Open 11 a.m. – 5p.m. daily

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Greeting the Unseeable

Chongyin Yuan, MFA Thesis Exhibition — Gallery 1

From lilong to fences, Shanghai to Halifax, the subject matters of Yuan’s paintings help him to talk to his memories and thoughts. Using a reductive approach, he is playing between the figuration and abstraction on his canvas trying to find the soul and guts of the cities he has lived in. “What you see from my paintings is up to you; past or future, sadness or joy, tasteful or meaningless. I am a narrator recording temporary periods in our lives.�

Room for a View

Lisa Klakulak, MFA Thesis Exhibition  — Gallery 2

About her exhibition, Klakulak offers, “The porosity of material and process ÅÝܽ¶ÌÊÓƵes that modify its internal space are micro-environments that provoke memories of lived experiences. Abstract social re-enactments are constructed with found and referenced objects using qualities and measures of space to allude to psychosomatic states of being.â€�

Journal Memories

Feiya She, MFA Thesis Exhibition— Gallery 3

This body of work originated from diaries which recorded a special experience and gave me a new perspective about memory. By printing words on different fabrics, these works explore the variability and plasticity of fabrics, through pieces of adornment.

Public access to view exhibitions:

Occupancy: 20 people

Gallery 1 on Granville Street will be the main entrance to the gallery. Please read instructions posted at the entrance and throughout the space. You must exit through Gallery 3 on Hollis Street.

Visitors must:

1. Respect social distancing, stay six feet apart.
2. Guests must sign in with their name and contact information. In the event there is a case that is traced back the gallery we will be able to notify all visitors.
3. No back tracking. View the work by gallery and exit through Gallery 3.
4. No touching the art.
5. Hand sanitizing stations are available in the gallery.
6. If you see more than five people in Gallery 1, please wait in the queue outside.
7. Wearing a mask is encouraged.

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Why did you choose ÅÝܽ¶ÌÊÓƵ?

When I started, it was the only MFA in jewellery in Canada. Also, my father is from Nova Scotia, and I wanted to get to know the place he was from, and my relatives there, a little better. So I didn’t really consider any other institutions.

What is your fondest memory from your time at ÅÝܽ¶ÌÊÓƵ?

The many wonderful conversations I had with faculty, classmates, and visiting artists, in my studio and over drinks on the town.

How did ÅÝܽ¶ÌÊÓƵ help prepare you for your career?

Actually I was already well into my career when I came to ÅÝܽ¶ÌÊÓƵ. But it really helped me to understand contemporary art better, and how to place my work within that context. Also, the MFA program was amazing for having time, space and mentorship to create the body of work which I’m now exhibiting.

Describe the importance of African Heritage Month for Black artists?

That’s a tricky question because I’m not really sure how important I think it is. It’s great that institutions will have some programming for Black artists in February, but the flip side is that there’s a risk of always having a show in February, and having nothing the rest of the year. I like to think we’ve made enough advances that galleries could just show lots of art by people of all cultures all the time, but maybe this is too optimistic! I have met a really inspiring number of Black women curators in really well-respected institutions in the past couple of years, so I really can see a near future where we don’t have to dedicate the shortest month of the year to showing Black art.

In the past 20 years, you graduated from VCC’s Jewellery Art & Design program, had exhibitions in Japan, the United States and across Canada, earned a master’s degree from ÅÝܽ¶ÌÊÓƵ, and recently became the department head of Jewellery Design at VCC. Throughout this journey, what are the most important lessons you learned that helped shape you as an artist?

At one point I had to make a conscious effort to divorce my creative work from my financial well-being. I have experienced a certain amount of failure when it came to supporting myself with my creative work, and it was really damaging to my creativity. I also feel that I can have more freedom with my work if I don’t have to worry about it selling, or even being accepted for shows. The drawback is that my teaching job sometimes takes over and I don’t have a lot of time for my creative work. But I really don’t know a lot of people who have the perfect balance of financial stability and creativity anyway, so I think it is up to us to decide in which areas we want to make sacrifices, and when.

How does your identity inform your work?

My work is all about identity. I think when you grow up as a visible minority you can’t help but be affected by it and start questioning it at an early age, like in kindergarten. So I feel I’m constantly trying to figure out how identity works. How does the world see me? How do people and societies choose their identities? Right now I’m thinking and reading a lot about how Greek and Roman culture has basically been co-opted by all of the cultures of Europe and beyond. Why is this more a part of European identity than the Dark Ages, or the weird religious cults that emerged after the plague years? Obviously because everyone wants to claim something noble, or that they’ve been taught is noble, in their past to identify with. But I find it fascinating that we all just take this identity for granted, every time we walk past a building with Greek columns in front of it, whether it’s a courthouse, an art gallery, a university or a slave-owner’s mansion.

