Categories
Agnes Jamieson Gallery Exhibitions

Truss

Truss
by Carey Jernigan

Agnes Jamieson Gallery
September 29 – November 28, 2020

Jernigan’s work features wood, light, and memory. She explores industrial processes, material culture, and the people and places they shape.

Artist Bio

Carey trained as a furniture maker with Heidi Earnshaw Design (2012 – 2017). ​In 2015, Carey was the recipient of the RBC Emerging Artists Studio Setup Award. ​Her exhibition, Patternmaker, with Julia Campbell-Such, made Canadian Art’s Must-Sees list in September 2016. The Hamilton Arts Council invited Carey to reflect on Patternmaker and her previous work for its Echo Artist Talks series.

Artist WEBSITE

Exhibition Images

Images coming soon

Categories
Agnes Jamieson Gallery Cultural Centre News In The News

In The News: ‘Navigations of Iron’ at AJG

Iron ore mining between Kinmount and Tory Hills never really got off the ground between 1870 and 1900, but it’s test holes and mine sites have provided artistic fodder for Gary Blundell, who’ll launch an exhibition at the Agnes Jamieson Gallery in Minden Aug. 12.

“It’s a show based on some patterning that I found in the woods mostly last year around the Irondale area,” Blundell said in an interview. “It’s things left behind.”

Lisa Gervais

Lisa Gervais interviewed artist Gary Blundell in this feature about current exhibit ‘Navigations of Iron’. Read the full article here, on page 20.

Categories
Agnes Jamieson Gallery Exhibitions

Navigations of Iron

Navigations of Iron
by Gary Blundell

Agnes Jamieson Gallery
August 12 – September 26, 2020

Between 1870 and 1900, there was a great hope that the iron ore found between Kinmount and Tory Hill would bring prosperity to the area. Many men came here seeking the location of valuable iron deposits, digging test holes in the ground and setting up mine sites. The most notable was Chalres Pusey, who as a young man had worked for the new railways in both England and the United States. He came in hopes of becoming a true mining and railway baron. Sadly, despite setting up a home here, building a church in Irondale and the IB&O Railway linking Howland Junction to Bancroft, the iron deposits were poor at best and the entire venture went from hopeful to abandoned.

The area today is littered the the remains of these activities. The mine test-holes and mine sites can be found throughout the woodlands. There are still the remains of railway beams, intact bridges and decaying waiting rooms.

As an artist interested in the collision between human and natural patterning on the Earth’s surface this local endeavor has intrigued Gary Blundell since moving here in 2000. This exhibition is all about what remains.

Artist Bio

E. G. Blundell was born in London, England and immigrated to Canada in 1962. Gary is a hyrdogeoloist by training and has a degree in Earth Sciences. In 2014 he received the Chalmers Fellowship. His work has been exhibited across the country, the UK and can be found in numerous public and private collections throughout Canada.

Artist WEBSITE

Videos

Exhibition Images

Victoria Long Pit (2020)
Gary Blundell

oil on wood 42″ x 40″


Waiting Room (2019)
Gary Blundell

gouache and pencil on paper 11″ x 15″

Stonehenge paper, pen and ink

Howland Pit No. 1 (2019)
Gary Blundell

oil on wood 40″ x 42″

Categories
Agnes Jamieson Gallery Exhibitions

Interlace

Interlace
by Carolyn Wren

Agnes Jamieson Gallery

Carolyn Wren offers three parts to this exhibition. In the large gallery area handwritten in cursive, the transcribed text of Virginia Woolf’s “A Room of One’s Own” (1929) was lovingly embroidered by many women. Sixty-four 3’ x 5’ panels were sewn together to revive Woolf’s extended essay. The work appears to come from out of the wall and spill around the room, mimicking a factory production. The second installation, “Lost Knowledge”, also involves cursive writing. Exhibited in the hallway, this display becomes a transition from “A Room of One’s One” and The Ghost of Emily.  It ties the threads between embroidered work and crochet work revealing the base line nascent in Wren’s practice. The work represents Wren’s need to remember by obsessively writing out the first few pages of books , she attempts to collect, preserve, honour, and ritualized knowledge.  The third installation involves a wall-mounted display of words, suspended by pins, and created by crocheting, the entire poem by Emily Dickinson “Because I could not stop for Death”.

