May 18 - July 2, 2017
Jennifer Ferries. Girl with Seagull, Cattle Point, 2013. Oil on canvas.
An exhibition of oil paintings that depict moments of play, contemplation and peaceful solitude experience by both youth and animals immersed in outdoor environments.
March 9 - April 23, 2017
Erich Franz. Bull Trout, 2015. Graphite on paper.
Life Aquatic is an exhibition of drawings that honour the meditative act of fly-fishing and tying. Erich Franz explains: “when undertaking these tasks one must adopt a certain rhythm – move too fast or too slow and it won’t work.” Finding this pace involves focus and repetition; once it is achieved Franz finds himself completely present in the moment, comfortably lost in the task at hand.
Carefully planned in advance, each drawing is developed using a mandala format and a detailed repeating pattern taking up to forty hours to complete. The imagery within the mandalas themselves draws from aquatic ecology, and from equipment specific to the world of fly-fishing and tying.
The level of commitment demanded by Franz’ drawing process is equal to his passion for fly-fishing and tying. Life Aquatic is an exhibition that embodies this passion, and speaks to the importance of taking time for ones self.
December 8, 2016 - January 22, 2017
"Supercharger," Mixed Media on Bear Skull, 2016.
When making Art, with a capital “a”, Michael Forry has said that each canvas – whether it be a conventional canvas, animal skull or even skateboard – he feels like a kid in a candy store. “I have no idea of what’s going to happen next, but I know exactly what that painting will be in the end.”
His work is abstract, intense yet playful with titles that jump out at the viewer as much as the work does. Bright colours dance on the substrate Forry chooses for each distinct piece. As for Art, he creates with a spiritual guidance from somewhere deep within himself. He has spoken of Art as if it is a being unto itself, travelling through life with him, working parallel to him, plane to plane. The exhibition “Supercharger” brings together a selection of new work by Forry that exemplifies the profound and transcendental relationship he holds with Art and the process of making.
May 13 - July 24, 2016
Roderick Brown, 6 Pack, 2016. Western Red Cedar, Pacific Silver Fir.
Roderick Brown, an artist based in Terrace, British Columbia, is best known for his intricate woodcarvings of animals. Brown’s interest in the natural world influences much of his artistic practice and has brought him to consider such notions as the Anthropocene. Over recent years, the term “Anthropocene” has been used by many scientists to describe Earth's most recent geological epoch; named for the unprecedented degree to which human beings have gained influence over the planet and the animals that inhabit it.
With a focus on British Columbia wildlife, Brown has created sculptures of bear, caribou, wolf and salmon, which have been arranged, segmented and manipulated in order to allude to the Anthropocene era. This exhibition invites viewers to consider the hierarchy of power among Earth’s species, and what it means for humans to occupy the top position.
March 3 - April 10, 2016
Judity DesBrisay, Eden Undone, 2012. Oil on canvas.
DesBrisay's artwork emerges from her fascination with the Earth and testifies to the constant interplay between person and place. Inspired by sketches of her garden in Quesnel (BC), DesBrisay created the Possibilities series to embody the delight that she experiences when immersed in nature. However, these bright paintings are not as exclusively joyful and celebratory as they may appear; they carry with them a deep concern for the health and well being of the natural world.
February 1 - February 26, 2015
Elizabeth Eakin, Rose du Jardin, 2015. Watercolour.
This exhibition, envisioned by Le Cercle des Canadiens Français, showcases the talents of Francophone Artists who live in Prince George. In celebration of the 31st FRANCOFUN Winter Festival, a diverse array of paintings, textile, and ceramic work are brought together to reveal the vast spectrum of creative talent within our city's vibrant French community.
Join us for the exhibition opening of Talents artistiques francophones by Le Cercle des Canadiens Français de Prince George on February 1st, 7:30 pm. The exhibition runs from February 1 - 26, 2016 in our Rustad Galleria.
December 3 - January 10, 2015
Crysytalynn Tarr, Saddle of Torpey Ridge, 2015. Hand processed pigments (from Williams Lake, Kelowna Trestles, Juniper Beach, Kamloops Lake, road to Loon Lake, Foothills Boulevard and Nechako River) and ink on paper.
Prince George artist Crystalynn Tarr’s work with found pigments sourced from Prince George and surrounding areas in the North speaks to this same notion of memoryscape. As she hikes through mountains, forests and lowlands collecting samples of the land, she brings along her own small version of sedimented past and community landscapes. Each work that she then creates from these meticulously crafted pigments carries with it a unique connection to the place it originated. Her own kind of map, tracing pigments to substrate is created here, moving from memory image to work of art.
