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2004 Exhibitions
No Artist: No Santa
Bob and Sheila Lavendar
December 2003 to January 8, 2004

No Artist: No Santa consists of 44 hand-carved wooden Santas from the Bob and Sheila Lavender's collection, carvings by various woodcarvers including Bob himself.

Also in the gallery was a 12-foot Christmas tree fashioned from about 15 trees donated to the gallery by various Yorkton residents. Some of the ornaments decorating the tree are 50 years old.










2004 Exhibitions
Aerial Farm Photography
Curated by Helen Marzolf
January 10 to February 29, 2004

Most rural homes in western Canada have at least one aerial photograph of the farmstead. In many cases, a series of farm portraits is taken every few years, representing a complex bundle of fact and emotion that defines the home place. Despite their place as an ionic staple of rural culture, these photographs form a vast, unexamined archive. This exhibition, guest curated by Helen Marzolf for the Dunlop Art Gallery and circulated by the Mendel Art Gallery, explores this remarkable body of images from numerous perspectives.

This exhibition is grounded by a monumental photo-installation, The Garden, by Regina artist Shelley Sopher - a colourful survey of a particular section of land, taken from the oldest, most subtle landscape view, that of someone standing and looking down. The exhibition includes photographs by the late H.D. (Howdy) McPhail, a well-known pilot and photographer who worked out of North Battleford. These depict farmyards during 1952-54, a period of rapid technological, economic, and social change. McPhail's crisp images provide a candid view of post-war prosperity as it played out in the farming communities of west central Saskatchewan. At the same time, his photographs convey an unmistakable affection for the people and landscape.

Another component of the exhibition is vertical aerial photographs, typically associated with mapping, selected by well-known curator and archivist Brock V. Silversides. While acknowledging the utility of these vertical aerials, Silversides sees them as "found art" and images of considerable aesthetic interest. Also in the exhibition are works by contemporary artists Joe Fafard, Michael Maranda, and Darlene Kalynka that represent different takes on aerial photography.

This exhibition was organized by The Dunlop Art Gallery and is circulated by The Mendel Art Gallery.


2004 Exhibitions
Parts of a Whole
Bevin Bradley
February 17 to March 25, 2004

This exhibit by Bevin Bradley of Saskatoon visually describes various personalities through the shadow box collections of specifically chosen common objects.

Bevin Bradley is an emerging Saskatchewan artist from Saskatoon. She attained a BFA, with Distinction, from the University of Saskatchewan in the spring of 2002. Since August of 2000 she has had a solo exhibit at Mysteria Gallery in Regina and two others at the Gordon Snelgrove Gallery in Saskatoon.

She has also participated in group exhibits at The Gordon Snelgrove Art Gallery, St. Thomas Moore College in Saskatoon, Amigos Cantina in Saskatoon, Gallery at Circle and Eighth in Saskatoon, Lloydminister City Hall, and the Holiday Inn Express in Saskatoon.

Bradley has experience as a private art tutor and as an intern to Andrew Hunter and Gu Xiong through the Mendel Art Gallery’s Ding Ho/Group of 7 Exhibition. She was a painting and drawing studio assistant for the Department of Art and Art History at the University of Saskatchewan, as well as volunteer at both the Kenderdine Art Gallery and the Youth Urban Canvas Program.

Her work with shadow boxes and found objects grew from her interest in collecting things. Her first pieces consisted of antique typeset boxes that she had purchased at auctions. She filled these with her own treasures with an eye to design, pattern and texture. She then started to make her own boxes and to fill them with treasures that she adopted from other people but which she identified as being part of a story that she wanted to tell.


2004 Exhibitions
Points of Realism
Featuring the work of Dave Bauml, Eric Uglem, and Joan Weber, from the 2002 OSAC Provincial Adjudication
April 4 to April 24, 2004

Working within Saskatchewan's extensive history of landscape painting, these three artists address this familiar subject matter with a wonderfully personal sensibility to their paint mediums. Composed of lush, layered brushstrokes of brilliant colour and reflecting an acute sense of light, the paintings present an exploration of paint and a personal connection to the landscape.


2004 Exhibitions
Hidden Cities
Rae Bridgman
March 5 to April 27, 2004

Hidden Cities, by artist Rae Bridgman, is a series of crazy quilt hangings inspired by the book Invisible Cities by Italo Calvino. In Calvino's book, the explorer Marco Polo tells Emperor Kublai Khan tales of cities from his travels. Each city is known by a woman's name, and represents a different view of human habitation that is fantastic, yet also universal.

The cities are fantastic in a literal sense: there is a sister city of the dead buried beneath the living city, a city of water pipes, inhabited by naiads, and another built high above the earth on stilts. Hidden Cities is a metaphorical, imaginary, and visionary translation of the cities in fabric.

