Canada’s Military Training Mission to Ukraine, 2015 and the Drawings of Canadian War Artist Richard Johnson
Curator: Bohdan S. Kordan
November 1-December 16, 2022 Opening reception: Sunday, November 6 2-4pm
OPERATION UNIFIER – CANADA’S MILITARY training mission to Ukraine – initially took place at the International Centre for Peacekeeping and Security, Yavoriv, 25 April 2015 – 13 February 2022. Canadian troops involved in the mission were drawn from the 1st Battalion of the Royal Canadian Regiment and later the 3ième Battalion, Royal 22e Régiment from Québec. Under their tutelage, a total of 33,346 Ukrainian soldiers were mentored.
In 2015, Richard Johnson, a field illustrator attached to Canada’s Armed Forces as part of the Canadian Forces Art Program, chronicled the life and routine of soldiering during the inaugural phase of Canada’s military mission to Ukraine. His poignant illustrations of vigilant Canadian instructors are matched by studied depictions of attentive Ukrainian volunteers – the two working in balance – each aware of their respective roles – each dutifully undertaking their responsibilities.
Documenting the teaching and learning, Johnson focused on the shared urgency of the moment, especially the effort to impart and acquire knowledge in the basics: weapons handling, tactical manoeuvres, combat medicine. The array of assorted uniforms with which the Ukrainian combatants were attired, and the variety of weapons, point to the hurried and improvised nature of their supply and deployment. Johnson reminds us that this is what invention in a moment of crisis looks like. Still, his drawings manage to capture the seriousness of the enterprise. The training was an exercise in both life and death, the mechanics of which are described in discerning detail, and the volunteers at Yavoriv would accept as normal. Even in the quickly composed sketches, a sense of the dedication and commitment among the soldiers is palpable, reflecting the danger of the task at hand and the importance of the mission to both Ukraine and its people.
No less significant is the meaning of the experience that Johnson’s images convey. The mission represents Canada’s contribution to Ukraine during a time of great need. In this regard, his work is an account of Canada’s commitment to a values-based foreign policy: freedom, democracy, rule of law. The policy goal, of course, was to preserve Ukraine’s independence and sovereignty in the face of Russia’s aggression. In 2015, when these drawings were created, whether Ukraine could prevail was unclear. This without question depended on the courage and resolve of each Ukrainian combatant. But it also depended on the acquisition of military skills and instilling in them confidence in the strength of arms. The training received from Canadian instructors helped promote the latter objectives. Putting pen to paper, Johnson meticulously records Canada’s role at this critical juncture. In doing so, he gives meaning to the idea of Canada in this world, and with this world.
Richard Johnson is an illustrator and journalist who has worked for the National Post, Washington Post, and Detroit Free Press. As a war artist, he has accompanied Canadian and US militaries on a variety of missions, including the Canadian training mission to Ukraine in 2015. His work is held by the Canadian War Museum, Smithsonian National Museum of American History, and the US National Museum of the Marine Corps.
An exhibit organized by the Prairie Centre for the Study of Ukrainian Heritage in association with St. Thomas More College Art Gallery. Proceeds from the limited series prints – numbered and signed by the artist – will be directed toward support of humanitarian relief efforts in Ukraine through the Canada-Ukraine Foundation. The sale ends with the conclusion of the exhibition on December 17, 2022.
To purchase the artwork or inquire about availability, please contact STM Gallery Director, Linda Stark at lstark@stmcollege.ca or 306.380.5310. The price of each item is listed and indicates whether the item is framed or unframed. The cost of shipping is not included as it will vary with mode of transport. The buyer will be informed of the total cost. Payment can be made through e-transfer or cheque. Shipment will follow payment.