Memoryscape seeks to explore Tarr’s investigation of place in the North through her use of the land literally in her paintings. Tying the land so directly to her work, Tarr creates another view of society where through pictorial description memory is embedded and as in the Central Arctic where the Inuit were able to return to a seasonal house or village year after year simply by following their memories, stories or songs, Tarr’s paintings recreate her memoryscape of her experience of the North.
October 29 - November 29, 2015
Andrea Fredeen, Forest Ashes, 2014. Oil on canvas.
The human body is capable of many ways of expressing emotion, of making a point; much can be read as a story from the look on someone’s face or the posture they hold. Hands in particular are capable of saying much. Every callus and blister, tendon and joint, marks an individual’s own particular story. Having been a physiotherapist for many years, Andrea Fredeen has a long-standing fascination with the human body and how it moves. Fredeen particularly finds hands of interest, with the contrast that exists between their structure and that of the rest of the body. People tell many stories with their hands, and it is these that Fredeen seeks to represent on canvas.
August 20 - October 18, 2015
Designed and printed by Jean Chisholm and Janine Merkle, The Hometown Project. 2015.
The Hometown Project exhibition by Jean Chisholm and Janine Merkl is a design show that inspires people to be aware of the potential of their hometowns, invites them to share ideas of what would make their cities better, and facilitates collaboration to help these ideas become a reality from a grassroots level.
Celebrate your city, talk design and sustainability, and see all the ways you can collaborate with your community and make an impact in your hometown. The exhibition stimulates thinking about one's ehometown in different ways and the role we play in shaping its future.
Not only does the show celebrate what people already love about their hometowns, it also hopes to inspire change, create projects that promote sustainability, support local economies, and spark new and bigger ideas through collaboration. Creating this kind of atmosphere is so important in smaller cities like Prince George, and for people to realize that sustainability and innovation are things we can create right at home.
July 16 to August 16, 2015
Shyra de Souza, Longshadow. 2014. Found objects/trinkets, epoxy, plaster, wire, lighting.
In the long-shadow days of autumn, when the sun is low reality is skewed. My perceptions move beyond boundaries and edges. The planes of my remote body cross, and pass through one another, and through other bodies as I cut across ground and walls. Forms find freedom from servitude in slanted, alien shadows and I am reminded of something primal, and dangerous. Their adumbrations reach out into open space hoping to escape containment, redrawing themselves with new life.
This work consists of four separate installation areas. Each area contains a display of altered objects with found lighting and furniture, contrasted with a sparseness in the gallery. Again, these forms are sourced from found objects which I have altered in differing combinations for each installation area. Each bundle, or mass, or arrangement references instances of domination of nature, and our place within this structure signified by the furniture and the "looking" lamps. The re-orientation of the typically nature-like forms causes the viewer to re-read the way each form is affected by the surrounding forces. A long, erect neck of a bird becomes limp and serpentine upon inverting the form. I hope this process creates empathy in the viewer, and makes them more relatable, as the forms seem to dissipate into their shadow selves.
This work was completed with support from the Alberta Foundation for the Arts
June 11 to July 12, 2015
Erin Filan. Exist from Drowning Series. 2015. Graphite on paper.
Drawn to art outside of her career path Erin Filan is not your regular artist, but certainly a talented one. Working with all sorts of subjects, Filan works from the outside in when creating her drawings, an interesting and different approach. This exhibition will focus on portraits by Filan in particular and will also include what she calls "clusters" - collections of lips, eyes, ears, noses, eyebrows, and other small sections of a face that she practices over and over again to get the look just right.
While the title of this exhibition references Filan's working method it also references something much more existential at work here. Her portraits are visceral, raw and full of emotional turmoil. These portraits allow for something only known on the inside, within a given person's spirit, to be spoken in a way. Without words, the images leave open to interpretation what each individual Filan has represented is experiencing in his or her life.
May 7 to June 7, 2015
Work in Progress: John Makowsky, Possessions, 2015. Laser cut MDF and 3D Printing.
For the month of May MakerLab 2RG is taking over the Rustad Galleria. Come look and play with different things that our MakerLab communitiy has been making. Artists include Ryley Simpson, Karli Simon, Carolyn Howarth, Ken Turner, our Aboriginal Artist in Residence Lenard Pacquette Jackson, Joel Klingler, Troy Lindstrom, Kathleen Angelski, Oro Barton, Douglas Freer, Darren Ditto, John Makowsky and other artists who join in at Open Make every Thursday. Ask front desk staff what you can play with and have some fun.
