The STM Gallery, on the second floor of St. Thomas More College, encourages an appreciation for the fine arts - one of the cornerstones of a well-rounded liberal arts education. We plan a yearly series of exhibitions designed to inspire new thoughts and provoke converstations.

Interpretations in Abstract

An exhibition of abstract art by Jan Corcoran, Bridget Aitken and Sandra Ledingham

Opening reception Sunday, Oct. 27, 1-4 pm
Exhibit runs Oct. 20, 2024-Jan. 11, 2025

The deeply contemplative walls of Ledingham, the wildly expressive works of Corcoran and the mysterious inner worlds of Aitken comprise this abstract exhibition. If these three artists were writers they would be poets. This is the case for the abstract artist. They deal in ambiguity, contradiction, meditations on a thought, musical rhythms of wordlessness, discordant clashes, dreamlands. It is endless that which can be expressed through art. Like the drumming on ancestral lands, chanting in gothic buildings, symphonies and folk songs, grunge rock or synthesized music, there is no beginning and end. If there is a continuum perhaps it is a circle, perhaps as infinite as we can imagine. Abstract art is ancient.

There are commonalities to be found between the works of these three artists. Consider, for example, the elements of rhythm and form in space; these devices are carefully considered by Ledingham in the making of her sculptures but look for other examples such as in the two dimensional works of Corcoran’s floating orbs and ovals or rhythm and movement in Aitken’s large horse abstract “Take Off”.

Ledingham states that her practise concerns itself with materiality and that her great thrust is the where and the what clay has done throughout our civilization. Clay as a material is not arbitrary for her. By comparison, the materials that Aitken uses are a means to an end. In her case experimentation is the driving force and leads to discovery. Her recent oil paintings incorporate cold wax which has stimulated variety in mark making with new possibilities such as carving into the paint and finding different textural elements. Corcoran also demonstrates an experimental use of material. She is notorious amongst her studio mates as breaking all the rules where paint application is concerned.

Three artists with different intentions, approaches, media, and yet a profound synergy exists between the art. The paintings and sculpture beg to be juxtaposed. A red line weaves and extends to a neighbouring painting. Or an undulating wall beckons to a hue just beyond to come a little closer. There are so many possible arrangements for the work and each scenario could indeed affect the response and interpretation of the the audience. Taken as a whole, the exhibition might be likened to an exhilarating river flowing with colour and movement with the wisdom of time and the materials and hands that have made them - a lot to take in. Each beautiful piece can certainly stand on its own, however, there is such joy to be found amidst a crowd from time to time.

The Quintessential Prairie

Opening reception Sunday, Sept. 15, 2024,  1:00-4:00 pm

The Quintessential Prairie
Expect the unexpected.

As a Landscape painter, I have walked and painted in many locations across the prairies. It is hard to define what is a typical prairie scene, as it is quite varied and can be as extreme in colour and texture as the weather. What you think is flat can fall away revealing a river valley or an estuary teaming with life and foliage. If it is not happening at ground level, look to the sky.

Focused observation is essential
to achieve a successful outcome,
otherwise it becomes an ‘experience’.

I tend to paint and sketch what I observe and remember as significant, as to why I stopped at this place. My larger landscape canvases are produced in my Saskatoon studio, where I work from field studies and drawings created on location.

There is always something beautiful or thought provoking to paint if you look. The changing light, reflections and shadows are my catalyst that inspire and challenge new ways to visualize the prairie.

I hope you enjoy my personal vision of the Saskatchewan Prairie.

Paul Constable, ACAD
Painter, printmaker, sculptor

East of Edam, 26x34" Oil on Canvas, Taped Edge

Northern Landforms, 48x60" Oil on Canvas, Taped Edge

 Prairie Oasis, 24x56" Oil on Canvas, Triptych, Taped Edge

These and other works are available for purchase.

About the Artist

Paul Constable’s love of art started the moment he could hold a paint brush. He graduated ACAD in Calgary, 1976, majoring in Visual Communications and then moved to Saskatoon. After a successful 30 Year career as a Designer, he became more focused on his love of landscape painting ­– full time. His subject matter depicts the environmental sensitivities of the prairie from boreal forests to northern lakes to arable landforms.

As an advocate for the arts, Paul started www.ArtistsinCanada.com 24 years ago – a website directory for visual artists. He is a member of the Prairie Sculptors Association and has sat on boards for the CARFAC Saskatchewan and the Saskatchewan Craft Council.

