KC Adams & Tim Schouten, aski nipay

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Two well-known Winnipeg artists have partnered for an exhibit which provides both strong political commentary and visually stimulating artwork. KC Adams and Tim Schouten will pair their paintings and photography in aski nipay (land and water).

Metis artist Adams’ striking portraits are influenced by her travel to northern Manitoba communities during the summer of 2015.

“I was moved by the people who are walking the path of their ancestors, using their knowledge and power to protect the land and waters in their community. They face resistance from developers, Manitoba Hydro, government and sometimes even their own people,” Adams says.

Adams’ intent as a social practice artist is to capture, through her portraiture, the strong spirit and resilient and compassionate nature of these people.

Schouten’s colourful encaustic paintings perfectly complement Adams’ photographs. His work continues a long-term research-based project, The Treaty Suites, in which he is investigating the signings of Treaties 1 to 11 in Central Canada, and also providing a response to the Final Report of the Truth and Reconciliation Commission of Canada.

“Language is at the heart of the treaty process and its failings in this country. My work reflects on the history of treaties and on the vitality of indigenous languages,” Schouten says. “My encaustic/ hot wax medium carries the weight of this history through a layering and reductive process.”

Schouten’s paintings incorporate both Cree and English text, in an effort to highlight the urgent need to preserve and promote indigenous languages in Canada. Though he himself is not an indigenous artist, like Adams, his work was energized by travel to four places where Treaty 5 was signed.

“Adams and Schouten’s work naturally fits together,” says gallery owner Howard Gurevich. “The photographs and paintings complement each other both in an impressive visual display, but also a thought-provoking insight into an extremely significant piece of Canadian history.”

Shelley Vanderbyl, Fresco

Winnipeg’s art scene may know Shelley Vanderbyl from her Memory Tales series – familiar childhood stories set on playing-card-sized matteboards. The process of creating Memory Tales sparked Vanderbyl’s fascination with seeing her paintings, not just as representational images, but as objects; their distressed edges evoke the feeling that the palm-sized pieces exist with their own history.  Instead of fighting the dust being created as she sanded down these edges, she smoothed it back into areas of the oil paint, creating matte surfaces in her works.  From this launching point, Vanderbyl’s latest exhibition, Fresco, extends this focus onto a vast new scale and into a medium mined from her own past, drawing again on themes of time and memory. 

Vanderbyl’s paintings aim to build a material language about hope. Her frescoes are fuelled by hope: she takes risks and experiments with her work, trying things that could potentially ruin a piece in order to keep growing herself as an artist and expand the boundaries of her painting practice. Her fresco work stems from her time as a drywall taper: working with plaster in harsh environments has inspired her to concentrate deeply on plaster’s response to her tools.

“The experience doing my drywall taping causes me to see my artistic practice as a layered, rather than linear, process. Some of these layers are created through discoveries of hope in my own life, being able to mine something good out of difficulty,” Vanderbyl says.

Even the materials she uses add more meaning to her work: mud from a riverbank where she sat collecting her thoughts on a particularly discouraging day and marks from the charred branches of her favourite apple tree, whose growth she had been using to track the years her family spent in one home during her husband’s military career.

Fresco showcases Vanderbyl’s growth as an artist and bravery to work in new styles and textures. The exhibit invites the viewer to have a conversation with the work, interacting on a deeper level of self-reflection,” says Howard Gurevich.

Vanderbyl’s paintings are inspired by places she’s lived and travelled and others’ stories. It’s these stories, strung together, that create the relationship between the viewer and the painting.  When these paintings exist in spaces occupied by people, Vanderbyl hopes they will both comfort and listen, offering messages of hope and assurance.

Fresco opens May 6 at 7pm and runs until May 28.

Sue Gordon, Surfacing

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Opens April 1, 7pm
On display until April 30

Sue Gordon’s encaustic paintings are created through layering and careful excavation of her chosen medium of beeswax: slowly negotiating what becomes the final piece of work.  While in the past, Gordon’s work was comprised of horizon lines with distance and clean sightlines, her latest work is made up of sightlines that are compromised or obscured, even walled completely. This exciting new work will be on display in Gordon’s exhibit, Surfacing at Gurevich Fine Art.

 “I spend as much time building up layers of wax and pigment as I do scraping them away,” says Gordon. “In some cases, I build an entire landscape only to excavate it, with just traces of the original composition remaining in the final piece.”

Gordon’s encaustic works are composed of beeswax, resin and pigment. The paint is kept on a heated palette and applied to an absorbent surface. It’s then heated again to fuse the paint. While it is a highly sensitive and temperamental medium, Gordon’s work showcases the medium’s ability to record physical texture, while also retaining its fluidity.

 Her new series references both brick and concrete surfaces, while others speak about bodies of water, depth and the sense of being submerged.

“Surfacing showcases the intricacies of encaustic work, making evident the hours of time it takes to bring each piece of work to life. The exhibit is representative of Gordon’s expertise in the medium and invites the viewer to a deeper understanding of Gordon’s workflow and thought process.”

Andrew Beck, Future Forms


Andrew Beck’s sculptures are given life through the inspiration he finds in his work designing sets for theatre and dance. His art provided the backdrop for hundreds of moving sculptures in countless performances. Now Andrew is taking centre stage. In his latest exhibit, Future Forms at Gurevich Fine Art, Beck’s sculptures with their literal and implied movement are the stars.

