Artist Profile

This week’s Work of the Week is David Thompson Country by Alvina Green.

Alberta’s David Thompson Country is named after the explorer and cartographer, David Thompson, who mapped Canada from the Great Lakes to the Pacific in the early 19^th century and was born on this day in 1770.

David Thompson Country is located in west central Alberta and encompasses Rocky Mountain House, the village of Caroline, Clearwater County and the hamlet of Nordegg in western Clearwater County. It is an outdoor lovers’ paradise offering incredible opportunities for hiking, biking, fishing, camping and more!
 

Check out the available outdoor activities offered in David Thompson Country through Alberta Parks.

About the Artist: Alvina Green (1934-2014)

Artist Alvina Green painted in oils and acrylics. She began her art studies at the Department of Extension of the Faculty of Fine Arts at the University of Alberta and continued annually to grow her skills while working as an art instructor in communities across Alberta.

Her oil/canvas board landscape David Thompson Country, shown here, celebrates a grey-blue rocky knoll comforting a community of mosses and lichens, while rising behind is an elder assembly of vibrant evergreen interrupted by the skeletons of their siblings; behind them all loom cold and distant mountains that are macrocosm to the knoll of the foreground.

Green participated in exhibitions, including at Canadiana Galleries, Oxford Galleries, and Fireweed Gallery in Edmonton. Her works live in many private collections, and in the collections of the Canadian National Institute of the Blind and the Alberta Foundation for the Arts.

Alvina Green lived in St. Albert; she was a member of Federation of Canadian Artists.

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May is Asian Heritage Month in Canada - a time to learn about and celebrate the many contributions of Canadians of Asian descent, who have done so much to make our country an amazing place to live. Immigrants to Canada from East Asia, Southern Asia, Western, Central and Southeast Asia have brought with them a rich cultural history, including diverse languages, art, religions and traditions.
 

We're celebrating Asian Heritage Month by highlighting a few of the diverse artworks in our collection by Canadians of Asian descent! 

About the Artist: Paresh Athparia

Paresh Athparia is a self-taught artist. 

He was born in India and lived there for 25 years, until he moved to the United States in 1977. In 1980, Athparia moved to Canada and worked as a geologist in the oil industry for three years. He left to pursue his long-time passion for art.

About the Artist: Arthur Nishimura

Arthur Nishimura was born in Raymond, Alberta. His parents, Japanese immigrants, came to the area in the late 1910s. His father took up photography as a way to capture his life in Canada to share with family and friends back in Japan. He passed down his interest in photography to his son. 

According to the Japanese Canadian Artists Directory, Nishimura's artistic photography is informed by his love of the prairie landscape, an aesthetic derived from his Japanese heritage, and the unique visual education acquired through many years of composing through the lens of a camera. His notable influences are the photographs of Walker Evans, Edward Weston, and Dorothea Lange, as well as the works of American painter, Edward Hopper.

Nishimura taught at the University of Calgary in the Faculty of Fine Arts from 1971 until his retirement in 2010. He still resides in Calgary.

About the Artist: Marigold Santos

Born in Manila, Philippines and immigrating to Canada in the late 1980s, Filipinx-Canadian artist Marigold Santos is an interdisciplinary artist. Her practice ranges from drawing, painting, sculpture, installation and tattoo.

You can read more about Marigold Santos and her artistic practice here: AFA Alberta Artist Profile - Marigold Santos.

For this week’s Work of the Week, we are highlighting a few of the diverse artworks in our collection by Canadians of Asian descent, because May is Asian Heritage Month in Canada!
 

Asian Heritage Month is a time to learn about and celebrate the many contributions of Canadians of Asian descent, who have done so much to make our country an amazing place to live. Immigrants to Canada from East Asia, Southern Asia, Western, Central and Southeast Asia have brought with them a rich cultural history, including diverse languages, art, religions and traditions.
 

This year’s Asian Heritage Month comes at a time when Canadians of Asian descent have been facing an increase in anti-Asian hate and violence. That’s why it’s important to take this time to acknowledge and appreciate the achievements of Asian-Canadians and to stand together against all forms of anti-Asian racism.

