Annual Juried Exhibition

Date: 
March 7, 2020 to April 25, 2020

The Latcham Gallery is closed to the public. Follow our virtual tour on social media or below.

Thank you to all the talented artists who submitted artwork for our 2020 Annual Juried Exhibition. Our three distinguished jurors had the pleasure of reviewing each and every artwork. After an inspiring day of assessment, 33 works have been selected for this year’s exhibition.

 

Curator Alex Hartstone shares her insights about works in the Annual Juried Exhibition below and on social media. Click on the images to the right side of this page to view a larger version of each piece or check out the postings on Facebook Twitter and Instagram.

VIRTUAL TOUR 2020

Kim Brett
Era of Expedience, 2019
Serigraph

“Era of Expedience” is an 8-colour serigraph print using both hand-drawn and photo-based layers derived from Brett’s own photography. It depicts a BIC lighter as an iconic statement of modern convenience juxtaposed against grey wallpaper. The background reflects the modality of home, desaturated by the consequences to health, finances, and material waste commonly associated with the disposable pocket lighter. Her art examines our shared experiences of form and colour in relation to consumable objects.

Kim Brett is a graduate from the Fine Arts program at Georgian College and completed her BFA at the University of Lethbridge. She further studied at ACADU and Communications and Media at the University of Calgary. Brett was awarded the Fine Arts Graduate Scholarship at Georgian College, and the John Clark Scholarship in Art at U o fL which included a month-long residency at Gushul Studio. Brett has taught printmaking and is a sustaining artist at the PRNT Collective in Barrie.

 

Peter Adams
Weight Bearing Limbs, 2019
Oil on canvas

Much of Peter Adams’ work has centred on human engagement with the landscape, and his interests lay within the realm in which human and natural worlds meet--both in harmony and in opposition. Discovering an ancient maple while passing through Jackson’s Point, its limbs bolstered by posts of steel and wood offered a juxtaposition in this portrait of Adams’ daughter. He is interested in capturing the contemplative gaze that seems to be much more common since entering her teenage years.

Peter Adams was born in Glasgow, Scotland, and has lived most of his life in Toronto. Since moving to a farm in 1998, he has spent many years exploring the surrounding environment and the ever-changing human relationship with landscape. Traditionally an oil painter, Adams’ most recent work is marked by a transition to mixed media, opening up many new expressive possibilities for the artist.

 

Julia Eldridge
Temperate Code of Harms, 2017
Mixed media on canvas

“Temperate Code of Harms” is part of a larger series of 8 works, each based on world biomes. It depicts a coat of arms based on the temperate forest biome using heraldic elements and includes natural aspects of this region juxtaposed with forestry industry products and logos. Using the language of heraldry, the work conveys a message of both hope and warning. As we realize the effects of our consumption and subsequent power, we are charged with the responsibility of preserving species and their habitats.

Educated at York University, Julia Eldridge’s work has been exhibited internationally including Gallery 1313, Toronto, The Hive Gallery, L.A., and Fenario Gallery, Oregon. Eldridge has been published in the book Dynamic Media: Music, Video, Animation and can be seen in marketing materials for Lush and Nucraze. Her work is included in private and permanent collections including the Royal Victoria Hospital.

 

Allan O’Marra
Passing Storm - Maxwell Settlement, 2019
Oil on canvas

Allan O’Marra’s paintings and drawings are primarily done in high realism using his own photography as reference. Over almost five decades, he has put together more than 40 solo shows on specific themes including an upcoming exhibition at the Art Gallery of Bancroft in July 2020.

Allan O’Marra graduated in 1971 from OCADU with principal interests in painting and photography. Throughout the years he has worked in advertising and promotions while maintaining a career as a fine artist. In addition to exhibiting in many shows, he has self-published books, facilitated artist-in-the-school and other community programs, teaches art classes, and works as a psychotherapist from his home in Ajax, Ontario.

 

Diana Hillman
Cloud Cover #2, 2019
Mixed media

Diana Hillman’s Flight Series paintings, including “Cloud Cover #2,” are based on photographs she has taken while travelling by air. These moody, atmospheric pieces are created using thin layers of oil paint on a wood panel, which is often highlighted with chalk and pencil.