“Out of all the visual arts, sculpture has an especially interactive relationship with its viewers. The objects exist beside us in three-dimensional space. This extra dimension means the art relies less on understanding the conventions that have been codified in two-dimensional art and is a closer imitation of the human form,” says Beck.

Future Forms seeks to render the steel sculptures as fluid and reflective, and in doing so project a sense of motion. Each of Beck’s sculptures can be described as kinetic. The sculptures in the show are conceptions of interaction between the human and the super mundane, giving the viewer the ability to see dimensions we normally wouldn’t see in art.

 In his Two Figures series, Beck has worked to simplify the plane so the viewer can compare and contrast the two figures, and consider the interplay of the two objects. Each sculpture’s surface has been ground and polished so that the reflecting light helps to create movement.

In the Whirligig series, the sculptures explore pattern, edge and the formation of evolving shapes. The changing configurations produce a mesmerizing effect. The intention is reinforced by the fact that the sculptures are wind-driven, bringing a silent solemnity to the interplay of light and pattern.

“Future Forms brings a whole other level to art viewing and hones in on the bond the viewer can make with the sculptures,” says Howard Gurevich, owner of Gurevich Fine Art. “The exhibit showcases the ability of sculpture to act as meditative objects and is truly representative of Beck’s multi-talent.”

Future Forms opens March 4 at 7:00 pm and is on display until March 26


500 Years of Prints


Gurevich Fine Art pairs a collection of centuries old works with modern-day prints in an impressive art history lesson that is the gallery’s latest exhibit, 500 Years of Prints.

It is an exposition of secular and religious works that illustrate the varying techniques and applications of printmaking over the last 500 years. The comprehensive exhibit, curated by art historians Claire LaBrecque (Art History Professor, University of Winnipeg) and Jim Bugslag (Art History Professor, University of Manitoba), and GFA owner Howard Gurevich, features etchings, engravings, lithographs, monoprints, rare books and more. Examples date back to the early 15th century and every era up to today. 500 Years of Prints showcases works of historical artists such as Piranesi, Picasso, Durer, Phillips and Bergman, alongside GFA’s own artists including Diana Thorneycroft, Edward Becenko and Christian Worthington.

The exhibit brings together a remarkable collection of prints from the University of Manitoba, the University of Winnipeg, as well as several private collections and Gurevich Fine Art. It will encompass the entirety of GFA’s four galleries.

LaBrecque says, “It is an opportunity to view modern and historical work together and gain some perspective on how techniques and imagery have remained consistent and how they have changed.” 

“The show is truly an art history lesson in itself. It’s not often that we are able to see a show this wide in scope, with such diverse work,” says Bugslag.

“The fact that we are able to showcase private collections of never-before-exhibited historical prints is a rare opportunity for our gallery visitors.” Gurevich adds.

The exhibit will feature a number of original prints available for purchase. Gurevich Fine Art would like to thank the University of Manitoba, the University of Winnipeg and the private collectors for their contributions to make this exhibit possible.


2015, Christian Worthington

Twenty-six pieces of artwork, three galleries and one year of production: this is “2015”, the largest and most ambitious show yet for Christian Worthington.  2015 is an up-close and personal insight into Worthington’s process over a single year.

2015 showcases Worthington’s multitude of talent and will encompass three of Gurevich Fine Art’s galleries. The show will display large-scale paintings measuring 10 x 7 feet in Worthington’s signature soft, glowing style, highly finished portraits and sculpture made of industrial grade steel, drawings in various mediums and paintings made over photographs and other found material.

The artworks in the show will be grouped in cycles, following Worthington’s workflow over the course of the year. Many pieces will be accompanied by a descriptor of when and how the art was made.

“It’s the biggest solo show I’ve done, but it’s also the most intimate. It’s the most transparent in how it shows the viewer how I think and develop ideas, and how they develop momentum,” says Worthington.

“I want the viewer to follow my work through the year and make their own connections: to see how a small drawing done in February will manifest itself in a painting or sculpture done in August,” he says.

Howard Gurevich, owner of Gurevich Fine Art says, he’s impressed by the breadth and depth of Worthington’s talent and excited to present it.

“2015 is truly a behind-the-scenes look at an artist’s process. The work and its quality alone is commensurate to the amount of space we’ve given it,” Gurevich says.

2015 opens at 7:00 p.m. on December 4 and runs until January 30.


Robert Sim, Artistic License

OPENS: NOV. 6, 7pm

While art exhibitions are typically prefaced with an artist’s statement, for Robert Sim, the statement is simply his work, not his words.  

Most of the works in this exhibit were created from memory, though a few were created directly from life, and a few from photographic references.

Sim takes artistic liberty with each of these pieces and alters little things here and there. Sometimes elements are added, subtracted or rearranged to emphasize different features of the scene. In other paintings, the colours are changed to give a different impression of the scene.

“For example, in Road South, a work done from my memory, all of the telephone and hydro poles in the actual scene were removed, as were the road signs and a railway crossing. Some colours were changed – like the snow, which was a greenish blue in reality – became white in the painting. Each of these changes were made to give a general impression of winter in southern Manitoba,” Sim says.

The process is much the same for works directly done from life and from photographs. Each of these changes are done to make the painting stronger and more captivating to the viewer.