Discussions like these are important, where would you like to see improvements in arts education and the arts community in general?

I think institutions need to include more people of colour at every step and every level – in reading lists, in the work that’s shown in classes, in the faculty itself.

Who are the artists that you most admire? What type of influence do they have on your work? 

Last year I got the chance to attend an artist talk by Kerry James Marshall in Vancouver. It was a packed house, and it was almost a religious experience for me. Sometimes I think back on that night with a sigh – the night I got to spend an hour listening to Kerry James Marshall talk about his work. I love work that has an emotional impact and is also done in a really well-thought-out way. I think there is so much art out there that relies too heavily on intellect, and it leaves me cold. So that combination of the head and the heart in art is something I really aspire to.

Learn more about Karin Jones and her work at .

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About ÅÝܽ¶ÌÊÓƵ

Students at ÅÝܽ¶ÌÊÓƵ University have been shaping art, design and craft in Canada since 1887. With an approach to education that includes the strategic integration of arts, culture and community engagement, students thrive in a learning and research environment that is committed to equity, diversity, inclusion and academic excellence.

Located in historic downtown Halifax, ÅÝܽ¶ÌÊÓƵ offers students exceptional access to equipment and facilities, and boasts a global reputation for excellence in preparing students for a future in the creative industries. ÅÝܽ¶ÌÊÓƵ’s faculty and alumni represent some of Canada’s most highly regarded curators, designers, craftspeople, filmmakers, artists, educators and entrepreneurs. Close connections between students, faculty and alumni encourage vital and innovative dialogue and collaboration.

Our graduate programs

Master of Arts in Art Education

The Masters of Arts in Art Education is a new graduate program at ÅÝܽ¶ÌÊÓƵ. The program offers rigorous research training and hands-on experience to prepare students for careers in a variety of art education settings. Students choose from three different streams: applied pedagogy in art education, museum and curatorial, and community-based practice.

Master of Design

ÅÝܽ¶ÌÊÓƵ’s 60-credit Master of Design uniquely allows students the opportunity to take both studio and theory courses, culminating in a graduate thesis or degree project. The emphasis of the program is on practice-led research where students will present their findings through their design work, accompanied by an extended written paper, by a public presentation or in a group exhibition.

Master of Fine Arts

The Master of Fine Arts degree is internationally recognized as a standard qualification required for teaching craft and visual arts at post-secondary educational institutions such as colleges and universities. The ÅÝܽ¶ÌÊÓƵ MFA provides students with the opportunity to develop their work in a context of intense critical discussion. Pedagogy, research, creation and other integral academic courses enhance the studio focus. Students are selected for their capability as artists and craftspersons, their critical abilities, and the personal qualities and interests that might contribute to their success as teachers and scholars.

For more information on ÅÝܽ¶ÌÊÓƵ and our graduate programs visit: /study-at-nscad/graduate/

The post ÅÝܽ¶ÌÊÓƵ’s Graduate Studies ÅÝܽ¶ÌÊÓƵ – Creativity, Innovation, Practice and Theory appeared first on ÅÝܽ¶ÌÊÓƵ.

Preparation Suites  — Celeste Cares & Alex Sutcliffe, undergraduate exhibitors — Gallery 1

Celeste Cares paints a mushy, girlish muse in various states of activity. Applying lipstick; combing hair; spilling coffee – these states of getting ready prove to be messy, chaotic, and fun. Alex Sutcliffe’s oil paintings abstract figures and forms in nebulous, unreal landscapes. Muted colours and rich brushwork reveal hazy figures that wait, withdraw, and dance in a visualized space of existential malaise, suspended on a stage where they prepare for nothingness.July 17, 2019
Noon Talk
Anna Leonowens Gallery, 1891 Granville Street

Ocean Treasures: Anthropocene Artifacts —
Jennifer McLatchy, IDPhD Candidate— Gallery 2A

Artist-researcher Jennifer MacLatchy combs shorelines in Nova Scotia by kayak and by foot, searching for and collecting marine debris, or, anthropocene era artifacts. This exhibition is a museum-like display of artifacts that have been documented and preserved with great care in order to study the relationship between humans and the ocean in a time of great change and loss. This work is an enactment of small acts of great care aimed at addressing massive and overwhelming environmental problems. In doing this, it engages with feelings of futility, grief, and maybe hope.Not Place
Heather Murray & Caitlin Secondcost, organizers — Gallery 3

This exhibition presents paintings, sculptures and audio works by Heather Murray, Caitlin Secondcost, Lauren Hodder, Jennifer Litsas, Bryson Mckenzie, Hila Peleg, Kizi Spielmann Rose, Anna-Lisa Shandro, Mitchell Wiebe and Twyla Zoe.