With Carolyn Wren’s exhibition is a selection of Andre Lapine work, some of which are original letters written by Lapine to his dear friend Annette Brunelle and her family.

Artist Bio

Born in St. Catharines, Ontario, Carolyn Wren studied visual art at the University of Western Ontario. Wren has been exploring themes of lost knowledge and metanarratives in her recent work of transcribing iconic texts to create her installations. In the past she has used relief print methods and processes in non-traditional ways. Key exhibitions include: Rodman Hall Art Centre- Brock University. Kelowna Art Gallery. The University of Sherbrooke. Cram International Gallery, St. Catharines. Open Studio, Toronto. Linen Biennale- Portneuf, Quebec. She has been exhibiting her work since 1990 in group and solo shows across Canada in public galleries and in artist-run centres.

VIDEOS

A Room of One’s Own
Lost Knowledge
Emily’s Ghost

Exhibition images

A Room of One’s Own (detail)
Carolyn Wren
Installation: canvas, embroidery floss, thread (2019)


Lost Knowledge
Carolyn Wren
(Books I haven’t Read series, Cabin Library series, and Ruth’s Library series)

Stonehenge paper, pen and ink

The Ghost of Emily
Carolyn Wren
Installation: yarn, glue pins  (2020)

Categories
Agnes Jamieson Gallery tutorials

Watercolour notecard tutorial

Introduction

This post is part of our #stayconnected series. Rediscover the joy of sending a handmade card in the mail with tutorials inspired by the Cultural Centre’s collections

Tutorial by Shannon Quigley,
Curatorial Programming Assistant


Inspired by the collection

This charming new year’s card by André Lapine, a celebrated Canadian landscape painter, is the inspiration for this week’s tutorial. The card reads:

Dear Miss Brunelle de Beaufort
Accept my sincere wishes for the New Year 1940
that is may be a year bright with happiness

André Lapine


Make your own watercolour notecard


Materials:

  • A blank card or recycled cardstock
  • Watercolour paper
  • Watercolour paints and brushes
  • Pencil
  • Ruler
  • x-acto blade (optional) to cut paper, or scissors
  • A viewfinder
  • Container of water

Step 1:

  • Go outside and find a view you’d like to paint
  • Set up your paints, paper and a container of water
  • I’m lucky to be staying at a cottage, so I set up on the deck one evening. You can also paint the view from your window or work from a photograph

Step 2:

  • Use a viewfinder to frame a small piece of the landscape
  • Make a viewfinder out of any kind of paper by cutting a rectangle, square or circle out of the middle

Step 3:

  • Draw the basic shapes you see and fill them in with blocks of colour
  • Pay attention to contrast – decide which areas will be light and which areas will be dark
  • For areas with just a little bit of colour, wet the paper first with a brush and then add a small amount of paint to create a light wash
  • Check out this post from solvingwatercolour.com for tips on how to create a nice composition

Step 4:

  • Wait for your painting to dry and then cut it out
  • You can leave a small white border around your painting if you’d like to create the effect of a frame
  • Glue or tape your painting to a blank card of a contrasting colour
  • For instructions on how to make a card out of scrap or recycled paper, see Step 1 in the first week’s tutorial

More card designs you can try

make a card out of colourful scraps 🎨🖌️ 

  • Make a card out of scraps of paper you used to mix and test colours
  • Cut your scrap paper, already painted, to the desired shape and fold in half
  • Use a marker to write a message on the front
  • Voila! A scrap of paper has been beautifully repurposed!
  • You could also paint abstract colours onto plain paper. Great for kids learning how to mix colours!


Share your card in the #stayconnected online gallery!

We’d love to see what you make! Email a picture to Shannon at museum@mindenhills.ca, tag us on facebook / instagram or use the user submission form on the #stayconnected page. All handmade cards welcome!