Please enjoy these artworks by Chin Shek Lam, Diana Un-Jin Cho and Do-Hee Sung.

About the Artist: Chin Shek Lam (1918-1990)

Chin Shek Lam was born in 1918 in Guandong in Canton, China. He graduated from the Hung-Yi College of Art and prior to immigrating to Canada in 1970 and enjoyed a distinguished art career that included the founding of the Institute of Oriental Art in China in 1944 and, in 1949, the creation of the Institute of Oriental Art in Hong Kong. He also founded the Han-Nan College of Fine Art in Hong Kong in 1954.

Chin Shek Lam's painting was rooted in the ancient art of Chinese calligraphy but he also incorporated Western techniques and approaches influenced by his contact with Pablo Picasso, Joan Miro, and many other western artists who he met during a period of travel in Europe in the nineteen-fifties and sixties. His art drew on his knowledge of the ancient techniques of Chinese calligraphy, and evolved to incorporate aspects of Western colour-field painting. In his work, he sought to express a Taoist way of balancing dark and light, warm and cool colour, and contrasting shapes and patterns.

Upon moving to Canada, Lam lived in Vancouver and Calgary from 1981 to 1987 and finally settled in Toronto where he resided until his death in 1990. During his lifetime, he had numerous exhibitions in Europe, Asia, Australia, the US and Canada. His work is represented in many public collections, including those of the Canada Council Art Bank, The Provincial Government of British Columbia and the Alberta Foundation for the Arts.

About the Artist: Diana Un-Jin Cho

Diana Un-Jin Cho is a fibre artist. She received a BFA from the Alberta College of Art and Design (now the Alberta University of the Arts) in 2007.

Spending her childhood in Korea then immigrating to Canada, her art is an attempted reconciliation of two dramatically different aesthetic traditions, one of which has a particularly rich textile tradition. Her recent artwork presents rhythmic juxtapositions of hues and lines inspired by the fourteenth century Chogakbo quilting in Korea. She enjoys working intuitively with both new and recycled materials to create sometimes harmonious, sometimes disjointed assemblage of emotive forms and colours to evoke the varied experiences of her life.

She currently lives and works in Calgary, AB.

About the Artist: Do-Hee Sung

Do-Hee Sung grew up in Korea and lived in Seoul for 25 years before moving to Canada.

Sung says her experience in Canada has strongly shaped her and is reflected in the form and function of her pieces. Living in Canada has broadened her ceramic perspective and taught her about Western culture and suitable utilitarian pottery.

The form of her pots reflects the soft contour of Korean traditional architecture. She also use Puncheong techniques from the Chosun Dynasty to show doily designs. She employ these techniques in order to recreate the harmony of her two cultures.

Sung adds that the function of her pots shows her experience in Canada, and the form and surface decoration reflects her cultural heritage and personal story. She says she would like her pieces to comfort and calm people just like the old Korean palaces calm and comfort her.

May 5 is Red Dress Day, a national day for honouring missing and murdered Indigenous peoples. It is a day to raise awareness and education about missing and murdered Indigenous women, girls, two-spirit people and men.
 

On the day, people across North America hang red dresses in private and public spaces to remember missing and murdered Indigenous women, girls and two-spirit, lesbian, gay, bisexual, transgender, queer, questioning, intersex and asexual plus people in solidarity with family members and loved ones.

In honour of Red Dress Day, we are featuring two artworks by Faye HeavyShield from the AFA Art Collection: red dress and blood.

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Additional information about blood

The sculpture featured above is one component of a larger installation entitled blood. The installation reflected on Faye HeavyShield's ancestry and identity. 

The diverse elements of the installation included:

• drawings composed directly on the gallery walls
• a solid 3-dimensional rectangular form painted red and covered in miniature cloth red bundles
• the installation of string and red cloth bundles (featured)

These elements depicted the inseparability of the past and the present, and the communal and the personal. The installation explored memory, especially the ritualized and repetitive acts to preserve it.

In the words of the artist:

“My parents blessed me with language, kindness, and strength, my brothers and sisters taught me loyalty, my children give me hope. This is blood.”

About the Artist: Faye HeavyShield

Faye HeavyShield is a member of the Blood Nation.