Diana Hillman has been featured in exhibitions in Canada and the US. She was educated in Montreal, Britain, and Toronto, and has recently been elected as member of the Ontario Society of Artists and the Colour and Form Society. Hillman lives and works on a farm in Caledon where she grows over 200 varieties of peonies. She welcomes visits to her farm studio.

 

Margit Sampogna
Through the Looking Glass, 2017
Oil on canvas

Margit Sampogna enjoys realism, fascinated by the effects of light and the challenge of rendering a convincing illusion in paint. Despite its frustrations, she thrives on attention to detail within her work. Sampogna’s paintings are deeply personal and rewarding when viewers connect as well.

Margit Sampogna has been enthusiastic about drawing and painting for as long as she can remember. Retirement has offered her the opportunity to study classical techniques reflecting her deep appreciation of the technical mastery of the Renaissance and 19th century European painters. Her work can be found in private collections in Canada, the USA, England, Australia, and Germany.

 

Ronald Regamey
White Circle, 2020
Paper and glue

Working with paper and glue, Ronald Regamey taught himself the Quilling technique to create his large Mandala pieces. He prefers this technique and material due to its simplicity, allowing him to create a cohesive process filled with many details. Regamey’s work represents a summary of his life and occupational undertaking. He is interested in approaching the unapproachable by embracing and exploring forms, shapes, and colours to attain a more visual and emotional connection.

Judy Sherman
Curiosity Killed the Other Cat, 2019
Oil on birch panel

Things are not always as they appear to be. At first glance, Sherman’s painting may make you smile but the true meaning lies just below the surface. Inspired by life, Sherman’s work is a visual commentary on world circumstances. With a little humour and a gentle nudge, the message is delivered.

Judy Sherman graduated from the Advertising and Graphic Design program at Humber College. After a successful career in graphic design and illustration, she continued her fine art training in Florence, Italy. She has won numerous awards, is represented in galleries, and has her work in corporate and private collections.

 

Sally Cudlip
Plan for your future, 2019
Ink and collage on newsprint

Ink and repurposed paper collage allows Sally Cudlip to express the juxtaposition of natural and manmade worlds. The transitory qualities of these media conveys the precariousness of the intersection of these two worlds. “Plan for your future” speaks of the choices we make and the repercussions of these choices for others.

Sally Cudlip’s desire to create art begins with an observation of the natural world and her need for its documentation. As nature does not speak the language of capitalism, there is a personal need to witness and record its tenuous and tenacious qualities. Through art, Cudlip’s goal is to deliver a message of awareness and give a voice to the flora and fauna often inaudible in the modern world.

 

Sherry Park
Portrait of Ung Yol Park, 2018
Oil on canvas

“Portrait of Ung Yol Park” is of Sherry Park’s father from a photograph taken just after he had a stroke. Due to the stroke, he has aphasia, deeply saddening for someone who was eloquent and loved conversations.

 

Heather Wheldrake
July Moon Rise - R.B. Lake, 2019
Needle felted wool

Heather Wheldrake’s wool landscapes are representations of places in Ontario where she has spent time exploring. Using needle felting techniques, images gradually take form by binding the inner and outer fibres to strengthen the material. The repetition of needle movement is meditative and transformative-- much like the journeys that inspire them. The landscapes reflect intertwined experiences, weaving a reverent trail of internal and external wandering.

Heather Wheldrake received a BFA from the University of Cincinnati, and a Master of Fine Arts from the University of North Carolina, where she was twice awarded a Metcalf Fellowship.

 

Teri Donovan
Tainted Welcome, 2018
Mixed media/collage on watercolour paper

“Tainted Welcome” combines ink marks and drawing on cut and torn paper collaged together. The arrangement of these elements evokes a sense of inclusion tinged with alienation, hinting at an aspect of the experience of newcomers to a community.