Exhibition: July 9 – 20, 2019

Alcuin Awards for Excellence in Book Design in Canada, travelling exhibition  — Gallery 2B

The Alcuin Society has announced the 2018 winners of its annual winning books, which will be exhibited in Germany at the Frankfurt and Leipzig Book Fairs; at the Canadian Embassy in Tokyo; and in nine Canadian provinces. The Alcuin Society is a Vancouver based non-profit society for the support and appreciation of fine books. For more information and list of winners visit

The post New exhibitions! Celeste Cares & Alex Sutcliffe; Jennifer MacLatchy; Alcuin Awards; Not Place group exhibition appeared first on ÅÝܽ¶ÌÊÓƵ.

Preparation Suites  — Celeste Cares & Alex Sutcliffe, undergraduate exhibitors — Gallery 1

Celeste Cares paints a mushy, girlish muse in various states of activity. Applying lipstick; combing hair; spilling coffee – these states of getting ready prove to be messy, chaotic, and fun. Alex Sutcliffe’s oil paintings abstract figures and forms in nebulous, unreal landscapes. Muted colours and rich brushwork reveal hazy figures that wait, withdraw, and dance in a visualized space of existential malaise, suspended on a stage where they prepare for nothingness.July 17, 2019
Noon Talk
Anna Leonowens Gallery, 1891 Granville Street

Ocean Treasures: Anthropocene Artifacts —
Jennifer McLatchy, IDPhD Candidate— Gallery 2A

Artist-researcher Jennifer MacLatchy combs shorelines in Nova Scotia by kayak and by foot, searching for and collecting marine debris, or, anthropocene era artifacts. This exhibition is a museum-like display of artifacts that have been documented and preserved with great care in order to study the relationship between humans and the ocean in a time of great change and loss. This work is an enactment of small acts of great care aimed at addressing massive and overwhelming environmental problems. In doing this, it engages with feelings of futility, grief, and maybe hope.Not Place
Heather Murray & Caitlin Secondcost, organizers — Gallery 3

This exhibition presents paintings, sculptures and audio works by Heather Murray, Caitlin Secondcost, Lauren Hodder, Jennifer Litsas, Bryson Mckenzie, Hila Peleg, Kizi Spielmann Rose, Anna-Lisa Shandro, Mitchell Wiebe and Twyla Zoe.

Exhibition: July 9 – 20, 2019

Alcuin Awards for Excellence in Book Design in Canada, travelling exhibition  — Gallery 2B

The Alcuin Society has announced the 2018 winners of its annual winning books, which will be exhibited in Germany at the Frankfurt and Leipzig Book Fairs; at the Canadian Embassy in Tokyo; and in nine Canadian provinces. The Alcuin Society is a Vancouver based non-profit society for the support and appreciation of fine books. For more information and list of winners visit

The post New exhibitions! Celeste Cares & Alex Sutcliffe; Jennifer MacLatchy; Alcuin Awards; Not Place group exhibition appeared first on ÅÝܽ¶ÌÊÓƵ.

Alcuin Awards for Excellence in Book Design in Canada
travelling exhibition  — Gallery 2B

The Alcuin Society has announced the 2018 winners of its annual winning books, which will be exhibited in Germany at the Frankfurt and Leipzig Book Fairs; at the Canadian Embassy in Tokyo; and in nine Canadian provinces. The Alcuin Society is a Vancouver based non-profit society for the support and appreciation of fine books. For more information and list of winners visit July 9 – 13, 2019
Opening reception: Monday, July 8, 5:30 – 7PM
Anna Leonowens Gallery, 1891 Granville Street

JIAN — Koei Kao
MFA Thesis Exhibition — Gallery 1

Kao’s MFA thesis exhibition explores concepts of negative space, translation between human race and animal species in embossing works, and ink and oil paintings. Emphasis on negative space and breathing rooms through transparent embossed text pieces and Xieyi paintings, the artist draws attention to the distance created through every translation and an ESL interpretations. These works invite viewers to engage with further translations that go beyond the artist’s lenses. How much or how less is needed for us to communicate? How long does it take to see a creature?North Block — Rachel Anzalone
graduate exhibitor — Gallery 2A

During her studies at ÅÝܽ¶ÌÊÓƵ, Rachel Anzalone traveled up and down the North Block stairway, continuously leaving from and arriving at her studio. She noticed paint chips bubbling and departing from the walls. With curiosity, she peeled the chips, only to discover the layers of paint underneath. With sheets of mylar, acrylic paint, and the paint chips collaged together, Anzalone has documented a piece of the building’s history and someone’s attempt at patching up the walls.

