Your City. Your Arts Awards.


Your intrepid #artcriticfromhell is torn over this year’s incarnation of the St. Catharines Art Awards. This isn’t because I was not nominated (there isn’t a Troublemaker Award – yet – and our long suffering Editor / Publisher of The Sound is, in fact, nominated, for our sins). No, this is because in the Established Artist Award, there are among the nominees three very fine, equally deserving artists (Clelia Scala, Geoff Farnsworth and Colin Anthes) and all three merit the Award. This speaks not just to my subjectivity, ahem, but also to the depth of the cultural community here in St. Catharines. Such richness manifests in several other categories, such as in the Making A Difference Category, where curator Emma German AND Willow Arts Community are among the octet of nominees.

Geoff Farnswoth, 2019, from his exhibition at NAC.

Hopefully, you’re familiar with how the “St. Catharines Arts Awards recognize and celebrate excellence in all areas of artistic creation. The Arts Awards seek to increase the visibility of St. Catharines’ artists and cultural industries, honour cultural leaders and their achievements, and cultivate financial and volunteer support for the arts sector.” The municipality “will recognize recipients of the City of St. Catharines Arts Awards on Friday, May 3, 2019 at the FirstOntario Performing Arts Centre.” Tickets for the evening, which often includes performances in various formats, have been on sale since March 1, 2019.

Perhaps you saw Geoff Farnsworth’s most recent exhibition of his paintings in Niagara, at the NAC: perhaps one of the most popular painters in the region, his work is often portraiture-based, and allows for us to see ourselves, sometimes literally, in his work, but also the denizens and locales of our community reflected therein, too. Anthes is both an artist and an educator; Scala is a long time volunteer with NAC as well as someone who’s puppetry / mask works expand and engage viewers – and those whom employ them in performances – in new and exciting ways.

Geoff Farnswoth, 2019, from his exhibition at NAC.

There are other names that hopefully are familiar to you (Wayne Corlis or Mark Elliott or Danielle Wilson) but if not, there are succinct biographies and introductions found here. After all, the Arts Awards are not just an opportunity to celebrate those whose work we appreciate and value, but to discover others in disciplines that perhaps we’re not as familiar with, and to find new and exciting artists of various stripes.

I’m just offering a taste here: visit St. Catharines Culture on FB (@StCathCulture) for more images, links and updates about the respective nominees for 2019. Appreciate seeing cultural creators and supporters you’ve enjoyed garnering wider appreciation, and make a list of new ones to explore and enjoy.

The evening of the Arts Awards will feature a variety of performers, as has been a staple of past years. Patricia Vanstone, artistic director of the Norm Foster Theatre Festival (and the recipient of the Established Artist Award in 2018) will be the host for the 2019 gala, and throughout the Arts Awards ceremony Jessica Wilson (the 2018 Emerging Artist Award recipient) will be performing intermittently.

But featured performers / performances will include the PK Hummingbird Steel Orchestra – Patrick Nunes and Kay Charles (Arts in Education Nominee), The Chorus Niagara Children’s Choir (the director of the choir, Amanda Nelli, is nominated in the Arts in Education category), Ola Kiermacz (also an Emerging Artist Nominee), Juliet Dunn (Making A Difference Nominee) and, rounding out the group, Willow Arts Comunity. They’ll be presenting excerpts from Songs from the Willow with Queenz, Tobrox “Bea” Soltes and Ayaz Anis, accompanied by Mark Roe and Paul Koshty.

Willow Arts Community working on the mural at the new Canadian Mental Health Association of Niagara location.
Willow Arts Community working on the mural at the new Canadian Mental Health Association of Niagara location.

I’ve offered only a glimpse, a teaser, if you will, of the people and groups that are being recognized by their nominations in the 2019 St. Catharines Arts Awards. More information can be found at the St. Catharines Culture FB page; and I would remind that their works and actions are meritous of celebration and recognition all year round.

Kylie Haveron (whom graduated from Brock in 2018) is one of the nominees in the Emerging Artist category for the 2019 City of St. Catharines Arts Awards.

The St. Catharines Arts Awards will take place on Friday, May 3rd, at the FirstOntario Performing Arts Centre in downtown St. Catharines. Tickets can be purchased here.



Evolving Environments: Janny Fraser

Let’s begin with praise for the Grimsby Public Art Gallery. The two Biannual exhibitions I’ve experienced since my relocation to Niagara, and several individual shows I’ve seen there in that same span, have acted as introductions to various excellent artists. Many regional galleries in Canada punch above their weight, so to speak, and GPAG is among them. One of those artists is Janny Fraser, who’s sculptural works in the less recent of those shows was a highlight of somewhat disjointed exhibition (or diverse, to put it differently, in terms of media and concept, but group shows based on regional frameworks are often that way). Her Dwellings Lights Sculpture was one of only two ‘floor works’ in that show, but it played symbolically with ‘house’ in terms of some of the forms in the self lit sculpture.