She graduated from the Alberta College of Art (now the Alberta University of the Arts) in 1985 and continued her studies at the University of Calgary.

Gaining prominence and recognition over the past 20 years, her work has been the subject of many solo shows, including major exhibitions of First Nations contemporary art. Her work is featured in collections of the National Gallery of Canada, the McMichael Canadian Art Collection, as well as the AFA Art Collection. She was one of three artists selected to receive the 2021 Lieutenant Governor of Alberta Distinguished Artist Award in 2021.

In April 2022, it was announced that HeavyShield was the winnter of the $75,000 Gershon Iskowitz Prize at the Art Gallery of Ontario. This annual award recognizes an artist who has made outstanding contributions to Canadian visual arts. 

HeavyShield's work is a fusion of highly evolved personal and powerful imagery influenced by her Christian and Blood upbringing. Her minimalist installations are metaphors of the human body and a reflection of her personal experiences.

Image descriptions

red dress - A bright red dress is hung on a black mannequin stand facing front toward the viewer. The dress has mid-length sleeves splaid to each side, a smal V in the neckline, and a simple seam between bodice and skirt. Across the chest of the bodice are two lines of large white metal and paper tags that hang from a line of glass beads. 

blood - A long column of approximately 30 red strings hang from a ceiling in a gallery space, with hundreds of red cloth bundles tied to each string. Where the column of string meets the cement floor, the strings are laid out to spread away from the centre to create a kind of web around the column.

Every year on April 23, World Book and Copyright Day is celebrated to encourage enjoyment of reading books. Our featured artwork by Audrey Mabee says it all: there is "no such thing as too many books."
 

The artwork was acquired in 2009 through AFA's Art Acquisitions by Application program.

About the Artist:

Audrey Mabee enjoys experimentation with colour and space. Her work has been influenced primarily by artists with a unique drawing style, such as Modigliani. The strong colours of Hundertwasser and Matisse, the fantasies of Chagall and the exquisite patterns of Klimt have also been a major influence for her.

The subjects and colours she uses are intended to make you feel good and smile when you first look at her work. If you find something in them that also makes you think and wonder, all the better.

Image description

In the center of the artwork, a red haired woman is organizing items on the grey table in a room filled with varied colors of books stacked on five shelves on a bookshelf behind her. She is wearing a long sleeved, red shirt and purple vest, where the vest looks like aisles of colorful books. On the table is a beige table lamp with light on shining on the pink tulip, large green mat and an opened book. 

What’s in a name? That which we call a rose by any other word would smell as sweet.
 

~ William Shakespeare, Romeo and Juliet

Today is Shakespeare’s 457^th birthday! To celebrate, this week’s Work of the Week pays homage to an iconic flower mentioned in one of the most famous lines from one of Shakespeare’s most famous plays. Please enjoy Wild Rose by Annora Brown.

Did you know: April 23 is also the day of Shakespeare’s death in 1616?

Need more Shakespeare? Organizers of Edmonton’s Freewill Shakespeare Festival are currently planning this year’s iteration with two plays – Much Ado About Nothing and Macbeth. Get more information on these productions here:  www.freewillshakespeare.com/shows.

About the Artist: Annora Brown (1899 - 1987)

Annora Brown's father was a member of the North West Mounted Police, and her mother was one of Fort Macleod's first schoolteachers.

As a child her mother had encouraged her to draw and paint. She attended Normal school in Calgary, and when she graduated she took a job teaching in a rural school. While on a visit to her aunt in Toronto in 1925 she decided to apply to study art at the Ontario College of Art. She was accepted and began her studies under well-known Canadian artists, Arthur Lismer and J.E.H. MacDonald. One of her classmates was another Albertan, Euphemia McNaught.

After she moved back to Alberta she taught art at Mount Royal College in Calgary from 1929 to 1931. In 1931 she returned to Fort Macleod to look after her ailing mother. While in Fort Macleod she gave art classes in rural Southern Alberta for the Department of Extension of the University of Alberta.

She exhibited with the Alberta Society of Artists in 1931 at the Calgary Exhibition and Stampede even though, at the time, women were not members of that organization. However, in order to comply with the regulations of the Societies Act of Alberta, the A.S.A could not legally exclude women and so she became the first female member of that organization, albeit a token one. She resigned in 1936.

