhibit featuring fine Saskatchewan artisans is on tour from the Saskatchewan Craft Council and including basketry handcrafted by Yorkton resident Morley Maier.








2003 Exhibitions
Ojibwa Stories
Brian Marion
September 3 to October 26, 2003

These works by Brian Marion depict life. They are optimistic in every way. They are the visuals to the stories told by the Ojibwa Storytellers. The stories have been passed down from generation to generation. These are pictures of what has been an oral tradition. These pictures can be seen in the same light as the totems: they are symbols. These symbols will not change. The colours and lines may change but not the symbolism.

Several years ago, Brian met Norval Morriseau who is the founder of what has come to be known as the Woodlands style of painting. This style has also been called Legend Painting because it portrays the legends of the Anishnabe people. By using symbols seen inscribed on rocks and/or birch bark in a painterly fashion and with an innovative use of vibrant colour in a contemporary way, a particular style developed. Norval Morriseau attributes this style of painting to a vision that came to him prior to 1959 after a battle with illness. The art grew to be a means to his own personal healing as well as a way to express his unique melding of traditional native beliefs with his involvement in the Eckankar sect. It is the Eck influence that yielded the fluid line seen throughout his work.

He has devoted his life to depicting the legends that make up his ancestry. In many ways, Brian’s path parallels that of Norval Morriseau, his mentor. A few years ago, bronchitis and flu nearly took Brian’s life. Brian came back to Saskatchewan, to the Elders, for healing. The Elders advised him to seek solitude. In solitude he would heal his spirit and boost his immunity. His task was to keep a fire going for four days and nights. Some people would sit with him. Their job was to watch over his spirit. Brian’s job was to keep the fire going.


2003 Exhibitions
Surrender
Patrick Dowling
October 1 to November 16, 2003

Works by Patrick Dowling, on tour from The Mendel.







2003 Exhibitions
Cinderella's Journey
Corine Trebick
November 1 to December 3, 2003

The story of Cinderella has over 600 versions; the oldest stems from ancient China. This legend spans many cultures and has resulted in many meanings due to the complexity of the symbolism.

In Corine Trebick’s Cinderella’s Journey, we are dealing with a social commentary on a modern day Cinderella. There is a weaving of the old and the new not unlike the message evoked by Picasso’s Guernica. Like Picasso, who took the age old and unsolved problem of war and put it into a new visual language, Trebick takes the well known story by Grimm and, through the visual iconography, questions how we perceive reality. The torment by the evil stepmother and her daughters can be seen as an internal struggle that Trebick’s Cinderella is wrestling with. Opening the exhibit, in the fetal like position, is Cinderella playing with a branch from the the Hazelnut tree, the tree of hope. The wording that follows the images is often shrouded in abstraction and obscureness leaving the viewer to struggle with actual reading of them. What Cinderella wants, or is saying, is not entirely clear. Yet, we can watch her reaction.

Corine Trebick’s Cinderella is no Cinderella Story as we have often been lead to believe. Rather, it is a story about each one of us as we struggle to determine what our goals are and how to achieve them.


2003 Exhibitions
Sic Transit Gloria Mundi
Myles MacDonald
November 18 to December 31, 2003

Works by Myles MacDonald of Prince Albert, on tour from The Mendel. "This exhibition presents one major painting and related studies by Prince Albert area artist Myles MacDonald. For over three years, MacDonald has been working on a large trompe l’oeil acrylic on canvas painting with he the title of Sic Transit Gloria Mundi (thus passes the glory of the world)."

"MacDonald’s obsessively detailed painting represents a fragment of ruined Gothic architecture set in a forested Northern Shield landscape; a potent symbol of Canadian identity...

"On a more personal note, in the mid and upper sections of the painting are portraits of people who have influenced his career, and of friends and family... George Glenn and the late Jane Turnbull Evans... and images of lumberjacks, farmers and railway workers.

"The lower levels are reserved for the ossuary and the realm of death... this work distills and sums up MacDonald’s interests as an artist over the years: the relationship between portraiture and landscape, fine craftsmanship, ancient and medieval history and sardonic humour..."

Extracted from the Exhibit Commentary by Mendel Curator Dan Ring