Dwellings, as installed at the Grimsby Public Art Gallery.

This aspect of place and domicile is an interesting one to consider, as I recently spoke with Fraser in Welland (where she lives, though she has a significant history with Niagara Artist Centre in St. Catharines). Our conversation was as much about the history of the ‘Rose City’ as expressed in heritage sites (I’m a walker who likes to roam the cities I visit in this manner), and also about the future of Welland in terms of who lives there, who can live there, and who might live there in the future. This concern of Toronto ‘flight’ and the demographics in the ‘rust belt wonderland’ (to quote Welland artist / cultural instigator / activist James Takeo) informs my response to her work, but is something, in terms of her materials and her own history, that is implicit, if subtle.

“Communities “, photo installation at Welland City Hall (depitcted houses from Welland, Port Colborne, Thorold, St Catharines)

A quick teaser: over my last month in Welland I’ve engaged with a number of artists and instigators in said community, posing a simple question: What is the state of the arts, especially as pertains to visual arts, in Welland? The seed for this was planted at a larger conversation that took place at AIH Studios on East Main there, as part of the Rodman Hall 5 x 2 Visual Conversation series. That evening, a lively debate took place over whether this is a site with untapped potential or if it is as much of a spent wasteland as the Atlas Steels site. I’ve written a few things, available online, that touch upon works installed in Welland that give some base to that conversation (Bas de Groot’s Welland Workers Monument, or Rod Dowling’s tubular metalwork that seem like the industrial arteries of the city bursting out of the ground, like a past trying to assert that its not ‘gone’…). I’ll be offering further takes on this, citing ideas put forth in dialogue with cultural producers and proponents here; the taste I offer now is that sometimes there is a ‘profound negativity’ (unsurprising for a community that took a hit like the 2009 John Deere closure) but also a renewed will (as Takeo puts it, and I’ll expand on in the future, the city is eager to support the arts, but with stutters in the past like the Murals and Canoe project, are not sure how to go about doing that….).

Late Day Sun I, from the Urbanization Series.

Returning to Janny’s sometime ‘industrial’, sometime delicate in their fabricated assemblages: her artworks “deal with time as the vehicle of change and transformation visible in landscape and urban overviews. I use photography and photo-collage as part of these mixed media and porcelain mosaic constructions, contrasting human and natural habitats. Convex and concave mirrors, lenses and magnifying glasses draw the viewer into the pieces.” A wide selection of her works can be seen at her site (jannyfraser.com) or at the Jordan Art Gallery web site, as Fraser is a founding member of that space. Perhaps the way I’ve framed this overview of her work is because that first piece of hers I saw had little ‘houses’ (displayed like a neighbourhood in the GPAG work from three years ago, or on box-like plinths, or skeletal structures that raise them up in other arrangements) and often the source objects of her constructions suggest a ‘domestic’ referent. In that piece – Dwelling – there are also branches ‘below’ the ‘housing’, and this use of wood and branches and such materials, sometimes more worked or woven in one instance (as in Gathered Environments, a very monochromatic exhibition – but Fraser’s palette is often restrained, but this allows for the details to come forth, as in pieces like Late Day Sun or Remains of the Day). In the few examples mentioned there, you can clearly see how certain motifs repeat in her practice, just as some formal elements of construction recur and straddle respective bodies of work. Fraser often employs “multiples and repetition of smaller works to create the elements of a larger installation.”

Landscape Transformations, GPAG.
Time Images, at the Carnegie Gallery, Dundas, ON.

Landscape Transformations, Gathered Environments or Sense of Place are all titles but also serve accurately and evocatively as descriptive responses. Organic elements are often incorporated into her works, and elements of the everyday (chairs, boxes, books) take on a new life and different meaning through how Fraser augments and enhances their appearance and thus changes their being and how they’re ‘read’ as works of art. The ‘tables’ in Fragments, when it was at the old NAC space, or Parallel Metaphors in Cambridge, or the ‘cases’ that seem like tiny toy houses but when opened up reveal innards that are both intricate and reminiscent of clockwork are all objects that transcend their ‘original’ source or state.

River, from the Time Image Series.

In Time Images, when it was at the Dundas Art Gallery, the works on the wall and the manner in which the ‘chairs’ have been worked by Fraser make them a singular artwork more so than individual pieces. In several of her descriptive notes about her works, you can see how though focused upon a certain piece, that it can also be applied to others: The porcelain mosaics are imprinted with numbers, found objects, letters, and timepieces to suggest the fossil remains of traces left behind in the process of change, fracture, and transformation.