From 1945 to 1950, she taught at the Banff School of Fine Arts. She was a member of the Calgary Sketch Club, an active member of the Handicraft Guild in Fort Macleod, and an Honourary member of the Alberta Handicraft Guild.

In 1971 she received an Honourary Doctor of Laws, Honoris Causa, from the University of Lethbridge. In 1965, she moved to Sidney, British Columbia on Vancouver Island where she continued to paint until her death in 1987.

Working mainly in oils, tempera and watercolour, she is best known for her paintings and drawings of the flowers and plants of southern Alberta, as well as paintings inspired by Indigenous legends. She illustrated many magazines and produced more than 600 images for nearly a dozen books. She was commissioned by the Glenbow Foundation to paint 200 pictures of different Alberta wildflowers, a project that took her over three years to complete. She designed a stained glass window for Christ Church in Fort Macleod and a mural for Crescent Heights High School in Calgary.

She was also an author, and in 1955 she published An Old Man's Garden a series of legends and stories associated with the flowers in the area drained by the Oldman River in Southern Alberta. Following this she published the autobiographical Sketches of Life. Her work is included in many public and private collections, and she received many national and provincial awards, prizes and honours.
 

Every year on April 15, World Art Day celebrates artistic creativity and promotes taking part in art. 
 

"World enough, and time" by Ken Macklin is a meditation on the simultaneous nature of time. A skyward reaching column supports three spheres, representing the historic past, the complex present, and our collective hopes and dreams for the future.

• Translated into emotive colour, the past is expressed through earth tones that evoke the quietude and strength of the natural environment.
• The present is expressed through maroon-red and green, evoking the present concern for the environment, as well as denim blue to symbolize manual labour.
• The future, reaching towards both hope for humanity and awe for the greater context of the cosmos, is expressed through rich black, grey, blue, and silver.

As part of Canada's 150^th anniversary, The Works International Visual Arts Society's Art & Design in Public Places Program (The Places) commissioned five original landmark sculptures along Capital Boulevard which lead to the Alberta legislature. This Project was made possible in part by the Government of Canada, with matching investments from partners: the Alberta Foundation for the Arts (AFA), and the City of Edmonton; and support from the Downtown Business Association, and The Works Society. In addition, all five sculptures were acquired as part of the AFA Art Collection.

• learn more about the Capital Boulevard Legacy Public Art Project - Canada 150

If you are in Edmonton, we encourage you to check out and marvel at the sculpture on Site 5, 108 Street between 103 Avenue and 104 Avenue. (You can also view it online using the button below.)

About the Artist:

Ken Macklin is one of several constructivist sculptors who emerged in Edmonton during the 1980s. Macklin earned his Bachelor of Fine Arts with Distinction from the University of Alberta in 1978 and studied advanced sculpture at St. Martins School of Art in London, England in 1979/80. He has exhibited both nationally and internationally, and has received numerous awards for his work. Macklin is renowned for the creation of large-scale, abstract sculptures.

Image description

The dark grey steel column sculpture supports three spirals. Each spiral steel with woven wire mesh has different colors - grey, blue and orange, red and green.

This artwork combines horse hair and glass to create a form that suggests a pill and something flowing out from it.
 

The artist was inspired by the connection between the two materials: both fragile and fine, but also strong and functional. Echoing one another aesthetically, this partnership inspired her in new ways of looking at ancient materials.

Through its use of organic and traditional materials, this work hints at the human form, beauty, and the pharmaceutical industry .

About the artist

Carissa Baktay is a sculptor from Calgary, currently working between Canada and Iceland. Working with glass since 2008, Carissa earned a Bachelor of Fine Arts in Glass from the Alberta University of the Arts (formerly the Alberta College of Art & Design), studied at the Rhode Island School of Design and received her Master in Glass Art and Science from VICARTE Research Unit (Vidro e Cerâmica para as Artes - glass and ceramics for the arts) in Portugal.