Artistic License demonstrates the artist’s ability to take a real-life scene and alter it ever-so-slightly to create a work of art. The exhibit is sure to resonate, perhaps with a changed perspective, with viewers feeling strong ties to Manitoba landscapes.



Lisa Johnson, David Tycho and Kevin Boyle: A Sense of Place

Kevin Boyle, Lisa Johnson and David Tycho’s work is inspired by vast prairies, the rocky shield and urban cityscapes. While their work depicts varying locations, the common element is that each artist captures the inner intensity of the landscape.  A Sense of Place opens Oct. 2 at 7:00 pm at Gurevich Fine Art.

B.C.-based artist Kevin Boyle’s DaySleeper series explores prairie landscapes, and is centered on his fascination with darkness and his relationship with the night. It was after his father’s passing, when he returned to his prairie home on a two-day marathon of coffee, open road and photography, that he saw the beauty of the prairies in the dark, and the DaySleeper series was born.

“I found a freedom that the day never seemed to deliver; a peace and quiet in the air while most people slept. I want to show you with light that there is beauty in the darkness,” Boyle says of his work.

Ontario-based artist Lisa Johnson explores the experience of landscape and how we find meaning through a sense of place -- for Johnson, it's mostly her home in the Canadian Shield. Johnson begins her artistic process with painting and sketching on location. Afterwards, in the studio, she works on larger, more abstract pieces that allow the memories and spirit of the places to emerge.

“My work is a painterly response to nature – the paintings are not views of landscapes as objects, but immersions into an experience of place– a “landscape of the mind,” says Johnson.

B.C.-based artist David Tycho’s contribution to A Sense of Place explores the physical, formal and psychological elements of cities. Some of his works can be interpreted as positive, brightly coloured renderings filled with optimistic vitality and nostalgia, while others are darker, more somber depictions of sterile, deserted concrete canyons and a sense of isolation and alienation.

“For me, the intriguing aspect of cities is the co-existence of these seemingly disparate characteristics: the yin and yang of urban existence,” says Tycho. 

A Sense of Place is an exploration of varied landscapes and the meanings they hold. Each artists’ work comes together intriguingly in a show that stimulates the viewers to see home in a new way.


Aganetha Dyck, Reva Stone, Diana Thorneycroft: Bees, Beasts & Binaries


Although they’ve been sharing a studio space for more than two decades, Aganetha Dyck, Reva Stone and Diana Thorneycroft have never exhibited together. September 4 marks a monumental occasion as these three internationally renowned artists open Bees, Beasts and Binaries.

“We deeply respect each other’s practices and exhibiting together is a wonderful way to celebrate what we feel is a very special relationship,” say the artists of this exhibit.

Bees, Beasts and Binaries, which runs until September 26, brings together the artists’ distinctly different, yet complementary works into a provocative and engaging exhibition. All three artists use materials in unconventional ways, which challenges the viewer's perception of the issues being addressed.

2007 Governor General Award in Visual and Media Arts winner Aganetha Dyck’s interests lie in inter-species communication and the power of small, and how that manifests itself in the world. Her research asks the question regarding the ramifications all living beings would experience should honeybees disappear from earth. In her new body of work, Book Covers, Dyck uses apiary feeder boards, antique hive blankets and her library of bee related books.

2015 Governor General Award in Visual and Media Arts winner Reva Stone is a digital artist whose work explores how technology changes the relationship between our selves and our surroundings. Her latest work,  Radiopticon, is the binary component of Bees, Beasts and Binaries, and consists of an early photograph projector that was used to show postcards in the early 1900s. The projector physically reads as a camera/video projector and travels the exhibition space on a robotic platform. Responding to viewers in its proximity, it shows a variety of video clips that critique contemporary, historical tourism, ecotourism, time travel, the economic impact of the globalization of travel, and the historical use of photography as a device that records memory.

Though globally recognized for her photographic work, over the past two years Diana Thorneycroft has mostly been focusing on the production of sculptural objects. Thorneycroft brings the beast to Bees, Beasts and Binaries with new animal sculptures, and photographic works that build on a similar narrative. Just as she did with her altered horses, Thorneycroft strives to create work that reflects the tension one experiences when encountering “otherness”.  

Bees, Beasts and Binaries is a celebration of a shared studio space, three friends and new work. It is an important event not to be missed.  


Inland Sea: photographic works by William Pura

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Since 2005, William Pura has taken thousands of photographs of Lake Winnipeg and the surrounding area. The photographs curated for Inland Sea, Pura’s latest photographic exhibition, touch on a wide range of issues regarding the lake and its relationship to the human presence in Manitoba.

“Images like the Ferris Wheel at Winnipeg Beach or the boat launch at Balsam Harbour indicate how often we use the lake as part of our recreational activites,” says Pura.

“In other images, I have tried to capture the lake in its natural state – using the play of light and atmosphere on the water, with no apparent intervention from humanity other than my presence with a camera.”

Pura has tried to visit the lake throughout all four seasons, at various times of the day.

“I know at each moment, I will find something different. I have yet to be disappointed.”

Pura has been creating art in various mediums for decades. Known for both his paintings, photographs and working mostly in landscapes and abstracts, he has exhibited across North America and Europe.

Inland Sea showcases Pura’s perspective of a place that is a large part of many Manitobans’ daily lives. Its aim is to bring the viewer to a certain place or time, invoking positive memories about a place the photographer holds dear to his heart.