Recent work by Brenda Kennedy, Anne McElroy and Wendy McLeod
Brenda Kennedy (Sound of Paper), Anne McElroy (Reminiscent of Morandi),Wendy McLeod (Waiting #2)
September 6 – October 29 Opening Reception: Sunday, September 11, 1-3pm
There are moments in our lives, there are moments in a day, when we seem to see beyond the usual. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. Robert Henri, The Art Spirit (1923)
Like many others who search for an intangible, precious moment through art-making, each of us goes his/her own way to sustain this search. We have been extremely fortunate in working together where we can be honest in our exchange of ideas and trust one another to tread softly in this pursuit. This exhibition speaks to our individual pathways, spirit of determination, and joys.
BRENDA KENNEDY
Brenda Kennedy (detail views, l to r) Bouquet, Waves of Time and In the Attic. Acrylic painted and found paper on canvas, birch panel or linen support
Following a successful and rewarding career in personal Trust Services with a major Canadian Trust Company, Brenda jumped at the opportunity to pursue a lifelong fascination in art. She received a Bachelor of Fine Arts degree, with distinction (2006), majoring in Studio Art at the University of Saskatchewan.
The work is situated somewhere between abstract and representational. Inspiration comes from observation, curiously responding to what the materials will do, and hoping to make the absolute statement. The mediums are typically acrylic paint, paint or monoprint on paper for collage, wax, gouache, charcoal or any drawing or colouring material. The resulting work offers gestural marks, layers of information, along with exploring and manipulating shape and colour.
Brenda Kennedy c.306.220.6100 Instagram: @brendaJkennedy Email: brendakennedy@sasktel.net
ANNE MCELROY
Anne McElroy (l to r) Plum, Undecided Now and Fresh Morandi. Oil on board.
After completing a Bachelor of Arts degree and the academic coursework for a Master’s of Arts degree in Clinical Psychology at Queen’s University, Anne furthered her education with a Bachelor and Master of Fine Arts degree, followed by a Masters degree in Educational Psychology in Counselling at the University of Saskatchewan. She was fortunate to receive a number of scholarships and awards during this period of time. Her artworks are in varied collections, among them the Canada Council Art Bank, University of Saskatchewan Permanent Collection, College of Engineering, Saskatchewan Arts Board among others.
In addition to her own art practice, Anne has spent a number of years teaching art as a sessional lecturer in the Art Department at the University of Saskatchewan, instructor in the Certificate in Art and Design program, workshop leader for OSAC, instructor at the Mendel Art Gallery, workshop leader at the Okanagan School of Art in Penticton, instructor at Hues Art Supply, as well as being an adjudicator for OSAC and a CARFAC mentor.
Regardless of subject matter of her work or its medium, Anne has tried to express, in a simple but painterly way, her emotional response to what she sees before her. It is her wish to finely tune her awareness of these “moments” of connection in an increasingly honest interpretation of their meaning to her.
Anne McElroy 306.244.7714 Instagram: @annemcelroy903 mcelroyanne2@gmail.com annemcelroy.weebly.com
WENDY MCLEOD
Wendy McLeod ( l to r) Blue Dress, Blue Two Piece and Warrior. Acrylic on paper.
Wendy McLeod received the University of Saskatchewan Certificate of Art and Design (USCAD) in 2010, and continues to pursue art education through various workshops and classes with professional artists. Several recent classes have been through Hues Art Supply (Hues), including a current class with Carol Wylie. Wendy is an original member of Studio 8 at Hues, and participated in the Hues Plein Air Group with Jean Dudley in 2019. Her paintings can be found in homes across Saskatchewan and BC, and in the University of Saskatchewan permanent collection. She has been a voting CARFAC member since 2010.
Wendy’s acrylic and multi-media art practice is an evocative exploration of colour, light and space while observing life and nature. Her paintings find the complexity and subtlety in fleeting moments of every day life, past and present. Future artistic plans include further exploration and development in this area.
The University of Saskatchewan’s Community Arts and Artisanship Program offers an extensive array of non-degree art classes and workshops in drawing, painting, sculpture, photography, mixed media, metalwork, glass art and textiles. We are pleased to present this group exhibition of small scale works by nine of the program instructors, each with a unique approach to art instruction and a busy studio practice of their own.