As she uses somewhat banal objects (wood, chairs), Fraser also has an “ongoing series of altered books [which] provide a narrative, questioning the sustainability of high density urbanization, congested highways, as well as the loss of a sense of place as a result of globalization.” Its interesting to consider that in the century since Duchamp’s ‘appropriated’ the mundane and by positioning it in a gallery to isolate and highlight what we might look at everyday but not ‘see’, that numerous artists have expanded that sentiment; oftentimes taking the best of that immediacy and still insinuating the artist’s ‘hand’ to guide how we might interpolate this simple thing that is, perhaps, not so simple, and that is not so much inanimate as a repository for ideas and ideologies. After all, Fraser’s ‘house’ work Dwelling, that I saw at GPAG, also came to mind when I reviewed The Tent Project there, several years later, when that show fell significantly short artistically and conceptually. In that respect, Fraser’s works are both amalgamations of objects but also ideas, and offer different points of access to the viewer based on what they bring to them.

Gathered Environments, Niagara Artist Centre.

Janny Fraser’s work can be seen at the Jordan Art Gallery, or at her own site (jannyfraser.com). All images are courtesy of the artist, or from her own site or that of the Jordan Art Gallery. The header image is Horizon Lines, from the Urbanization Series.

All the world’s a stage: de Montmollin’s Dreams, Delusions, and Other Traffic Circles

Gabrielle de Montmollin’s work exists on multiple levels of interpretation and appreciation. When I encountered the art she had in the latest incarnation of the Grimsby Public Art Gallery’s Biannual Exhibition, I laughed out loud. Another piece, in this series (Lizard Legs Mash-up) that I saw in the gallery / studio / living space in Welland (AIH Studios) she keeps with artist Tony Calzetta, was all sexydirtysilly, on first impression. But – as with Gold Bowl, Black Boots and Miss Pink and the Giraffes (from the GPAG show) – when I carried the images away in my mind and considered them later, they all became more disturbing, eerie and unsettling. All the works in the series Dreams, Delusions, and Other Traffic Circles are colourful and attractive, and although Montmollin is a prolific artist whose extensive history of images (exploring both aesthetic and politic concerns) can be seen at her site, this is the [doll’s] body of work that has garnered my attention, here.

Her words: “Dreams, Delusions, and Other Traffic Circles is a series of contemporary surrealist still lifes…[perhaps] more surrealist than they are still lifes. The photographs…are narratives of objects in ambiguous relationships, weird juxtapositions and disconcerting non sequiturs. The ‘wallpaper’ is the element that runs throughout. [It indicates] that everything happens on a set, it is theatre….There is no obvious or hidden relationship between the players on the set and the wallpaper. Max Ernst defined the structure of the surrealist painting as “A linking of two realities that by all appearances have nothing to link them, in a setting that by all appearances does not fit them.” I am not a painter but this is a good description of my photographs.”

This irreverence, this dramatic (perhaps of the theatre of the absurd) staging of scenes by Montmollin is an excellent repository for the viewer to construct stories, or invest their own experience. Tomato Wedding, for example, was the inspiration for an entertaining conversation between the artist, myself, and several others when the three person exhibition Now Here was on display in Welland. The wedding couple dolls face a surfeit of tomatoes (as someone who grew up half Italian, and have found that heritage – in a real sense, in an artificial sense – can be like being cornered by a bunch of tomatoes, like muggers in an alley, like a swarm of hegemony, this piece is (again) superficially funny but scratch that glossy veneer and its more disconcerting). Or maybe I was reminded of all the cherry tomatoes I’ve been picking these past few years, more for my parents than I.

Clementine Coven, with its tiny delicate high heels, or Ménage à trois, which is not what you’re thinking, at all (even through there’s a duck in this tableaux and I was thinking of Leda and Zeus. If that piques your interest, you can visit the AIH Studios in Welland, to see that to which I allude, for yourself).

At their feet has an amusing ‘pop your heads off your dolls’ referent, but knowing Montmollin’s work and having spoken to her on numerous occasions, about her art, my writing, and the larger art / social worlds we exist within (or against), I get a bit of Judith and Holofernes here, or maybe a bit of Salome and the Head of John the Baptist. In considering the repetition of the wallpaper, the scenes being “staged” in the same “space”, there’s not just a theatrical context to consider, but perhaps also how different ‘classics’ can be remounted in different ways (I think of a version of King Lear I saw staged as a British military drama, replete with uniforms, or how I’ve played Puck in a contemporary restaging of A Midsummer Night’s Dream, where Titania, Hippolyta and Helena were all (simply fabulous, ahem) drag queens). We reinterpret stories to keep them alive, or to make them real, to ourselves and others.