A portion of the proceeds of sales from the exhibit will be donated to the Lake Winnipeg Foundation.


Prairie Homecoming: new works by Katharine Bruce


New York born, prairie raised Katharine Bruce has spent the past five years finding inspiration between the west coast of Canada, the central mountains of Mexico, the plains of Nebraska and the prairies of Manitoba. She returns to her prairie home to share new works from her travels. 

“My surroundings nurture me in a very real way. I feel them feeding me an extraordinary energy,” says Bruce. “That, combined with my passion for life, powers my day to day, and gives me the inspiration that results in the works I create.”

“I think of my work as naturalist abstractions which invoke real or imagined environments. Improvisation is an important part of my work process. I never know before hand what will appear – there are no preconceived notions.” 

Bruce has gained international acclaim for her wide range of abstract reflections, creating subjects that provoke, inspire and delight. Her zest for life at a heightened level of physical and spiritual intensity fuels her artistic expression. 

Throughout her professional career, Bruce has worked with pottery, handmade paper, sculpture and mixed media. Known for her cityscapes and landscapes with a twist, her work shows a disciplined master of design with line, colour and texture.

Prairie Homecoming showcases Bruce’s affection for her prairie home in colourful, enticing abstracts, which, like the prairies, bring a sense of wonderment to the viewer. 


THIS TIME: new works by keith wood


While Keith Wood seldom lets the world influence his work, he admits that each of his paintings represents a sum total of his life experience to date. 

As much as Wood tries not to let his surroundings impact his art form, he takes many cues from the musical genre of jazz. Much like jazz music, Wood’s art has an underlying element of structure, in his consistent colour palette and grid-like format. But the dominant elements are the strong notes of improvisation. The result is an intriguing, endlessly interesting body of work – visual music.

Wood approaches each of his paintings with a liberating lesson he learned in art school more than 50 years ago: never assume you know what you’re doing when creating art.

“Sometimes you hit euphoria, then, as you assume you’re in control, you’re like a tethered animal with limited freedom,” Wood says.

Wood works primarily with encaustic paint, which is composed of beeswax, resin and pigment. The paint is kept molten on a heated palette and applied to an absorbent surface. It’s then heated again to fuse the paint. He came to the medium by default, looking for a change of pace after creating art in every known medium. He hasn’t looked back.

Wood works with a limited colour palette, and he says the irony is that the fewer colours he uses, the more colourful his paintings end up.

This Time combines Wood’s 50 years of art experience, with a strong jazz influence in a collection of contrasted, arrhythmic work. Wood says the exhibit isn’t about him, though; it’s about providing an exciting visual experience for the viewer.


Tom Lovatt, In the Palace of the Planet Queen

ON DISPLAY: MAY 1 - 30, 2015

If memory is a storehouse of everything we value, it is kind of a palace, a place full of all that is precious to us. This idea comes to life in renowned Winnipeg painter Tom Lovatt’s In the Palace of the Planet Queen.

The Planet Queen refers to Spanish artist Diego Velasquez’s Infanta, Queen Mariana. For more than 20 years Lovatt has made new art based on an old Time Life image of her head. Over time, each painting of the Infanta’s head is different as Lovatt’s understanding of what he’s observing and responding to has evolved. 

The show contains three distinct components: paintings, collages and small constructions. The collages began as studies for painting and became something unto themselves. The small constructions grew out of his love of Joseph Cornell’s work, architectural models, doll houses, set designs – anything that works to create an aspect of the larger world in small scale. 

“My works are a poetic exploration and representation of memories past: be it historical, or the personal past that we carry with us in images, memories and reoccurring thoughts,” says Lovatt. “Each repetition builds momentum towards a larger understanding of the work created and the artist who creates.” 

This repetition is Lovatt’s way of focusing the viewer on something he considers important, a way of making the viewer slow down and really look at his art.

In the Palace of the Planet Queen reflects Lovatt’s belief that art is a meaning-making process and a way of better understanding both our internal and external worlds.





An artist’s work will almost always have multiple meanings and interpretations. This is especially the case with the body of work in Winnipeg artist Kae Sasaki’s latest exhibit, Required Reading

“My paintings are initially conceived from a commanding notion of the sheer interestingness of the subjects. I begin with considering composition and approach to colour,” Sasaki says. “My process uses intuition as often as it does careful linear planning. As the psychological component takes over, symbols and other elements are added to open up the paintings in a multi-vocal way.”

Sasaki has created a method of patinated gold-leaf that brings a distinctive complexity to the paintings. This technique creates the depth that brings the viewer into a visual world that is both familiar and significant. 

The layered meanings in Sasaki’s paintings emerge from her profound emotional connection to every day life-experience. The work is rooted in every day subjects, yet subtly ascends into another world, a glorious fusion of the mundane and the extraordinary.  “I seek an imaginative revitalization of the narrative and atmospheric potential of painting,” she says.

Much of the work features a child in a wonderfully surreal landscape. There is a sense of discovery and wonder as we view the lush surroundings of our world through new eyes, seeing things we have ceased to see. And there is much to see: each viewing results in a different perspective, as the rich symbols of the work reveal themselves.  

Required Reading transcends the ordinary by revealing the mystery behind the familiar.  