Teri Donovan’s practice engages with issues of perception, memory, and identity. She is interested in patterns that shape thoughts and behaviours, and the ongoing influence of the past on the present and future. She holds a Fine Arts degree from York University, and a BEd from the University of Toronto. Donovan’s work can be found in corporate and private collections, and was featured in Carte Blanche Vol. 2: Painting.

 

Dianne Green
Two Bears as One, 2019
Acrylic on canvas

“This creation was inspired by a personal encounter with a bear. It wasn't one of fear, it was one of great respect because in my culture the spirituality of the bear is known as the
Protector, Provider and Teacher. The fish represents the life support of the bear through nourishment, water--the life support of fish, and how important each of them
are to Mother Earth.”

Dianne Brown-Green is an Indigenous award winning artist and graduate of the Ontario College of Art and Design. Green’s work has been selected to show in various galleries across Ontario including the McMichael Canadian Art Collection in Kleinburg, Heintzman House, Uxbridge Celebration of the Arts, Kingsway Lambton Art show, Markham Stouffville Hospital, Waddington's Auction House, Eclips Gallery Deerhurst, and is a long-time member of the Whitchurch Stouffville Studio tour. Geen’s work is held in numerous private and corporate collections across Canada, the United States, Australia, and Amsterdam. She is also honoured to have her paintings in the office of Grand Chief Konrad Sioux of the Wendat Nation in Quebec. Of her work she states, “I love to reflect on a piece, and sharing it with people allows me to take them on that journey from the moment an image is born in my mind to its completion. To experience that environment--that special place, the myth, that thought that first captured my imagination."

 

Grazyna Tonkiel
Green Mandala, 2019
Art pencils and gold leaf on drawing board

To capture the essence of beauty, of something so fragile and yet immortal like the butterfly, has been Grazyna Tonkiel’s lifelong quest. Her portraits of butterflies are a blend of nature and art through action. Both figuratively and literally, Tonkiel acts as their voice in the expression of their existence. Due to the destruction of their habitat, will they remain to enchant the next generations?

Music and visual art have shaped and dominated Grazyna Tonkiel’s life. She received her Master of Arts degree in her native country Poland before arriving in Canada where she was selected to join the Canadian Opera Company Ensemble Studio. After moving to King City almost 23 years ago, she began drawing butterflies and has continued drawing them since. Her studies are in private collections across the globe. She is dedicated to butterfly conservation efforts--her home garden is certified as a Wildlife and Butterfly Habitat, and often donates her work to support conservation efforts.

 

Joanna Strong
An Alternative ID for Teen Siblings, 2019
Oil on canvas

“An Alternative ID for Teen Siblings” records a specific, brief period in the lives of the teens depicted (and Strong’s, as mother and artist); hacking the format of the ubiquitous ID card to create a shared image that   incorporates the siblings’ unique experiences. The siblings are shown together amid elements of black signifying space, potentiality, and the digital world. Text in three languages reflects their heritage and contemporary experience: their Hindi names, Latin numbers, and the contemporary language of emojis.

Joanna Strong holds a BFA from NSCAD and an MFA from the University of Waterloo. Her work has appeared in over 100 exhibitions and is in collections across Canada, the US, Britain, France, Germany, and Dubai.

 

Petar Boskovic
Building, 2019
Photography

Taken from a series, “Building” is part of an ontological survey of time and space. Without lending itself to a specific place or period, the fragmentation of time and reality evokes the ephemerality of life, exploring themes of absence, nostalgia, and death.

Petar Boskovic is a photo-based artist. His work is an ontological survey of the everyday, examining and exploring the way in which our lives exist both on the surface of things and beneath it. His work has been exhibited both nationally and internationally.

 

Andrew Cripps
The pleasure of ubiquitous distractions, 2020
Watercolour and ballpoint pen

We create distractions to pull people’s attention away from what is really important - the storm on the horizon.  We also take pleasure in being distracted because then we forget about - the storm on the horizon.

With a degree in fine arts, Andrew Cripps has worked for publishing and advertising companies before moving onto The Powerplant and Harbourfront Centre in Toronto. He later became a visual arts teacher for the TDSB. Now retired, he paints full-time.