On Thursday, June 20th at 9:30PM, the artists will host a brief discussion followed by a musical performance as Tangent at Art Bar +Projects.Clifton Deposits — Sage Sidley
graduate exhibitor — Gallery 3

This exhibition explores digital and physical location-based data collection and its influence on experiencing place. Sidley’s interdisciplinary drawing research concerns the intangible transformation of public and semi-public spaces into digital data harvesting sites and the proliferation of social surveillance practices. The gallery space will swarm with forms such as: found objects and notes, drawings, prints, and sculptures to investigate the traces of these unseen influences.

On Thursday, June 20th at 9:30PM, the artists will host a brief discussion followed by a musical performance as Tangent at Art Bar +Projects.

The post New exhibitions! Alcuin Society; Koei Kao; Rachel Anzalone; Sage Sidley appeared first on ÅÝܽ¶ÌÊÓƵ.

To the extent that addicts reveal themselves as complex and mysterious beings, my jewellery reveals something about the interaction between self-destruction, freedom desire and the complexity of this relationship. My work uses architectural elements to illustrate the geographical contrast of the makeshift shelters of homeless addicts and skyscrapers in big cities while juxtaposing the common material of concrete and steel contrasting with powerful colors of street art. Damaged but solid, my work creates a feeling of instability, isolation and detachment. Far from attempting any kind of reconciliation, my jewelry evokes the everyday violence that addicts face as they struggle to hold on to their place in society.

Scars can’t be erased but the pain of the past must be revisited, and a new way forward can be found… a notion which guides my process ÅÝܽ¶ÌÊÓƵ in this series. I reflect on the complex feelings and memories of my experience working on the street with drugs addicts, where I learned the importance of mutual trust in the moments when everything feels uncertain. Expressed in my intuitively created concrete and paint works, is my understanding of the importance of living in the present, accepting one’s mistakes and moving forward– a process ÅÝܽ¶ÌÊÓƵ, which is equally as important as the end result.

Juror Laura Ritchie, Director/Curator of the MSVU Art Gallery: “This room is filled with so much promise … when I got to see all of the work in person for the first time I was elated. This is a remarkable array of work that proves why ÅÝܽ¶ÌÊÓƵ continues to stand out internationally. We had a very difficult task … eventually we were town between two artists. With the consultation of the organizers we were able to create an Honorable mention category as a way to recognize the 10th anniversary of this award. The 10th anniversary Honorable mention goes to an artist who shows mastery in their media. This artist took a western method of story-telling and used it as a tool to tell her story and that of her community across cultures. The Honorable mention and $1,500 prize goes to Megan Kyak-Monteith.”

Eight other outstanding finalists were recognized and awarded $1000 each for their fine works in nine other disciplines. Congratulations also go to:

• Emma Allain (MFA 2019), Expanded Media: This will not be an unfamiliar landscape, 2018. Hand-bound artist’s book and silkscreen prints on rag.
• Tyler Anderson (BFA 2019), Drawing: Curl Towards Push Against, 2019. Paper and fabric.
• Drayden Decosta (MFA 2020), Film: Rooms of the House, 2018. Film/Video.
• Alex Linfield (MFA 2018), Printmaking: The Only Job That Starts At The Top Is Digging A Hole, 2018. Silkscreen on plexiglass, digital pigment print, acrylic on slip cast ceramic.
• Liv Mansveld (BFA 2019), Textiles/Fashion: Love Languages, 2018. Woven Textiles, Constructed Garments; A collection of 3 pieces.
• Luke Mohan (BFA 2019), Ceramics: Closet, 2018. Ceramics.
• Mark Sark (BFA 2020), Sculpture: Sculpture #5, 2018. Sculpture.
• Wiebke Schroeder (BA 2018), Photography: Beachwalk, 2018. Photographic image/print.

This is the tenth year for the Starfish Student Art Awards, named for presenting sponsor Starfish Properties. Established by property developer and art collector Louis Reznick and ÅÝܽ¶ÌÊÓƵ University to recognize and promote exceptional students, the awards provide emerging artists with vital visibility as they embark upon their careers.