Tools: Kyle Herranen, Clint Neufeld, Marc Courtemanche

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ON DISPLAY: MARCH 6-28, 2015

Sometimes they refer to themselves as “tools”, but internationally renowned artists Kyle Herranen, Clint Neufeld and Marc Courtemanche have more in common than a light sense of humour: their work is all about tools. 

Tools challenges society’s stereotypical gender roles and explores the endless possibilities of the artists’ respective materials.

“Our work goes well together. Each of us explores the notion of gender,” said Herranen. “While the pieces themselves are hyper-masculine, they are beautiful objects with feminine qualities,” he said.

Herranen is best known for his highly polished shallow relief resin sculptures that de-code contemporary notions of aesthetics. These socially constructed realities both parallel and reject nature and the environment. As an outdoorsman, along with fighting forest fires across North America for nine years, he is rooted in a bizarre, absurd, and meaningful intersection between nature and culture.

Neufeld, a sculptor, works with the concepts of masculine identity in the form of ceramic transformations of engines and transmissions. He paints them pink and light blue, adding flower details. Prior to pursuing a career in art, Neufeld spent three years with the Canadian military.

Courtemanche uses woodworking skills and applies them to clay. The results are objects that are visually taken for “real”, with a closer inspection revealing them to be made of a foreign material. Additionally, the decoration of various tools with vintage “country style” ceramic decals alludes to familiar decoration of functional domestic ceramic objects, while drawing attention to the handmade quality of the objects.

Together, the artists’ work perfectly complements each other in a show that challenges the viewer’s ideas of masculinity and art.


Christian Worthington, "Zeitgeist Vs. Great Man"


Christian Worthington regards history as an endlessly unfurling source of information, prompting the evolution of his art. This development is clear in Zeitgeist vs Great Man the third exhibition in the Painting is History series. Worthington’s latest oil, clay and steel pieces underscore his study of history’s influential artists. By identifying great artists as authority in his work, Worthington is able to elevate his art in a contemporary landscape saturated with self-expressiveness. He understands that zeitgeist  – current world culture and his work are inextricable. It is because of this consideration that Worthington seeks to produce historically informed art in the midst of our cultural amnesia. Zeitgeist vs Great Man opens at Gurevich Fine Art on December 5th and is on display until January 31st, 2015.  

“History informs us,” says Worthington. “We can accept it, reject it, or sample it, but as an artist I am compelled to respond to it. We need to understand that there is a historical fabric that runs through everything that we create, it is connected to everything that is and everything that will be.” In the act of creating, with these ideas in mind, Worthington offers historical relief and the possibility of historical transcendence for his art.  

Based on the philosophical ideas of the “Great Man” and “Zeitgeist”, Worthington attempts to understand the forces of revolutionary change in civilization.  The 19th century cultivated the Great Man theory, whereby it was argued that highly influential people determine history, exclusively. The mythology behind some of the world's most famous leaders such as Abraham Lincoln, Joan of Arc, Mahatma Gandhi, and Alexander the Great helped contributed to the notion that great leaders are born and not made.  

“Conversely, the Zeitgeist, or ‘the spirit of the age’ theory, represents a shift in the mood or attitude of a time in which culture vigorously adapts to introduce new ideas,” explains Worthington. “This latest collection of works in oil, clay, and steel is a self-conscious examination of my approach to art-making.” By deconstructing the theories of “Zeitgeist” and the “Great Man” Worthington challenges himself to explore how history happens and its potential to motivate new works of art from other, non-patriarchal perspectives.

These two contrasting concepts are examples of how historicism has formed  his development as an artist. Worthington’s work seeks not to be an academic response to history, but a visual, emotional expression of how it informs art today. 

Discover more from Christian Worthington


1557, oil on canvas, 2014, 72" x 40"

Bette Woodland, "Casting Shadows"

Opening Night: November 7, 7:00PM
On Display: Nov 7 - 29

Wave, oil on canvas, 2012, 36" x 42" 

Imagine music without a clear melody . . . In art, a close equivalent to this loss would be a painting without a clear sense of light and shadow. Just as the notes and rhythms of a melody lead us through a musical piece, it is the important role of light to move us through a painting. Perhaps this is why the work of award winning artist Bette Woodland is considered so reflective.  Woodland’s exhibition Casting Shadows opens November 7th, 7:00PM at Gurevich Fine Art and is on display until November 29th. 

At her core Woodland is concerned with the capturing of life’s moments. Each painting or drawing begins with her response to a particular landscape, figure or still life. She creates a rhythmic visual harmony of light and shadow. Together they create a sense of movement. Both familiar and timeless, Woodland’s art is not descriptive in the photo-realist sense.  It evolves intuitively, guided by a conversation with a certain quality of light. No matter the subject, Woodland uses light and shade to make its identity clear. 

Each painting presented is built up with layers of paint, each layer applied when the surface is dry. This process often finds Woodland developing many different pieces at once.  By applying areas of paint with a painting knife she is able to “float” one colour over another without blending them together. A similar method is experience through her monotypes using brayers, one colour of ink is applied over another without losing either. The values, in contrast with one another, create a dynamic relationship. 

"My work is engaged with the transformative power of light,” explains Woodland. “It intensifies experience and lifts the ordinary towards the transcendent. My practice as an artist has always been concerned with revealing that experience through paint." Woodland reflects a strong, self-conscious juxtaposition of light and shade, which results in a stunning visual effect in a work of art.