 

Sharron Corrigan Forrest
Canyon Series, Agawa #2, 2018
Sumi and ink illustration on washi covered birch panel

Shape and structure are important components in the layering process with the mysterious play of light and shadow bringing unusual aspects into “Canyon Series, Agawa #2.” Forrest mixes traditional materials and processes with computer technologies including mixed media illustration, paper relief, 3D sculpture, and hand-cut and laser-cut designs. She is interested in a visual exploration of locations that have strikingly powerful landforms, including the quiet beauty of the Agawa Canyon within the Canadian Shield.

Sharron Corrigan Forrest’s work is an expression of the beauty and complexity of designs found in diverse habitats, the play of light at different times of day and season, and the traces of ecological history of each location. Sources of interest include the Rocky Mountains, Nikko National Park in Japan, Taiwan, and the rugged coastline of Newfoundland and the Rocky Mountains. Her work is included in public galleries and in private collections across Canada, the USA, Europe, and Taiwan.

 

David J. Samila
Oh Lordy, 2018
Ink, guache, acrylic on paper

About his work ‘Oh Lordy’, David Samila says, “I am trying to see what I am saying.”

A graduate of the Winnipeg School of Art, David Samila was awarded the Leverhulme Canadian Painting Scholarship and lived in London and Rome before returning to Canada. He has taught Fine Arts at York University, the Winnipeg School of Art, the Alberta College of Art, and Mount Allison University. After more than 10 years of teaching, David embarked on a career as a bush pilot, working for tourist outfitters, natural resource exploration, and general aviation companies. He now devotes himself to artmaking and exhibiting from his residence near Orillia, Ontario.

 

Hilary Hung
Discard Library, 2018
Handmade paper

“Discard Library” asks: what is the value of a book when its content is no longer relevant? The project returns unwanted books into its material form - paper. By shredding, bleaching, and pulping the pages, the content is discarded as the words fade and disintegrate. This interactive work embodies the duration of time through its books and the artmaking process, where the artist’s hand is always present. The pulp is of the past. The book is of the present. The empty pages are vessels of the future.

Her projects are one of many answers to the research question in Hilary Hung’s practice: how can material meditate meaning? She is interested in conceptually deconstructing objects to their material form and then experimenting with its inherent properties. Through this process of making, she learns how the material behaves but comes to understand her own penchants in material manipulation. While she engages with the physicality of the material, she also considers the connotation of the material in its presentation. Hilary is a graduate of the University of Guelph and has exhibited in Toronto, Montreal, and Guelph.

 

Sara Shields
caught in concrete/taken by a wave, 2017
Pastel on paper

In the drawing “caught in concrete/taken by a wave”, the anthropomorphic figures--exuding feminine power and determination--seem to pull away from isolation and individuality, coming together towards oneness and acceptance, seeking to be transformed into a single being.

Sara Shields is a Toronto-based artist specializing in drawing and painting. Since having graduated from Centennial College, where she first began developing her distinctive take on figure drawing, she has exhibited in various solo and group shows. Her work communicates a desire to find community in the face of an external world that is often one of isolation and fragmentation.

 

Brandon Latcham
On a road where fireflies turn to dust, 2015
Photography

Familiar settings are transformed into an enigmatic atmosphere of no particular time or place. Curiosities juxtaposed against the banality of the countryside are meant to provoke the viewer’s imagination. The model and sculptor in the photograph is Sarah Farndon Choi.

Brandon Latcham is a photographer and artist residing in the Stouffville area. Latcham combines his photography with set design and sculpture, creating immersive story worlds for each character inspired by story structures found in folktales and recontextualizing them with personal experience. These absurd and magical stories explore the concept of Wunderkammer, a term referring to a collection of fascinating objects, as a metaphor for the way we collect experiences and remember them over time.

 

Edward Falkenberg
Forest-Light, 2016
Wood

Ravaged by flame and turmoil
A stalwart sentinel holds fast the golden light,
An archive of brilliant thought and struggle.

Only we can release that light
To allow it to shine forth upon our heedless souls.
Then and only then
Will we have La Grande Terre.