Rae Bridgman is a visual artist and anthropologist. She is Associate Dean (Research) and Associate Professor in the Faculty of Architecture at the University of Manitoba. During twenty-two years as a visual artist, she has worked with papier-mache and leather in her masks and sculptural installations. Her current body of work focuses on the design of hand-embroidered crazy quilts and photo-based imagery.


2004 Exhibitions
Dimensions 2004
March 16 to April 23, 2004

Dimensions 2004 was a juried exhibit celebrating excellence in a wide variety of craft media.









2004 Exhibitions
Ceremonial I: Crossing
Marilyn Kennedy
Brenda Sherring, Curator
May 7 to June 25, 2004

Marilyn Kennedy equates the rituals of farming with religious rituals.

Human spirit and energy, symbolized as paths of light, cross each other like light beams crisscrossing through a forest of trees. The resulting pattern cast from the shadows becomes an extension of the image itself. In this same way, religious traditions are extensions of people and people are extensions of the very earth that bears them. Ceremonial I: Crossing establishes our connection between the spirit world and earth. Nature is orderly in its repetition of cycles. Born of the earth, human beings are naturally orderly. Religion is the way we organize our spiritual beliefs. The symbols used in this installation make reference to several different religions and beliefs.


In this exhibition I have focused on the connection between religious and agricultural ceremonies. They are both cyclical and connect people of similar interests. As a farmer I love the land: its smell, colour, and fecundity. This exhibition was created to honour the land and people in a ceremonial crossing.

-from the artist’s statement


2004 Exhibitions
Lines
Monica Fraske-Bornyk
August 12 to September 26, 2004

Pen and ink drawing by Monica Fraske-Bornyk.

In the Japanese language, the rules for how to write Haiku are clear. In foreign languages, however, there exists no consensus on how to write Haiku poems. By common agreement, Haiku poems can describe almost anything, but you seldom find themes which are too complicated for normal people’s recognition and understanding. Some of the most thrilling Haiku poems describe daily situations in a way that gives the reader a brand new experience of a well-known situation. In her exhibit, Lines, Monica Fraske Bornyk is drawing Haiku.

In Lines, Fraske Bornyk seems to follow a path similar to that of the Haiku poets. Through careful meditation on observing the play of light, reflections of sun and objects, floating flora, and rippling surface of marshwater, Fraske Bornyk has created a rhythm of linear shapes visually suggestive of their origins. Poignantly defined, these tracings are the essence of everything the marshland contains. Paring away at the barrage of imagery, Fraske Bornyk has subtracted whatever was not necessary to reveal a bare truth. The picture is clearly divided between those carefully chosen lines, which could be equated with the fragmented line of a Haiku, and the whole story. In Fraske Bornyk’s work, akin to the philosophy of the Zen Buddhists, less is more.


2004 Exhibitions
Licks
Doug Lewis
August 12 to September 26, 2004

An installation by Doug Lewis featuring everyday salt-blocks licked by cows and used as sculptures.

Doug Lewis has walked out into a pasture and discovered art in the making. Like a photographer waiting for the ‘perfect’ sunset to be created, Lewis was waiting for something beautiful to happen. When we look at these mineral formations, we are keenly aware of what has been taken away. The licked edges of the remaining positive shape, defines another space that captivates us and makes us wonder. Majestic in its simplicity, Licks illustrates the complex relationship between earth, man and animals.

These pieces speak to us about innocence, survival and purity. They are common yet precious. Like the salt formation on the shore of the Dead Sea that is imagined to be Lot’s wife, the Lewis sculptures have been made with minimal human intervention. Their creation speaks about time. It tells a story of persistence, need and balance. As these blocks sit, humbled by their commonness, each is unique. Each casts an individual carving of the space around it. Their curvilinear contours prompt the imaginings of people , places and things. Like Rorschach’s inkblots and Lot’s wife, what they resemble is in the eye of the viewer and their existence provokes pondering over what has happened and what is to come.


2004 Exhibitions
Dreams and Humidity
Taras Polataiko
October 7 to November 28, 2004

Taras Polataiko is the type of artist who is not restricted to a particular medium. He will use whatever tool he needs to in order to create the impact that he intends. He has been trained in painting but also is known for his photographs, performances, installations and media works. His signature is in his approach and subject matter. He has been referred to as a neo-minimalist. With the least amount of words, Polataiko prompts social and political commentary through psychological and emotional reawakening.

All around the world, attention has been drawn to the works created by Taras Polataiko and he has earned the commentary "one of Ten Artists to Watch World-Wide" by the established New York magazine ARTnews. People are watching him and his work, not because of his mastery of technique but because his work is very contemporary, very thought provoking, and very much 'anything but ordinary'.