ROBIN ADAIR
Robin is a visual artist and art educator who has been teaching in Saskatoon for over 15 years. In his art practice, Robin primarily explores figurative subject matter and specializes in pen and ink drawings, acrylic paintings, and digital works. Along with teaching adult and youth classes in painting, drawing, and art journaling for the Community Arts and Artisanship Program, he also facilitates school workshops and community outreach programs at the Remai Modern in Saskatoon.
Robin completed a Bachelor of Fine Arts in 2005, a Masters of Arts in 2010, and a PhD in English literature in 2021.
When we ask, “why the long face?,” we draw attention to a moment of apparent emotional or psychological imbalance in another and imply that it is more acceptable to find a solution to this condition than to persist in its outward expression. As a response to this sentiment, this current series of self-portraits makes space for some of the internal states I encounter daily but rarely feel the freedom to express openly. I work under the assumption that the process of painting a self-portrait is at its core an objective form of introspection — that through close observation and depiction of the external planes and nuances of the face a kind of psychical/emotional schematic emerges. For me, this process brings catharsis and understanding; and I hope on some level my paintings facilitate a similar experience for the viewer.
Why the long face? No. 2 2022 acrylic on board 12” x 9” NFS
Why the long face? No. 1 2022 acrylic on board 12” x 9” NFS
ADRIAN GOLBAN Adrian Golban was born in Dragalina, Romania. He works predominantly in the medium of sculpture, but also includes painting, photography, video installation and performance within his practice. In 1997, he graduated with a BFA in Sculpture from Ioan Andreescu Academy of Visual Arts in Romania. He also graduated with a Master Degree in Educational Management in 2004. His MFA exhibition, Interstice was held at the Gordon Snelgrove Gallery in September 2021 and featured a series of literal and metaphorical self portraits, exploring memories and experiences of Golban’s life within Romania and Canada. His works were prominently exhibited in many places in Romania, as well as all across Europe, in countries such as Austria, Slovakia, Italy, Ukraine, Belgium, and Holland and were awarded numerous prizes and diplomas. Private collections with Adrian’s art can be found in Romania, Holland, Germany, Austria, France, Italy, Slovakia, Ukraine, Malaysia, Philippines, and Canada.
Abstract Objects II 2020 stoneware, stain and slip 5” x 8 ½” x 7” $350.00
Abstract Objects I 2019 stoneware, stain and slip 10” x 12” x 4” $350.00
SHONA IVERSON Shona Iverson (B. Ed, U of S) is a nature photographer and high school photography teacher. She encourages her students to recognize that photography is a creative endeavour, not simply a documentary process. Along with the fundamentals of exposure and composition, she teaches her students to see potential photographs everywhere they look.
Shona has rarely been without a camera in hand since her uncle gifted her one at the age of eight. Growing up on a farm surrounded with animals – both domestic and wild – inspired a love of nature which ultimately merged with the joy she found from photography, and a nature photographer emerged. She has since photographed everything from monitor lizards sunning themselves in Singapore to bison wandering through Grasslands National Park, with a few Scottish castles thrown in along the way.
I teach to share my enthusiasm for photography. My goal for my students is to build the skills necessary to make, not simply take, photographs. Whether they have the latest model of DSLR or a hand me down mobile phone, students can learn to wield it like a paint brush and create beautiful scenes. The key is to get out and use whatever you have and keep working to make the next image better than the last.
Wapiti 2020 Photograph print on Velvet Fine Art Paper 8” x 8” NFS
Black-tailed Prairie Dog 2020 Photograph print on Velvet Fine Art Paper 8” x 8” NFS
MIRANDA JONES Miranda enjoys working in a wide variety of media from paper to steel, but a foundation in drawing and a love of colour are central to her work. She enjoys sharing her knowledge and skills through teaching as she believes creativity at all levels helps to empower us as individuals.