April 10 to May 1, 2015
Marie Nagel, Obstacles, Acyrlic on Canvas. 2009.
Come down to the Rustad Galleria between April 10 and May 1st to see what will be up for auction at the 2015 Live Art Auction at Two Rivers Gallery. Wet your appetite for sending some hundred dollar bills flying on fabulous art.
Rustad Galleria: March 5 - April 5, 2015
Sharron MacBride, Neighbours, 2013. Watercolour on paper.
Members of the Prince George Aritst's Workshop will be presenting contemporary work surrounding the theme of "rebirth" in this group exhibition. in 2015 Prince George is celebrating its 100th anniversary. Right on the heels of the 2015 Canada Winter Games, Rebirth will celebrate Prince George being reborn as a cultural, dynamic, thriving community. Works will include paintings of Prince George as members see it today and other reincarnations of the theme rebirth seen through nature and the cycles of life.
This exhibition opens to the public on March 12th 2015 at 7.30pm. Members of the Prince George Artist Workshop will be present and light refreshements will be served.
January 29 to March 1, 2015
Maggie Maloney, Untitled. 2014
A Lexicon of the North is an exhibition of photographic prints by local high school students. In November, 2014, Morgan Clark, Sarah Frigon, Emily Holmes, Maggie Maloney, Latisha Rawlings, Wayne Rawlings, Caleb van Unen and Catia Webb were each given disposable black and white cameras and asked the question “what does it mean to you to live in the North?
This series of images captured through the camera lens is their answer. Represented is a diverse world of quiet landscapes, urban settings, recreation and nature drawn into winter’s fold. Sometimes grainy, sometimes precise, these images weave a poetic narrative according to the world of the photographers.
The Ilford black and white disposable cameras used, precluded the possibility of previewing a composition in a way that most digital cameras make possible. Consequently, as well as the eye of the photographer there are elements of chance and circumstance woven into each image that help lend a sense of magic. This is further amplified by the need to wait until the film is processed- days or weeks later- to discover whether or not an image was successfully captured.
In many ways, these images are a counter to the often instantly rewarding character of our high tech world. Given a limited number of frames each photographer needed to carefully consider each photograph before committing it to film. The result is interesting, well composed and thought provoking images that speak to life in Northern British Columbia.
December 11 2014 to January 25, 2015
Doris Dittaro, Autumn Aspen. Watercolour. 2014
"I have been working on the "Our Trees" paintings over the past two years.
We are so lucky to be living in an area where we have the four seasons. I am inspired sitting in a grove of birch or aspen and going into the Ancient Forest, which is a must to be seen.
I paint in both watercolour and acrylic. it is easier to take my watercolours out on location and use acrylics in my studio.
I guess you can call me a seasoned artist with many workshops and exhibitions behind me. I have taken workshops at Saltspring Island (Emily Carr Outreach Programs), in Jasper, Salmon Arm and White Rock. My work has been exhibited at the BC Festival of the Arts, Northwest Travelling Exhibition, Two Rivers Gallery, Studio 2880 and the Royal British Columbia Museum in Victoria, BC."
-- Doris Dittaro
November 6 to December 7, 2014
Perry Rath, Procession, 2009. Ink and watercolour on paper.
Meet Vole is inspired by a statement Virginia Woolf made in her seminal book A Room of One's Own:
"Literature is open to everybody. I refuse to allow you, Beadle though you are, to turn me off the grass. Lock up your libraries if you like; but there is no gate, no lock, no bolt, that you can set upon the freedom of my mind."
Vole is a critter, genderless and nameless except for its species. In this exhibition Tolmie creates texts inspired by literature while Rath creates images inspired by Tolmie's writing. Each pair tells the story of Vole as it travels through the world experience literature, art and life, creating an entry point for opening one's mind to the humanities.
October 2 to November 2, 2014
Allan Farmer, Abandoned Vehicle, 2009, Acrylic on canvas.
Painter Allan Farmer was well known for his representations of landscapes drawn from Prince George and its surroundings. He moved to the city in 1998 where he worked in the logging industry while juggling his love of art. Over the years a number of his paintings offered a window onto the industry in which he worked. Farmer died suddenly in March 2014 leaving behind a body of work that stands as a compelling document of life in the Central Interior of BC. This exhibition draws upon that legacy offering a unique reflection on who we are and where we live.