Thank you to the creative businesses supporting the 2019 Starfish Student Art Awards:

Gold Sponsors: Engel & Völkers, Lydon Lynch Architects Ltd., TD Insurance

Silver Sponsors: BMO Nesbitt Burns, Citadel Oral & Facial Surgery, CKG Elevator Ltd., Freehold Commercial Realty, Garrison Brewing Co., Halifax Seaport, McInnes Cooper, Southeast Drywall

Supporters: Bird Mechanical, Patterson Law, Rhyno’s Ltd., Spectacle Communications Group

Members of the 2019 Starfish Student Art Awards jury are: Enrique Ferreol, Program Officer at Arts Nova Scotia; Laura Ritchie, Director/Curator of the MSVU Art Gallery; Julie Rosvall, Program Coordinator at Craft Nova Scotia; and Linda Hutchison, Associate Vice President, University Relations, ÅÝܽ¶ÌÊÓƵ University. The Starfish Student Art Awards are coordinated by Melanie Colosimo, Director of ÅÝܽ¶ÌÊÓƵ University’s Anna Leonowens Gallery.

The post Kim Paquet, Starfish Student Art Award grand prize winner! appeared first on ÅÝܽ¶ÌÊÓƵ.

CHICLINIC
Xinting Hui, MFA Thesis Exhibition — Gallery 1
Artist Talk: Tuesday, April 9, 12 Noon

Hui offers, “When does clothing become fashion, and why do we waste fashion? By redesigning abandoned apparel, I found a special connection between people and clothing, which leads us to an imaginary happiness.�

Not just the distance but what it contains
Emma Allain, MFA Thesis Exhibition — Gallery 2
Artist Talk: Thursday, April 11, 12 Noon

In her MFA thesis exhibition, Emma Allain explores themes of distance, alienation, translation, and interference. Through a range of media, including printed matter and paper marbling, Allain attempts to create memorials for information that has been lost over time, across cultures, and through generations.(sa)line progression
Alicia Hunt, MFA Thesis Exhibition— Gallery 3
Artist Talk: Friday, April 12, 12 Noon

“La mer s’est retirée de nous.
Les lignes de nos mains sont ses dernières empreintes.�
(The sea has left us now
the lines on our hands are its lasting marks) – Anise Koltz

Alicia Hunt’s practice involves direct, multisensory encounters with coastal places in Nova Scotia through walking and foraging. She uses primarily seawater and cloth to record, respond to, and contemplate the local physical and cultural geography

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Taste Test
Aralia Maxwell, MFA Thesis Exhibition — Gallery 1
Artist Talk: Thursday, April 4, 12 Noon

Does taste matter? Food may be necessary for survival, yet cravings ignore nutritional content or gustatory flavour. Basic aesthetic elements of colour, form, and texture can be manipulated to entice hungry eyes. In our mass consumer culture, ideas of normalcy become skewed as foods transform into uncanny and bizarre evolutions from their origin.

Working primarily with acrylic paint and plastic foam, the artist trades paint brushes for kitchen tools and canvases for sculpted objects. Blending and abstracting vocabularies of fine art and food, the resulting installations explore materiality, aesthetic taste, and what it means to engage in a visual diet.Wayfinding
Chloe Kinsella, MFA Thesis Exhibition — Gallery 2
Artist Talk: Friday, April 5, 12 Noon

Researching misnomers of wilderness, Kinsella’s MFA thesis exhibition explores camouflage and anti-camouflage through in situ documentation and gallery installation. Made up of works on fabric integrating with respective environments the assemblages have varying levels of illusion and legibility. This exhibition serves as a commentary on the mediation between tourist bodies and natural environments, as well as a visual manifestation of what contemporary wilderness beholds.

Chloe Kinsella and Philip Kanwischer will also have collaborative sculptural projects throughout Gallery 2B and 3. Fostered through their shared interest in human / animal interactions they are delving deeper in to the aesthetic value of nature and our understanding of its inhabitants.Significant Otherness
Philip Kanwischer, MFA Thesis Exhibition— Gallery 3
Artist Talk: Wednesday, April 3, 12 Noon

Significant Otherness is an exhibition showcasing Kanwischer’s photomontages of his personal interactions with wild animals. These works question where we position our selves in relation to more-than-human animals. When you enter the gallery be ready to be deceived. Deceived by the photographic medium, the creator, and the animal self.

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