Originally from Edmonton, Edward Falkenberg lives and works in Claremont, Ontario. Working primarily with wood and steel, his sculptural pieces have been commissioned for many private and public buildings and has shown throughout Ontario and Canada. He is an elected member of the Royal Academy of Art, the Ontario Society of Artists, and the Sculptors Society of Canada.

 

Alexandrea Nicholas-Jennings
Pool of Tears, 2018
Oil on panel

Representing 'time lost' that will never be regained and part of a larger ongoing body of work, "Pool of Tears" and the "Alex in Wonderland" series, respectively, entails autobiographical paintings that seem to parallel each chapter from Lewis Carroll's novel, Alice in Wonderland. For Nicholas-Jennings, this series is deeply personal, whimsical, and spiritual all at once. Using a pastel colour palette, vintage icons, clothing, and antiquities, the brushwork is often looser in these paintings than that found in her academic realist work, lending itself to the fantastical nature of Wonderland.

Alexandrea Nicholas-Jennings is academically trained as a classical realist painter and is a proud of member of The Academy of Realist Art in Toronto. She has been awarded numerous acknowledgments and prestige throughout her career, most recently taking the Gold Medal at the juried exhibition at The Robert McLaughlin Gallery in 2019. Her work has taken a drastic turn after suffering a devastating set of personal losses, as she inspects the idea of 'the self' (in her “Alex in Wonderland” series) after that first plunge down the rabbit hole.

 

Jane Bowen
Numbers 1-4, 2017
Encaustic mixed media assemblage

An encaustic assemblage, “Numbers 1-4” uses an interlocking pattern of squares and parallelograms to demonstrate the subtle variations and changes we all experience as we grow and evolve through the seasons—spring, summer, fall, and winter—and through changes in life—from birth to death. In this work, the seasons are represented by the changing colour spectrum across the four panels.

Jane Bowen has been producing artwork in various mediums and exhibiting across Ontario since her first solo exhibition in Elora, Ontario in 1989.

 

Heidi McKenzie
House of Cards, 2019
Porcelain, ceramic substrate and ceramic iron-oxide decal

“House of Cards” speaks to the precarious nature of McKenzie’s late father and his life as an immigrant from Trinidad. Coming to Canada in the early 1950s he faced, at times, violent racism, while simultaneously serving as a metaphor for the fragility of his own self and ongoing health struggles. In an archival format, the work documents the burdens of his story.

Toronto-based Heidi McKenzie’s work seeks to reinvigorate modernism though abstraction. Her practice engages with issues of race, identity, belonging, the body, and healing. Most recently, McKenzie curated/exhibited/moderated on Decolonizing Clay at the Australian Ceramics Triennale, and has been invited to present and exhibit her work at the World Indian Diaspora Congress in Trinidad this spring.

 

Lo Scott
Every 5 Days, 2020
Mixed media

According to Statistics Canada, between 2013-2019, it was reported that every 5 days a woman in Canada was murdered by her partner/spouse or former partner/spouse. “Every 5 Days” represents these numbers with an installation of a casted ballerina figurine that was used in aggression in a domestic situation.

Lo Scott’s artistic practice intersects both traditional and conceptual art forms, exploring fragmentation and dissonance invoked through power dynamics and personal agendas within micro/intimate relationships.

 

Jurors Comments
When reflecting on the selected artworks for the 2020 Annual Juried Exhibition, the jurors noted that an outstanding number of submissions shared precision in their execution and technical skill. The works are varied in terms of media and style, but there is a precise handling of the material in the way the works are made.

Stephanie Porter explained that there was a lot of talent in the submissions and is thankful for every artist who entered. “It can be extremely difficult, especially as an emerging artist to submit work to a jury, and I encourage everyone to, even if you are not selected this time, to enter again.” There can be an assumption that if work is not selected it is because there was something wrong with it or it was not liked by the jury, and that is not the case. Selecting 33 works for this year’s exhibition was a delicate, nuanced process, and what resulted is a wonderful grouping of artworks that will engage with visitors on multiple levels.

