FROM THE VAULT – Exhibition Showcasing the Vernon Public Art Gallery’s Permanent Collection

Featuring: Sophie Atkinson, Allan Brooks, Joe Plaskett, Paul Jones, Holly Middleton.

Exhibition on view from October 3 – December 18, 2024

The Vernon Public Art Gallery (VPAG) is pleased to present From the Vault, an exhibition highlighting select works from its permanent collection, on display from October 3 to December 18, 2024. This showcase offers the public a rare opportunity to view pieces by influential artists with ties to the region, including Allan Brooks, Sophie Atkinson, Janet Holly Middleton, and Paul Jones, with additional works by renowned BC artist Joe Plaskett.

VPAG’s permanent collection consists of over 670 artworks by 154 artists. The earliest piece dates to 1909, while the latest acquisitions were made as recently as 2022. Each piece contributes to the story of the region’s artistic heritage and evolution.

Featured artist Allan Brooks (1869–1946), known worldwide as a naturalist and illustrator, made significant contributions to North American wildlife studies, especially of Canadian bird species. Brooks, honored by Canadian Heritage in 2000 as a person of Canadian Historical Importance, devoted his career to capturing the unique fauna of British Columbia and beyond.

Trailblazing artist Sophie Atkinson (1876–1972) was among the first women to document the Okanagan landscape in her work. After WWI, she traveled internationally before settling in Canada, where she painted commissioned works for the Canadian Pacific Railway. Her art captured the rugged beauty of Western Canada, establishing a legacy that would inspire future generations.

Janet Holly Middleton (1922–2018) combined her artistic talent with a passion for education. Her career included teaching positions at the University of Alberta, Banff School of Fine Arts, and University of Guelph, where she influenced countless Canadian artists. Known for her adventurous spirit, Middleton drew inspiration from her travels, producing works with scenes from across the globe.

Joe Plaskett (1918–2014) brought his artistic vision to an international stage, with works held in collections from Prince Edward Island to Vancouver Island, including the National Gallery of Canada. Plaskett’s talent was recognized early on by Lawren Harris, and he was awarded the first Emily Carr Scholarship in 1946. This opportunity took him from San Francisco to New York, and eventually to Paris, where he created some of his most celebrated pieces.

The exhibition also includes pieces by Paul Jones (1921–2018), a Vernon-based artist and writer who served on the VPAG board in the 1990s. Jones’s work integrates sand and acrylic resin to evoke the landscapes of his youth near the Pembina River, creating textured pieces that speak to both personal memory and place.

Rewilding: The Forest Will Forget Us, Lyndal Osborne, John Freeman, Liz Ingram, Bernd Hildebrandt

Exhibition on view from October 3 – December 20

The exhibition Rewilding: The Forest Will Forget Us, created by Lyndal Osborne and John Freeman, and Liz Ingram and Bernd Hildebrandt, is an exhibit about the resilience of nature as witnessed in land sited on a boreal forest lake in Alberta. In the process they acknowledge the many other stories that go back millennia, and which have been shaped by people living and surviving on the land. These legends and beliefs are now re-emerging from oral histories of the original peoples of these lands and help us to shape our common existence within nature.

Exposed! VPAG Member Exhibition

Exhibition on view from October 17 – December 20

This group exhibition of artwork produced by the Vernon Public Art Gallery’s members give the public a view of a variety of different media used to create works of art in various artistic genres ranging from abstract art to landscapes, still lives, and portraiture.

Inside Out: Lana Schuster

Exhibition on view from July 25 – September 17

Artist statement:

I am interested in so many things about painting. The paint for one. I love to scoop it up, squeeze it out, and mix it around, watch the colours develop, spread it around, see what happens, how the colours and forms look against each other. The brushes for another. I have my favourites. Mostly the ones that hold a lot of paint. The ‘Why paint?’ Because I am compelled to, I can’t not. The ‘How to paint?’ Now it’s getting really interesting. Because this is what it’s really all about. I try to stay open to new ideas, to the suggestions of my voice inside, my outside voice. It is all about trusting the process and being willing to paint authentically, to be part of something new.

The beginnings of my process may start with observing what’s around me. Or it could be a response with something going on internally that I may or may not be aware of. That can be as dramatic as the experience of losing a loved one or simply just wanting to spread some paint around. I’m often moved to paint after I’ve spent time outdoors. Sometimes I start with a plan for a landscape or a concrete image and then I get lost in the paint and process and something completely non-objective emerges. My intuition takes over, if I let it, if I trust it, if I allow myself.

Creating these works surprise me every time. What you see in them is an expression of an experience, a record of an experience in time, something in the past that has passed but truly lives on in the painting. What you see in them is  what you see in them – what is evoked or personally meaningful for you. I hope  that in looking at them, you will feel something, see something, perhaps even experience something that resonates with you.

Descent into Classicism: Glenn Clark

Exhibition on view from July 25 – September 17

Artist statement:

When I was young, I dreamed and schemed of creating neo-classical paintings.  There are a lot of ducks one must put in a row before mural size classical themed paintings can develop.  Fifteen years ago, I took a couple years off my regular practice to build a studio and that opened the gate of possibilities.

I always get there it just takes me longer.  Beyond the space and gumption, an artist needs the reason, finances, imagery, time, ambition and lots of practice to create this type of work.  After visiting the Louvre in 2016 there was a jolt, my paintings would look to the past for guidance. It finally all came together and I suspect this descent is turning into something more akin to a spiral.  