Grey Sky, oil on canvas, 36" x 42"

Works Available

To request a catalogue of the works, prices or additional information, please contact us at sales@gurevichfineart.com or 204-488-0662.

Christian Worthington, "Anno Domini: Images of Faith for the New Century"

About Christian Worthington

Christian Worthington (born 1976) is a Canadian-born painter who resides in Winnipeg, Manitoba. A life-long student of the works and legacies of the Old Masters (most notably Caravaggio, Rembrandt, as well as modern masters Rothko, and Frankenthaler), his paintings dually reflect the meticulous and well-plotted techniques of the masters, and the contemporary sensibilities of the Modern painters.

Early life
Throughout his youth, Worthington worked constantly at his craft. After completing high school, he enrolled at the Ontario School of Art and Design in Toronto (OCAD), leaving during his first semester over "philosophical differences". He decided to forgo traditional academic training, favouring non-institutional methods. He traveled to some of the world's greatest museums and galleries- Tate Modern, National Gallery in London, the Louvre in Paris, and the Rijksmuseum in Amsterdam- to examine and study from the Master paintings up close. A self-starter and autodidact, he absorbed their methods and philosophies through extensive reading and research, incorporating his discoveries into own unique body of work.

Worthington concerns himself with painting as being a serious investigation into beauty, as well as a timeless medium able to withstand cultural and technological trends. His earlier practice delved into the complex narratives, drama, and techniques of the Northern, Italian, and Spanish Renaissance. For several years he explored Christian themes and portraiture, seeking to understand Caravaggio and his contemporaries. Upon seeing an exhibition of Rothko abstracts at the Tate Modern, Worthington began drawing parallels between those ancient paintings and what the Modernists were doing, believing that the two generations of artists approached art with the same integrity and conviction. His work began to take on a new hybridism of ancient and modern techniques, a continuous exploration of oils, with endless experimentations in glazing, layering, and non-conventional methods of paint application. 

Worthington's large abstracts and representational paintings have been shown in, and sold to, private and public collections all across North America and the UK, hanging alongside the prized works of Salvador Dali and Pablo Picasso. His success as a painter is due to his tireless practice and studiousness, and his Rembrandt-like mercantile sensibility. He continues to gain popularity among patrons and corporate buyers. The most recent acquisitions of his works have been made by Tapper Cuddy LLP, the Western Financial Group, the Royal Bank of Canada, the Trump Towers in Miami, Florida, the public collections of the Government of Manitoba, and Manitoba Hydro.

-Suzanne Pringle


Gurevich Fine Art at the Toronto International Art Fair

Toronto International Art Fair

October 24th - 27th, Metro Toronto Convention Center, Toronto. Booth #1114

Gurevich Fine Art presents seven of Manitoba’s finest talents in the world of contemporary art. These artists have earned numerous accolades and awards, locally, nationally and internationally. Most importantly their visions of our world are compelling and gifted.

Download Docent Information as PDF

Featuring the Works of: 

Buffy Sainte-Marie, Elder Brothers, Ilfordchrome (cibachrome) photograph, 73.5" x 90"

Buffy Sainte-Marie 

Buffy Sainte-Marie is a Canadian-American Cree singer-songwriter, musician, composer, visual artist, educator, pacifist, and social activist. All areas of Buffy Sainte-Marie’s artistic projects are marked by an originality and fearless diversity. Working within emerging technologies Sainte-Marie very early combined photography, wet painting, pointillism- pixelation, abstraction and realism techniques. The final product is an intensely contemporary statement of colour, line and subject matter that draw from her love of design, dance, animals and Aboriginal cultures. 

Buffy likens her electronic paintings to “painting with light”. A pioneer in digital art, she has used the entire 30 year history of digital imaging software to combine colours, light and over-painting with metallic dyes to create significant, brilliantly coloured timeless paintings that are reflective of her heritage while being very rooted in the present. Her works have graced the covers of Art Focus and Talking Stick magazines and been featured in MS. Magazine, Yahoo, and USA Today.

Carole Freeman, The Fairs - Bald, acrylic on mylar 11” x 8.5”

Carole Freeman

An observer of  life and people, Carole Freeman's art practice combines clinical study, empathy, humour, and ironic juxtaposition as an approach to narrative image making and portraiture. A graduate of the Royal College of Art in 1980, Freeman astonished the art world  with a return to painting in 2008 after a long hiatus in her career. Her work is playful and provocative, capturing character and moments.

This year, Freeman's work was exhibited in Classical Values: Modern and Contemporary Drawings at Leslie Sacks Fine Art, Los Angeles , as one of four living artists including David Hockney alongside other luminaries such as Picasso, Matisse, and Klimt.  In 2012, Freeman was invited to speak about her practice on the panel Making Art in the Age of  New Media, moderated by Janet Carding, Director of the Royal Ontario Museum, for the Canadian Arts Summit at the Banff Centre. Freeman's work has been highlighted  in The Globe and Mail, The National Post, and Now Magazine as well as numerous blogs including ArtDaily and Los Angeles Magazine.

Cyrus Smith, U8, oil, paper, string on canvas, 63" x 63"

Cyrus Smith

Winnipeg born, Berlin based, Cyrus Smith is as influential as he is brilliant. This makes it problematic to clearly summarize his practice in a neat package, save to say ‘contemporary artist’. Titles aside, one can note that he is continuously pushing himself and his visual language, exploring his penchant for anarchy. His large-scale acrylic and mixed media paintings reject idealism; stale artistic methods and modern society’s unchecked embrace of ‘rationalism’. 