There’s a sensibility here reminiscent of Barbara Gowdy‘s writings, especially the short stories in We So Seldom Look on Love: deathly (murderously, in at least one story) serious but also (in)appropriately ribald. Sadman, Muscleman and Flamenco à trois suggest horror, inanity and rom – com farce (with nudity, so perhaps more R than PG13, and that young fellow in the foreground does look like a very young Peter Sellers), respectively. Blessing of the zebras is frantically joyous, although you may find it takes a bit of effort to find the “blesser”, amidst the harem of zebras (that is the proper name for a group of said animals…which, considering Jesus’ relationship to supposed “fallen” women, illustrates the intersecting ideas at play in Montmollin’s Dreams, Delusions, and Other Traffic Circles. To return to a piece I mentioned at the beginning of this article: Lizard Legs Mash-up has a bawdy, perhaps Rabelaisian, quality. Perhaps its a fittingly twisted take on ‘Reptilian Theory’, popularized by that wingnut David Icke. Research at your own risk, ahem, and no offence to Montmollin by that association). Gabrielle’s words: “..my art is based on imagination; I am interested in telling stories, play and mystery.” As well, “[besides] personal imaginings she works to find visual expression for her feelings about social justice issues and politics.”

Her career / practice is extensive and I offer you here only the most recent glimpse of what she’s done: she “began her career in television and film before switching her interest to still photography. For many years she worked exclusively with black and white film photographing throwaway plastic toys and dolls arranged in constructed, fantasy settings. She developed darkroom manipulations using extreme bleaching and painting and drawing on paper negatives. Since realizing that digital photography did not provide her with the same creative possibilities she has been working with mixed media blending painting, drawing and montage elements with digital prints.” She’s exhibited in many solo and group exhibitions in Canada, the United States, Belgium, Italy, France and The Netherlands. The website for AIH Studios (also known as Art is Hell Studios) offers many examples of past works, and I encourage you to visit it, as well as their gallery space, in Welland.

June-Etta Chenard: depth and meaning

In a recent conversation about the downtown of STC, we all agreed that many of the spaces along St. Paul offer interesting and engaging art works (frequently for sale). As I was enjoying June-Etta Chenard’s latest exhibition in the city (located at Mahtay Cafe and Lounge, which you hopefully visited this past December), I realized it was a year ago that she exhibited in the Dennis Tourbin space at the Niagara Artist Centre (So Invisible was the name of that selection of works).

That previous show was my first encounter with her works (I’m sure I saw some online, as we intersect with similar social circles), and their detail, discipline and the nature of the materials she uses and the intensity of her practice is still evident in the works from this past December.

Many of the works in Interior Landscapes at Mahtay have a specific narrative that sometimes is intrinsic to fully appreciating them, and other times they can simply be enjoyed viscerally and aesthetically. This is a good overview of June-Etta’s practice: there are works that are intensely vibrant, like Homage to the Sun Dancer or Voix des femmes / Voices of Women, with rich reds and deep blacks and then (in Homage) a soft snowy white that invites your touch. This is similar to how Where Am I? Where Are You? doesn’t seem to be on paper but on some form of cloth, the folds and divots in the surface leading down to a yellowing “stain.” Chenard nd often uses papers such as Wenzhou Chinese Rice Paper, or Japanese Gampi Tissue paper in her practice. Yet other works defy this physicality, seeming almost ethereal and ephemeral in the lighter, translucent colours and hues, with a layering of shapes and forms that seem almost dreamlike. Offer New Propositions or Prayer Kite Arising are among these more “delicate” pieces.

Chenard has exhibited nationally (New Brunswick and British Columbia, so nearly fully from East to West) and internationally (including Virginia and Pennsylvania). Her experience is diverse, and activism plays a strong role in a number of her works, such as Schools I Didn’t Learn In School, which lists the names of Canada’s many – far more than many know, or want to know about – residential schools. In the aforementioned Where Am I? Where Are You? Chenard lists the traditional Indigenous names of the places she’s lived. This mixture of personal and political is also present with In A Soldier’s Billfold, that incorporates photographs of herself, her mother and father that her father carried with him.

June-Etta’s works are dense: not just literally, with the layers and objects and elements enmeshed within the works, but also in terms of the ideas and histories (both her own and those various sites she’s inhabited, and we inhabit). She’s an artist whose work I enjoy encountering when I have time to spend with it, or can visit repeatedly, as the visual acumen she displays entices me to pay attention to the particular aspects that expand and enhance her work. Interior Landscapes was on display this past December, but I fully expect to see more of her work in the future at NAC or among other sites in Niagara.