Paul continues to have solo and participates in group shows, including public exhibitions; and selectively juries, curates, lectures and gives workshops. His work can be seen at the Saskatchewan Legislature, in Corporate and personal collections in Canada, as well as Internationally.

Paul can reached at: 

www.paulconstable.com
p.constable@sasktel.net
306-229-6204

Joy and Sorrow

Opening Reception, Sunday, March 24

Join artist Paul Trottier and STM Gallery Curator Ann Donald for the opening reception on Sunday, March 24 from 1:00-5:00 pm in the STM Gallery, Second Floor outside the Shannon Library. Refreshments will be served.

This show is a reflection of life, the world around us, and how we experience different emotions.  We often forget to reflect on our histories, our experiences, what we have learned, and how we have grown.  Although this is a combination of two distinct shows, the common threads weaving the two together are the joy and sorrow experienced in my life. 

When young, I danced and I continue to love dance.  Dancers spend many hours in the studio working on flexibility, footwork, strength, and coordination.  There is an enormous amount of work involved to excel and be chosen for a part in a performance.  The joy is the show, the presentation, the performance while the work to get there is challenging.  “Miss P 1-2-3” is a collection of paintings that exposes life in the studio, the part that is often forgotten when performances are shown.

Raising children has many joy-filled experiences.  We watch them grow, struggle, and at times fall.  Children bring their personalities, challenges, smiles, and giggles.  I believe it best to remember these experiences.  All three of my daughters are dancers.  Reflecting on their joys and sorrows help us to grow, learn and evaluate.  Our family has been suffering for the past three and a half years with the loss of our daughter Mackenzie.  “Missing Maga-Pie” reflects the experience of parents who have watched their child as they mature. 

The original show descriptions have been included for the show “Joy and Sorrow”.  I feel that these two have the common thread of a life.  Thank you for taking a moment to look at my paintings and see a small part of my experience.

Miss P 1-2-3
The paintings on display in the lobby area are simply my reflections of life as a dancer (thank you Pavelychenko Folkloric Ensemble).  As a past PFE troupe member, dance has had a lasting effect on my life and continues to remind me to celebrate life.  Lusia Pavlychenko (Miss P.) was my instructor and I miss her; she made us work hard but more importantly she shared her love of culture and people, even for a non-Ukrainian like me.  A long-time supporter of my work, Miss P. attended my art openings religiously and always offered strong words of encouragement.  This is for you Miss P…

Missing Maga-Pie
When very young, my daughter Mackenzie had her own way to say magpie, calling them maga-pies.  A precocious child, Mack has always been drawn to magpies.  On the prairies, magpies seem to be scorned, and often viewed as a nuisance to Saskatchewan people.  Throughout my research for this body of work, I have found them to be anything but a bird to scorn.  Not only are they one of the most beautiful and social native birds of Canada, they also have an intricate yet short life. 

On December 21^st 2019 Mackenzie went missing in Saskatoon after leaving our home to go visit with friends. She did not return from that visit, and to this date, we have heard nothing of what happened to our daughter. We have searched for Mackenzie for well over three years, worked with police, mediums, community members, and elements of Saskatoon that are incredibly challenging. In this process we are stuck in ambiguous loss, trying to make sense of our missing daughter. While this is a very difficult time, I wanted to find a way through my art to celebrate my daughter, but also educate about missing persons. I will do this through “Missing Maga-pie”.

The work details the life of magpies, but also includes themes that bring attention to the missing people in Canada through magpie images. This is my way to further the understanding of magpies while drawing attention to the missing people of Canada and abroad. 

A Selection of Artists from Studio on 20th Street

Running from January to March, 2024, and featuring works by Ann Donald, Brenda Kennedy, Carol Wylie, Cindy Hergott-Pellerin, Jan Corcoran, Karen Maguire, Karen Pask-Thompson and Miranda Jones. 

Studio on 20^th

The Studio on 20^th artist collective consists of eleven artists who share a working studio space in the Riversdale area of Saskatoon. There are eight of the 11 artists showing here in this exhibition. These artists have had years of experience creating art and exhibiting in both solo and group shows. People are welcome to visit, meet the artists, commission a work or purchase a unique piece of art at their studio on 236A 20 St West, Saskatoon. Although most visits are by appointment, the artists invite the public to attend an open studio several times a year. Watch for the next open studio scheduled for next November. If you are interested in contacting any of these artists, their email addresses are listed below.