Some of Smith’s materials are taken from his own failed paintings, enabling a personal reclamation rather than from a pop cultural source. The resulting images are a mix of controlled chaos, humour, and tongue-in-cheek experiences. The works are a pop-art statement of postmodern defiance. 

Kae Sasaki, Untitled, Oil and Patina on Gold-Leafed Panel, 2014, 40" x 40"

Kae Sasaki

The richness in the raw materials of Kae Sasaki’s work develop from the ideas born of Fairy tales and classical myths. Her artwork is a unique investigation of the boundary between narrative and its interpretation, art and its allegory. Using an innovative ‘patination’ method to apply gold and silver leaf to her work, Sasaki’s work is stunning in its technique and raw beauty.

Sasaki graduated from the University of Manitoba with her BFA Honours in 2012. She was commissioned by the University for a Bronze Sculpture. Her work has been exhibited at the Winnipeg Art Gallery among others and she has won several awards including the Alice Hamilton Painting Prize in 2012. 

Megan Krause, Navigating Hindemith, Watercolour, Acrylic and Oil on Panel, 24" x 24", 2012

Megan Krause

Using watercolour and oil paint, Krause’s work investigates consumer habits, environmental issues and questions of sustainability. Her compositions layer organic imagery with linear elements, juxtaposing ambiguous patterns with representational structures. Her paintings become an effort to resolve her ideological intentions with her conflicting actions. 

Megan Krause completed her BA in International Development Studies at Canadian Mennonite University and more recently her BFA Honours in Painting at University of Manitoba. In September 2012 she was selected to be a participant in the yearlong Foundation Mentorship Program offered by MAWA. Krause has been awarded three grants in 2014 including The Nellie McClung Arts Legacy Award.

Cliff Eyland, Meditation Block 4, Oil on Block, 5" x 3"

Cliff Eyland

Driven by his belief that libraries are the foundation of civilization, Cliff Eyland settled on the 3” x 5” index card as his constraint. These intricate works cover many styles, abstract, landscape, and figurative. They are best presented in juxtaposed multiples. 

Cliff Eyland is painter, writer, professor, and curator. He has exhibited his work in art galleries and libraries in Canada, the United States and Europe. Exhibition highlights include solo exhibitions at the Art Gallery of Ontario, the New School University in New York, the Winnipeg Art Gallery, Struts Gallery and Gallery Connexion, the Art Gallery of Calgary, , the Art Gallery of Nova Scotia, and eyelevelgallery,. His permanent installation of over 1000 paintings at Winnipeg’s Millennium Library opened in 2005. Another installation opened at the Meadows Library in Edmonton in 2013 and most recently at Halifax Central Library.

Christian Worthington, 1607, Acrylic and Oil on Canvas, 2013, 48" x 80"

Christian Worthington

 Christian Worthington’s large ethereal abstracts and gorgeous representational paintings are ‘implicitly ontological’. “My work comes from the view; implicitly (and stubbornly) that art should only deal with the nature of being itself (ontology). Art contemplated and experienced in this context can be a powerful tool in bringing the senses into a deeper appreciation. ”

A Canadian-born painter who resides in Winnipeg, Manitoba Worthington is a life-long student of the works and legacies of the Old Masters - most notably Caravaggio, and Rembrandt, as well as modern masters Rothko, and Frankenthaler.

His art hangs alongside prized works of Salvador Dali and Pablo Picasso. His work has been shown in, and sold to, private and public collections across North America and the UK, notably the collections of the Royal Bank of Canada, the Trump Towers in Miami, Florida and the public collections of the Government of Manitoba. He has appeared on the CBC National, Time out London, Image Journal, Imago, Eat your Arts and Vegetables, Cardus, and has been a speaker at many events, including the Manitoba Society of Artists conference on art history at the Winnipeg Art Gallery.




Hogs and Horses: Diana Thorneycroft, Michael Boss

On Display Until November 1st

"Some couples play bridge or rob banks, we exhibit together," says Michael Boss of his relationship with Diana Thorneycroft. Despite collaborating on projects for over 20 years, the two Winnipeg artists’ approaches to making art are in complete contrast. While Thorneycroft's work challenges us with the darkness that lurks in the human consciousness, Boss gives us conviction and solace. Together the two are a perfect match. Hogs and Horses is the couple’s fifth collaboration. The exhibit opens on October 3rd, 7:00PM and is on display until October 25th.

Diana Thorneycroft, Rabbitfoot Black, Mixed Media, 12" x 14" x 12"

Hogs and Horses focuses on Thorneycroft’s morphed plastic horses and Boss's series of drawings, photographs and mixed media pieces that highlight his passion for motorcycles. On the surface the common link between these two bodies of work seems to be "transportation". Yet, the true underlying connection is "obsession". Both artists have spent the better part of two years investigating their respective subject matter. This fascination is clear in the breadth and depth of the two dozen pieces presented in Hogs and Horses.