She has participated in Snow and Ice sculpting residencies in Norway, was accepted to the 2011/2012 Living Arts Center Fellowship in Glass, and has attended multiple residencies in Iceland, Finland and Norway. Her work has been featured in exhibitions and publications in Canada and internationally.

Carissa was an AFA grant recipient in 2018-19 for the Visual Arts and New Media Individual Project Funding. Also, she was successful in having her artwork acquired through the Art Acquisitions by Application program in 2021 to be part of AFA Art Collection, which will help increase the visibility of her artwork throughout the province, including through Work of the Week.

Art Acquisitions by Application

Did you know that Albertan artists can apply to have their artwork acquired by the AFA through the Art Acquisitions by Application program?

The next deadline is April 1! Review the guidelines if you’re interested in submitting your artwork to have it be considered for acquisition.

Image description

The sculpture is a white rounded spherocylinder capsule shaped like a pill attached to a white wall. Long black hair flows approximately two-thirds down out of the capsule. In the background is the grey shadow of the hair and capsule on the wall. 

The Conquered Mountain print was acquired by purchase from the artist in 1973. There were six prints acquired from the artist at this time 1973.003.001 – 1973.003.006. These were very early acquisitions into the AFA collection as they were acquired in March 1973 and the art collection was formed in September 1972. We can't wait to celebrate AFA's Art Collection 50th anniversary.
 

The artist created a constructed painting with a similar title in 1991, Clearcut: Conquered Mountain – revisiting the theme of man’s intervention on nature and essentially creating a “manufactured landscape”. The AFA acquired the painting in 1995.

Travelling Exhibition 

Curated for the AFA's Travelling Exhibition Program (TREX) by The Art Gallery of Grande Prairie - Northwest Alberta, Conquered Mountain is currently on display in its "Fantastic Worlds" exhibit until March 27, 2022.

• TREX strives to ensure every Albertan is provided the opportunity to enjoy fully developed exhibitions in schools, libraries, health care centres and smaller rural institutions and galleries throughout the province

We welcome you to view it through the AFA's Virtual Museum or see it in person at the Art Gallery of Grande Prairie.

About the artist

John K. Esler is well-known in the Calgary arts community and has helped to raise the profile of printmaking in the province.

He taught at the University of Calgary in 1968 until the 1980s. He encouraged his students to experiment, to make art with a mind open to unexpected possibilities.

His artwork is exhibited widely throughout Canada and abroad and he is represented in many public and private collections, including the AFA Art Collection.

Art Acquisitions by Application

Did you know that Albertan artists can apply to have their artwork acquired by the AFA through the Art Acquisitions by Application program?

The next deadline is April 1! Review the guidelines if you’re interested in submitting your artwork to have it be considered for acquisition.

Image description

The abstract etching printed on paper is split into two halves: on the bottom half, various squares and rectangles in tones of yellow, grey and black are squeezed into a forced perspective that creates a path towards the bluish green mountains on the top half. The grey mountain tops are sutured to the top of the image by criss-cross black strings.

Strange Jury #2 asks the viewer to challenge their perspectives by seeing nature through a different lens. The artwork is intended to depict a trial in the forest. The viewer is the defendant. The jury is Nature.

This artwork is part of a series of five works. When installed in a gallery, five giant prints are hung in a circle off the ground to depict five characters of the forest with animistic faces. The AFA acquired one of these prints through the Art Acquisitions by Application to be a part of the AFA Art Collection.
 

About the artist

Dwayne Martineau is an Edmonton based visual artist and musician. He is a treaty member of Frog Lake First Nation, descended from Plains Cree, Métis, and early French and Scottish settlers.

He enjoys seeing the world like a child full of discovery. Also, he approaches the world with a critical mind, seeking both truth and wonder. His visual arts practice began with experimental landscape photography, and has evolved to include videography and immersive large-scale art installations.

Art Acquisitions by Application

The next deadline for the AFA’s Art Acquisition by Application program is April 1! Read the guidelines if you’re interested in submitting your artwork to have it be considered for acquisition to the AFA Art Collection.

Image description

The artwork is an abstracted photograph on backlit film that suggests an animistic creature in a forest. A black, insect-like face with large antennae floats on a faded yellow background, with black trees and bushes in the background.