At the tender age of 25, Miranda Jones immigrated from Australia to Canada into the teeth of her first Canadian winter. More than thirty five years later, she has acquired the skills needed to live in Saskatchewan, pursue a successful art career and to become a qualified art and yoga instructor. These include Nordic skiing, year round cycling, sub-arctic swimming, an MFA from the U of S (1989) and Iyengar International yoga teacher certification (1998).
Miranda currently exhibits her work through a shared artist work space Studio on 20th in downtown Saskatoon, at Nouveau Gallery in Regina and The Parker Gallery in Nelson, NZ. Her work is represented in public and private collections in Canada and Internationally and she has been awarded a number of grants and artist residencies both in Canada and abroad. Most recently this included an artist residency at the Saskatchewan Legislature Building in Regina for Centenary celebrations and resource artist for CollaboratioNZ, in Whangerai, NZ in 2015.
Both of these paintings began as demonstration pieces for a Fearless Mixed Media class I taught for the USask’ Community Arts and Artisanship Program. I quickly became lost in the process of painting these and decided to leave them as abstract images rather than develop them towards my more familiar subject matter. They were originally intended as underpaintings only, to encourage exploration over outcome in my students, yet I myself was so excited by a new and endless world of possibility these opened up for me. I feel they offer infinite space for my imagination to roam in new directions each time I look at them.
DELUGE Mixed media on birch panel 2022 10″ x 10″ $480 (plus tax) SOLD Proceeds to be donated to fellow artist, Taras Polataiko for the distribution of humanitarian aid in Ukraine.
NO FLY ZONE Mixed media on birch panel 2022 10″ x 10″ $480 (plus tax) Proceeds to be donated to fellow artist, Taras Polataiko for the distribution of humanitarian aid in Ukraine.
PATRICIA KATZ Patricia Katz of Saskatoon began her adventures in watercolor in 2002. Brush, paint and paper quickly laid claim to her heart. Her artwork is known for its lively colors and lyrical lines. Sketchbook and paints are constant companions on Pat’s travels. She is a huge fan of sketching both indoors and outdoors – intrigued by whatever is in front of her at the moment from streetscapes and table scapes to seascapes and landscapes. Pat published her paintings featuring the sights and scenes of her hometown in the best-selling book, Sketches of Saskatoon.
Over the years, Pat has studied with a variety of watercolor artists including: Charles Reid, Judi Whitton, John Lovett, Karlyn Holman, Brenda Swenson, Brian Atyeo, Barry Coombs, Robert Sinclair, Eleanor Lowden, Brent Laycock, Isabelle Hunt Johnson, Cecelia Jurgens, Anne McElroy, and Alison Montgomery. She has participated in three artists’ trips to Europe, painting in the Netherlands, France, Germany, Spain, Portugal and Morocco.
In June of 2020, I participated in a 30×30 Direct Watercolor Challenge and set about creating thirty watercolor paintings in thirty days. Part of the challenge was to paint as directly as possible with minimal under drawing. That was a stretch for me as I often sketch with ink and partner the line work with watercolor. Without the strength of line, I was forced to work with color and values to define the shapes.
In those early months of the pandemic, I was not doing any travelling. That created another challenge for me as many of my sketches are created on the go as part of our travels. And so, I travelled our backyard garden and used what I found there as inspiration.
Purple Irises 2020 watercolour on paper 6” x 6” $225.00
Purple Clematis 2020 watercolour on paper 6” x 6” $225.00
Visit Patricia at Pauseworks Studio www.patkatzart.com or via email: pat@patkatzart.com
ALISON R MONTGOMERY Alison R Montgomery’s plein air landscape paintings have been showcased in many solo and group exhibitions, and her work is represented in many corporate and private collections. The riverbank, prairie and fields near and around Saskatoon, and the shores of Waskesiu Lake and area in Prince Albert National Park are Alison Montgomery’s preferred outdoor studios.
Alison taught Secondary Visual Arts in the Saskatoon Public School District for thirty-one years, superannuating in June of 2015. She studied at the University of Saskatchewan, graduating with a Bachelor of Education in 1984 with majors in both Art and History, and recently earned a Masters in Adult Education/Lifelong Learning (2017). Alison continues to teach art and music as a substitute teacher, is an art instructor in the University of Saskatchewan College of Arts and Sciences Community Arts Program and at Hues Art Supply in Saskatoon.