Inspired by Thorneycroft’s interest in West African vodun culture, each of her manipulated plastic toy horses have the potential to become a container invested with meaning. Protruding from the horses’ mouths, which were altered to appear open, is a temporary tongue. When the tongue is removed, the empty cavity allows the owner to place a small magical/memorable object in through the horse’s mouth, eventually, landing in its belly. This process of activation, which becomes permanent once the tongue is glued in place, turns the sculpture into the owner’s personal talisman. Thorneycroft’s alterations to the plastic toy horse go beyond changing their mouths, and through additional alterations, the horse-ness of the animal disappears and a hybrid “other” takes its place.

Michael Boss, Softail, coloured pencil, 18" x 24", 2013

Michael Boss, Softail, coloured pencil, 18" x 24", 2013

Boss, in contrast, bares his fascination with motorcycles and the mystique that surrounds them. "I have been obsessed with motorcycles since I had my first ride on my uncle Len's Harley at age 4,” says Boss. The experience naturally worked its way into Boss’ art. The large-scale oil pastel drawings of his own bikes and those that appeal to him are part of this complex nostalgia. Boss also constructed a cardboard motorcycle using a shoebox, masking tape, duct tape and a plastic water bottle. The end results are not unlike the models from his childhood, bursting with reminiscence and excitement. 

The two artists challenge our notions of what is weird and what is wonderful. Together Thorneycroft and Boss’ prove that when artists collaborate the extraordinary happens.

Artist Statements

Diana Thorneycroft

Although I am mostly known for being a photo-based artist, for the last two years, I have been making sculpture. This shift in my practice was partially influenced by an event that took place when I travelled to Shenzhen, China three years ago, and encountered people with horrifically abnormal bodies, all begging for money in a large market area. The spectacle of their disfigurement was remarkable. My desire to photograph them was tempered by the discomfort I felt when I considered participating in their exploitation. I was reminded of freak shows and the allure of the “other” and felt culpable for being curious about these ‘performers’ with their aberrations. 

The experience in China led me to a new field of research. In order to comprehend the universal appeal of visual abnormality and my own contradictory emotions, I began reading about the history of freak shows, disability theory and the representation of difference. Although I am still learning, I now have a better understanding of the complex issues surrounding heterogeneity. 

As an artist, I want to make work that reflects the tension one experiences when encountering “otherness”. In the past I have used dolls, animal carcasses and action figures as surrogates for the human form. With this new work, I chose the ubiquitous plastic toy horse, made by companies such as Breyer and Mattel. 

When I started altering the toys, I simply covered their bodies with fabric, but in time, the changes became more severe; limbs were cut off, prosthetics attached, and new skins of various materials were adhered to the plastic. When I began melting the horses in an oven, which drastically morphed their shape, the original horse-ness of the toy receded and a strangely beautiful hybrid took its place. In their disfigurement, the horses began to successfully exude “otherness”, and embodied much of what that word implies. 

In addition to theories about visual difference, my appreciation and understanding of African vodun botchio figurines has also contributed to this work. 

The custom of using figurines to protect oneself and family was once a common practice, especially in western Africa. In the Fon culture, for example, a carver would be hired to make a wooden figurine that roughly resembled the client’s human form. Following its completion, the next phase would be the employment of a shaman, who would activate the carving by embellishing it with various materials believed to be magical. Sometimes a cavity would be made to house a specific medicine and then sealed in place with a nail or plug. The botchio would then be placed in front of the client’s home to become the family’s protector.

It is not my intent to appropriate African culture, as the botchio figurine stems from a religion I do not practice, but the power of imbuing meaning into objects is universal, and for that reason, I feel comfortable making this conceptual link.

As mentioned earlier, the second-hand plastic horses are made by companies such as Breyer and Mattel. In my mind, they become the “carver”. When I alter the horses by reshaping their bodies, adding limbs, textures and drawn skins, I take on the role of the “shaman”. However, activation is done by the person who ends up owning the horse.

Each altered horse has a tongue that is removable. This allows the new owner to put something they believe to be magical or memorable in through the horse’s mouth, to eventually land in its belly. Once the tongue is permanently glued in place, the sculpture takes on a new invested meaning. This process of activation makes the horse the owner’s personal talisman. 

Michael Boss

I have been obsessed with motorcycles since I had my first ride down the back lane on my uncle Len’s Harley at age 4. From that moment on I dreamed of owning a bike just like that one. 

The decades flew by and the dream remained a dream. It finally became a reality when my daughter bought me a customized 1979 Harley Sportster for my 50th birthday (Best Daughter Ever)!

Since then, the obsession has grown. I hit the road every chance I get. The experience has, naturally, worked its way into my art practice. I have been doing large-scale oil pastel drawings of my bikes and those that appeal to me. I find pastel the ideal medium for this work; it is situated between painting and drawing; it allows me to work broadly and quickly; capturing the power and vitality of these machines without getting bogged down in details. 

There is nothing like roaring down a winding road on a bike, feeling the rush of the wind, being immersed in the sights, sounds and smells around you. I aim to relay a sense of the physicality of the experience in the muscular marks and textures on the paper; the combinations of muddy, rough, raw sections set against pristine and smooth surfaces. 

The act of drawing and painting is inspired by the primal emotions that arise as I head out on the highway and leave everything behind me, becoming immersed in the wind pushing against my face and chest, the roar of the powerful engine reverberating through my body, the sense of freedom and power that flow from the “heavy metal thunder”.

To request a catalogue of the works, prices or additional information, please contact us at sales@gurevichfineart.com or 204-488-0662.