August 21 to September 28, 2014
Ken Turner: L to R: Arbutus Bowl, arbutus, 2014 - Emerging Bowl, cherry, 2014 - Eccentric Square Bowl, cherry, 2014
Progress in Wood brings together work by the members of the Prince George Wood Turners Guild. In this exhibition the artists will examine the possibilities offered to them for innovation and artistry through the medium of a simple piece of wood.
July 10 to August 17, 2014
José Delgado-Guevara. Hiking Prism (detail). 2014. Oil on Canvas.
The Oxford English Dictionary defines "animsim" as: 1) the attribution of a soul to plants, inanimate objects, and natural phenomena; and 2) the belief in a supernatural power that organizes and animates the material universe. José Delgado-Guevara described this body of work as his interpretation of his own interaction with inanimate objects where he has a tendency to anthropomorphize these objects, give them attributes more akin to those that humans have. In this series we see prisms, flying, falling, floating and liberating themselves in the spirit of this notion of animism.
June 5 to July 6, 2014
Michelle Gaudet, Untitled. c. 2011-2014. Coloured pencil on newsprint.
Michelle Gaudet's exhibition "Figured in Colour" features portraits Gaudet has created notably during Life Drawing classes led at Two Rivers Gallery. Gaudet's approach to portraiture is interesting in her ability to draw out certain features of the individual she is sketching. She employs the use of colour as opposed to what could be considered more traditional sketching materials such as graphite, charcoal or conté and renders the entire figure using colours. Amidst the soft lines of the figures emerge the details of a hand, eyes, an elbow or even the space between the neck and where the hair falls naturally to meet the shoulder. These delicate features seem to float effortlessly on the picture plane emphasizing the joy in reacquainting ourselves with the simply beauty of the human figure.
February 13 to March 30, 2014
Robert Frederick, Lhedli T'enneh Cottonwood Dugout Canoe, Cottonwood, acrylic paint. Loaned for this exhibition courtesy of The University of Northern British Columbia.
Prince George is the traditional territory of the Lheidli T'enneh, the people where the two rivers flow together. In Dakelh, the traditional language of teh Lheidli T'enneh, this is Nekeyoh - Our Home: Our village, our trapline, our land and how we make ourselves at home upon it. Nekeyoh encompasses how we use the world we inhabit and the language and traditions that emerge from it. Nekeyoh is where we can lose ourselves in the present and find ourselves in teh past. Nekeyoh draws together these themes touching on the diea of a place of origin, living and comfort.
This exhibition featured works by several Lheidli T'enneh artists including Edie Frederick, Robert Frederick, Jennifer Pighin, Konrad Frederick, Shirley Gustason, Tracy Morin, Doug Gibbs, Victor Morris and Philip Lafreniere.
Two Rivers Gallery partnered with the University of Northern British Columbia, The Health Arts Reserach Centre and CBC Radio and is grateful to their support in helping make this exhibition possible.
December 5 2013 to February 9, 2014
Installation view of Home Making.
Susan Barton-Tait's installation in the Rustad Galleria brings together the nostalgia, fragility and monotony of homemaking. Simultaneously, her installation draws together the tenuous aspect of home that Bachelard is speaking to, while also demoloishing the boundaries around the traditional understanding of domesticity and the home. Her inspiration for the work was her experience of being a new mother and wife in Winnipeg in the 1980s. The house the artist was living in at the time, a converted cottage by the Red River that the aritst affectionately nicknamed "The Smallest House Known to Man", resurfaces in this installation, as do the chores, familiar to many, which Barton-Tait was performing as a new mother and continues to perform to this day. The are the activities of any household looped together in a redundant silent dialogue that drills the tireless redundancy of homemaking into the viewers mind. Home Making thus draws toegether the fragile, reminiscent, nostalgic yet tedious nature of making a home.
October 31 to December 1, 2013
Allison Bell, (Untitled), 2010-2012. Wheel Thrown Ceramic Sculpture.
Keepsakes & Relics explores tradition, function and the process of growth – literally and philosophically. Using ceramic skills gained through years of study, Allison Bell’s work transcends a common understanding of pottery. By combining a variety of vessels with masks molded on a selection of busts also built by Bell, she reveals her skill as a ceramist and her passion for exploring and pushing the boundaries of her medium. As Bell states: “Thrown pottery was a natural direction [for me] as the basic form speaks to the concepts of inner and outer reality. At first keeping a clarity between what is kept in and what is not seems simple, but as growth occurs more and more influences come in contact with the object, inevitably altering the outcome.”
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