Noor Alé spoke about the variety of works the jury encountered noting that works dealt with a variety of themes, “there was everything from feminism to intergenerational family ties, to environmental concerns. So, I think it was quite impressive and meaningful to see an engagement with issues of our times.”

Peter Flannery added that the diversity of mediums, skill level, and technique shown through the works was impressive.

In selecting the four juror’s awards the jury considered technical skill, use of technique, and content matter in part of their decision making. Stephanie Porter noted, “I think the four artworks we selected really captured originality and uniqueness in a meaningful way.” The artists were successful in experimenting and doing something different in their respective mediums, reflected Peter Flannery.

There is something for everyone in the selected works for this exhibition with an amazing display of talent and vision across all ages and artistic backgrounds.

Selected artists (in alphabetical order by first name):

Alexandrea Nicholas-Jennings
Allan O’Marra
Andrew Cripps
Bob Tunnoch
Brandon Latcham
David Samila
Diana Hillman
Dianne Green
Edward Falkenberg
Emma Enright
Grazyna Tonkiel
Heather Wheldrake
Heidi McKenzie
Hilary Hung
Jane Bowen
Joanna Strong
Judy Sherman
Julia Eldridge
Julia Katrina
Kelly Kirkham
Kim Brett
Lo Scott
Margit Sampogna
Petar Boskovic
Peter Adams
Ronald Regamey
Sally Cudlip

Sara Shields
Sharron Corrigan Forrest
Sheila Ghazarian
Sherry Park
Teri Donovan

Jurors:
Noor Alé is the Assistant Curator/Registrar at the MacLaren Art Centre, Barrie. Prior to joining the MacLaren, she served as Curatorial Research Assistant for the exhibition Frontera: Views of the US-Mexico Border at the Canadian Photography Institute, National Gallery of Canada, Ottawa. In addition, she has contributed to curatorial and public programs at the Abu Dhabi Project, Solomon R. Guggenheim Museum, NY; Art Dubai; and the Art Gallery of Ontario, Toronto. She holds an MA in Art History from The Courtauld Institute of Art, London and a BA in Art History from the University of Guelph. Together with Claudia Mattos, Alé co-founded AXIS, an independent curatorial lab devoted to socially-engaged projects that examine global contemporary art. In late 2019, they participated in the Shanghai Curators Lab. Their recent exhibitions include LAW & (DIS)ORDER at Vtape and EXTRACOLONIAL: Reflections for Action at Sur Gallery.

Peter Flannery is the Assistant Curator at the Canadian Clay & Glass Gallery in Waterloo, Ontario where he is leading the production of a series of installations by emerging and marginalized artists. He holds a  Master of Arts in Art History and Visual Culture and a Bachelor of Arts in Art History from the University of Guelph. His thesis, The Aesthetics of Collective Identity and Activism in Toronto’s Queer and HIV/AIDS Community, examines the role of art and visual culture produced by Toronto-based artists from the 1970s to the present day in the formation of queer identities and socio-political change during the gay liberation movement and the reduction of stigma and access to treatment in the HIV/AIDS crisis. He has previously worked at the Woodstock Art Gallery, the Art Gallery of Guelph, and Renann Isaacs Contemporary Art. He was the 2018 recipient of the SLSA Edward Bruns Graduate Essay Prize and in 2019 was awarded the Lambda Foundation Scholarship in LBGT Studies.

Stephanie Porter is Head of Education at the Woodstock Art Gallery. Since 2002 she brings art appreciation and enjoyment to all members of the Oxford County community. Stephanie obtained her Fine Arts Diploma from Fanshawe College and a BA in studio specialization from the University of Waterloo. She has completed the Business Communications Certificate program at the University of Waterloo continuing education. Most recently Stephanie was nominated for the Ontario Association of Art Galleries (OAAG) Education Award for the WAG education program, Mapping Our Environment. Currently, Stephanie is also enrolled in the Ontario Museum Association’s Certificate in Museum Studies. She is a member of the Canadian Art Gallery Educators (CAGE) and a member of the Ontario Museum Association (OMA).