This work is part of a new series of studio paintings entitled “Encounters”. While still fundamentally grounded in the elements of landscape, the works document many encounters with mostly non domesticated creatures whose paths, to my great good luck, have crossed mine. My encounter with this inquisitive, docile but persistent juvenile Mute Swan took place one afternoon this past November, along the shore of Lake Zurich, in the city of Zurich, Switzerland.
Cy (Cygnet Swan) 2022 24” x 12” watercolour and acrylic interference on canvas NFS
Visit Alison on Facebook or via Instagram: armont_art
KARA PERPELITZ Kara is a Master Spinner (Olds College, AB 2017) and Fibre Artist from Saskatchewan. When she first discovered handspun yarns over a decade ago, she certainly didn’t see it becoming a passion. This passion has led to writing, teaching and creating art out of yarn. As the recipient of multiple grants through the Sask Arts Board she has been able to spread her love of yarn and fibre to many communities in Northern Saskatchewan.
This Boucle is a LIE 2022 handspun yarn, handstitched dimensions variable NFS
Coco Chanel brought fine boucle yarns into fashion in the 1950’s. Created with the finest fibres like silk, her coats were sought out as the epitome of femininity and perfection. As women we are expected to always present our perfect selves, but the level of effort leading to exhaustion and resentment that comes with it create often invisible and rarely shared boundaries that only those that get close will ever feel the effects of.
This Boucle is and LIE is a fibre sculpture created with handspun bouclé using the one of the most coarse, prickly wool fibres -Border Leicester. The feminine loops and the goddess silhouette in a 360 view represent the female experience – the expectation to always be perfect. The off white, demure colour adds a subtle nod to the requirement that women not be ‘too much’.
Out the Window 2022 embroidery applique, thread painting and blackwork $750.00
A piece that started off simply as an exercise in applique embroidery that evolved into a serene still life that many of us can relate to and others long for. The ideal view out the window on an August afternoon transports the viewer to the calm prairie landscape, the yard immaculate and lush, the fields and hills a little thirsty with a large lone tree, leaves starting to turn.
I often let the yarns and threads speak to me and allow the piece to evolve on its own. Inspired mainly by experience and emotion, my art is a reflection of my past, present and future dreams.
MAIA STARK Maia Stark is an artist of settler ancestry based out of Saskatoon, Saskatchewan, Treaty 6. She holds an MFA from the University of Saskatchewan. Stark primarily works in figurative painting in oil, acrylic, and gouache. Since 2017, Maia has also worked in decorative and functional ceramics after completing the CARFAC Mentorship program with ceramic artist Paula Cooley. She is represented by Slate Gallery in Regina, SK.
These last few years it feels like there’s a steady trickle of feelings, a consistent rush- filling up, swelling, leaking, escaping. Sometimes it feels that letting it out just allows it to further surround me, and there isn’t any relief. This is less of a criticism of strong emotions or vulnerability, but more of an acknowledgment of its existence, and learning to exist with it.
Too Much Water 2022 12” x 9” Gouache on paper, cold wax varnish $240.00 SOLD
CHERYL TUCK-TALLON Cheryl Tuck-Tallon is a graduate of the USCAD program, and former owner of the Black Spruce Gallery. She works in acrylics, oils and watercolour, and her subject matter includes landscape, abstracted landscape, florals, and abstraction inspired from nature. Cheryl has pursued an in-depth study of composition, design elements, and perspective. While she truly believes we all have an innate sense of these elements, increasing her conscious awareness has allowed her art to elevate to a new level. Cheryl is represented by the Black Spruce Gallery in Waskesiu.
These two pieces illustrate the importance of composition as the basis my work. In the small 6×6 the composition is the dominant feature. As the size is increased, elements of texture, colour, neutrals and tone are introduced or expanded, however, the underlying structure of the composition should not be jeopardized by these elements. Therein lies the challenge.