Jan Corcoran is an abstract painter working in mixed media, oils and acrylics. Through abstraction she reacts to colour, shapes, materials and movement with music lending energy and ambiance to her ever-changing canvas. When asked how she knows a painting is done, she replies, “When it is walking out the door!” Jan graduated in 2007 from the University of Saskatchewan with a Bachelor of Fine Arts (Great Distinction). Her works are in the following collections: Royal Bank, EnCana Corp, University of Saskatchewan, and private collections in Canada, the United States, Britain and the Bahamas. Email: Corcoran.jan@gmail.com

Ann Brooymans-Donald’s artwork are an expression of light, colour and form in landscapes, portraits, figures and still life. She fluidly works in a variety of media: painting, drawing, collage, and pottery. Ann has been in numerous group and solo exhibitions in many cities throughout Canada and Holland. Ann holds degrees related to creating art and teaching art from Mount Alison, Concordia University, University of Western, York University and a Kunst Academy in Enschede, Holland. Her work can be seen at www.anndonald.ca or Instagram Instagram@ann_donald.  Email: anndonaldart@gmail.com.

Cindy Hergott-Pellerin is an independent artist residing in Saskatoon. Her art delves into the interplay of spaces, shapes, textures, and lines inspired by architecture, flora, still life, and aerial landscapes. Cindy envisions dynamic conversations between design principles and elements, strategically creating ample space for rest and contemplation. Drawing inspiration from formalist and color field painters, Cindy focuses on process and formal elements rather than the subject matter. Email: cindy.pellerin@sasktel.net

Miranda Jones’ early years in Australia have shaped her love of nature and the outdoors which she continues to celebrate in her exuberant paintings and narrative metallic mixed media works. Miranda’s art is collected worldwide and exhibitions include the Mendel, Susan Whitney Gallery, Nouveau Gallery, Regina and Parker Galleries, NZ. Collections include City of Regina, Sask Arts Board, MNP, SaskPower and the Canadian Consulate, Australia. She also teaches art workshops for Community Arts (University of Saskatchewan), Forest Art and internationally upon request. Contact info: metallic_meranda@hotmail.com  and www.nouveaugallery.com  Instagram@mirandajonesart. Facebook: Studio on 20^th

Brenda Kennedy works in both abstract and expressive representational styles and finds inspiration and pleasure from the never-ending process of creating. She curiously follows what the material will do in the hopes of making the absolute statement. She ventured into collaging shapes and spaces, with acrylic mediums and colour, using the traditional methods of drawing, painting, printmaking and collage. Brenda received her Bachelor of Fine Arts with Distinction in 2006 from the University of Saskatchewan. Her work is shown at the Art Gallery in Davidson, Studio on 20^th and with the Mix Artist Collective in Saskatoon Her work is found in private collections across Western Canada and Mexico. Contact: Instagram @brendajkennedy   email: brendakennedy@sasktel.net

Karen MaGuire is a landscape, figurative and collage painter who lives and works in Saskatoon. She has a passion for prairie skies, grasses, the riverbank, and northern Saskatchewan lakes. Her images depict a wide range of skills as seen in her artwork. Karen is represented by Studio on 20^th and the Art Gallery in Davidison. Email: karenmaguiremail@yahoo.ca   Facebook: Studio on 20^th

Karen Pask-Thompson paints in oil, acrylic and mixed media on canvas and panel. Her artwork is a response to the land and its creatures. This response is based on reflection, observation, and imagination. Incorporating found objects and collage into her works enhance not only the surface but the narrative as they thoughtfully are selected and act as both symbol and metaphor deepening the meaning of the work. Email: kpaskthompson@sasktel.net.

Carol Wylie has enjoyed a thriving drawing and painting practice for twenty-five years, exclusively working with portraiture and figuration, including commissioned portrait work. She received her MFA from the Vermont College of Fine Arts and BFA and BA (Psychology) from the University of Saskatchewan. Carol has exhibited in group and solo exhibitions across Canada and in the U.S., and her project of holocaust and residential school survivor portraits entitled “They Didn’t Know We Were Seeds” has toured the province of Saskatchewan and beyond. Website: www.carolwylie.ca   Email:  carolshiffman@hotmail.com