Spruce River Study 2022 oil on canvas 12” x 12” $450.00 Available at Black Spruce Gallery
Spruce River Study 2022 oil on canvas 6” x 6” $180.00 framed. Available at Black Spruce Gallery Visit Cheryl on Facebook cheryltucktallonart/ or Instagram ctucktallon
JANUARY 3 – FEBRUARY 26 These vibrant, beautiful quilts and those who dedicate countless hours to their creation remind us of the qualities that continue to sustain us during these challenging times: our endless imagination, patience, resourcefulness and the desire to share skills, ideas and build community.
The Saskatoon Modern Quilt Guild was established in December of 2012. We are the official Saskatoon branch of The Modern Quilt Guild and proud to represent the art of modern quilting in the area.
Modern quilts are primarily functional and inspired by modern design. Modern quilters work in different styles and define modern quilting in different ways, but several characteristics often appear which may help identify a modern quilt. These include, but are not limited to: the use of bold colors and prints, high contrast and graphic areas of solid color, improvisational piecing, minimalism, expansive negative space, and alternate grid work. “Modern traditionalism” or the updating of classic quilt designs is also often seen in modern quilting. (TheModernQuiltGuid.com)
Rise, a charity quilt designed by Bev Drew for Saskatoon MQG, and completed in 2019. Members contributed letters, Bev did the piecing,and Michelle Harris of Saskatoon Longarm Studio donated the quilting. The words were inspired by, and adapted from, an anonymous source on the internet. The quilt will be donated to a local mental health charity to provide hope to people struggling with mental health issues. The quilt measures 72” x 61”.
Checkmark is a bargello quilt using only 3 fabrics and was made by Barbara Peardon. This was quilted on her home sewing machine and incorporates plume feathers on the border and metallic thread on the checkmark. Barb is a retired teacher and this was her final ‘checkmark’, created during her retirement. The quilt measures 56” x 43.5”.
First Words was inspired by the quilter’s love of planes and her first flight in a little Cessna. Looking down at the ground below, the landscape appeared as a patchwork of little blocks of color. Many years later, outside with her two-year old grandson, as he looked up in the sky, he voiced his first words, ‘a plane.’ This is a simple quilt of 4-inch blocks with sashing pieced by the quilter, Margaret Phillips. The long-arm quilting was done by Deb Barlow. The quilt measures 44” x 37.5”.
Mining is Donna Beneteau’s COVID stress release quilt. The blocks on the left are inspired by the photo she took while supervising a drill at the Holloway Mine near Matheson, ON in 1995. Her friends interpreted the photo -upper block is by Donna Hudson-Ironside (direct interpretation) and lower is by Carmen Huggins (after mine decommissioning). At a mining conference in Saskatoon in 2017, there was an orange mini-dress on the silent auction table which was totally inappropriate. Donna wrote a poem and incorporated the dress to give the fabric a proper use. The quilt measures 30” x 37”
Improv Squares by Carol Schmold was also made using seven stacked fabrics. The fabrics were then cut and positions switched to made a bright, cheerful improv quilt by Sherry Andrews.The quilt measures 32” x 21”.
Pet Peeve was another quilt guild challenge. Guild member, Debbie Baumann is a jogger and again, can you tell what her “pet peeve” is? The piece incorporates fusible applique and some thread couching. The quilt measures 18” x 13.5”.
Pogo Stick was a block that Sherry Andrews found in a modern quilt book. It is made of various bright colours and grounded by the grey fabrics. Sherry finished this with free motion stitching. The quilt measures 41.5” x 41.5”.
Checkmark is a bargello quilt using only 3 fabrics and was made by Barbara Peardon. This was quilted on her home sewing machine and incorporates plume feathers on the border and metallic thread on the checkmark. Barb is a retired teacher and this was her final ‘checkmark’, created during her retirement. The quilt measures 56” x 43.5”.