It always seemed to me that classical artists from previous centuries had better props to work with; horses, armor, castles and archaic ruins. I needed new models to push ahead and a photo shoot at a jousting event in Osoyoos was perfect to get started.

What drives an artist; is it the fear of death? The love for life and art are interconnected. When you look at centuries old work you sense a window into the past, a connection, a message or warning through this time hole called a painting. You see how things were, the humor, mood, fashion, cruelty of the time. It’s like the artists were reaching out through a one-way portal to the future, never wanting to let go, hanging on through their art. 

Timing is everything and it’s a good time for artists to take cues from the eighteenth century and beyond when art famously rebelled against the status quo.  People are consistent, history repeats.  Neo-classicism, the art of the time of the French Revolution, arguably the most important chapter in the history of modern civilization; the perfect art for a time of upheaval. All these influences; art history, my own history, and the current events that are making history.  You throw that in a studio with yours truly and this is what shakes out.

Accidentals: Robert Fee

Exhibition on view from May 23 – July 17

Artist statement:

The title of the show “Accidentals” refers to the musical term indicating a temporary shift in a musical composition. Once the key of a song is established, an instrumentalist reading the music will encounter a note has been made sharp or flat for that bar and they must adjust. Then the music will default back to the original key for the subsequent bars, until the composer creates another shift somewhere else. At first this temporary change may be a mystery to the individual player, but to the composer there is underlying meaning; a change in the harmony, or a different scale with a particular sound. What might have seemed a random change always has a purposeful intention. The accidental always adds more tension, drama, and interest to the piece.

With these paintings, I gather structures randomly, as you would with a collage, and I start creating parameters and set a course for the work. At first, the paintings seem to be about something unintended; mostly from imagery I gravitate towards but not knowing where it will fit into the work. Some of the strangest references that I choose do seem like random accidentals; not knowing how they will relate to the whole. Often, I’ll find a phrase or image that materializes out of simple curiosity.

I engage with the visual challenge, integrating and editing the accidental imagery into the painting. A quiet interaction takes place between the images, their potential subtext and my brushwork and colour palette. The compositions involve a process that channels energy around and throughout. The process of additions and revisions repeats until ultimately the composition appears resolved. I like discovering beauty or humour that may reveal itself in this process. The paintings involve some free association, which probably also involves my own psychology, but I hope these connections have some universal resonance.

Crit Club: An Eclectic Collection

Members of the VPAG Crit Club are excited to present An Eclectic Collection, which will be on view in the Up-Front Gallery space. Crit Club is a workshop and critique program dedicated to supporting high school school students in their artistic pursuits and development. Every month, the students gather to share their artwork for a group critique session, and partake in a workshop and presentation by an established guest artist.

This collection will feature art pieces that have been workshopped through these sessions, now on display for the public to enjoy.

Teen Junction: Through Our Eyes

Through Our Eyes is a unique community-based project by the youth at the Teen Junction Youth Centre in partnership with the Vernon Public Art Gallery. The Vernon Public Art Gallery strives to connect art and the community and supports emerging artists working outside of mainstream of artistic production. The focus of the exhibition is to give voice to youth and make statements about their lives and experiences in Vernon. We all have a unique voice and presence in our community and Through Our Eyes is an affirmation of the importance of recognition, representation, collaboration, and the arts. Teen Junction Youth Centre is an after-school drop-in center that offers a safe space for youth to relax, connect, and learn. The Centre works with community organizations to connect youth with support and resources when they need it.

Emergence: UBCO BFA Graduating Students

Exhibition on view from May 23 – July 17, 2024

The exhibition Emergence features works of artists who have completed their studies at UBC Okanagan’s BFA program in 2024. This exhibition exemplifies various approaches to research and studio practice and asserts an active hands-on attitude while creating their work.

Please join us at the VPAG on May 23, from 6-8 pm for the opening reception of Emergence.

Ulrich J. Wolff: There Must Be Life

Vernon Public Art Gallery Welcomes Award-Winning International Artist Ulrich J. Wolff for Exclusive Exhibition

The Vernon Public Art Gallery is thrilled to announce the visit of renowned international artist, Ulrich J. Wolff, for the opening reception of his highly anticipated exhibition titled There Must Be Life. The exhibition will be on display at the Vernon Public Art Gallery from March 14th to May 15th, 2024.

Ulrich J. Wolff, winner of the 2021 Okanagan Print Triennial (OPT), an esteemed tri-annual exhibition alternating between the Vernon Public Art Gallery and the Kelowna Art Gallery, will be in attendance at the opening reception. The OPT, initiated in 2009 as a national open-juried print exhibition, has evolved into an international competition, attracting top printmakers from over 22 countries worldwide. Dauna Kennedy, Executive Director of the Vernon Public Art Gallery, expressed excitement about hosting Wolff’s solo exhibition this year, with the OPT concurrently taking place at the Kelowna Art Gallery.

“Wolff’s selection as the winner of the 2021 competition brings an international perspective to our community. His artistic skill and unique vision make this exhibition a must-see event,” said Dauna Kennedy.

Ulrich J. Wolff, from Germany, is not only an accomplished artist but also a respected teacher of etching and screen printing at the Kunstakademie Karlsruhe. With a background in painting and graphics from the State Academy of the Fine Arts Karlsruhe, Wolff has participated in over 240 national and international print media exhibitions in various countries.

There Must Be Life promises to captivate audiences with its diverse range of imagery, showcasing natural and urban landscapes, architecture, bodies of water, fields, forests, and vegetation. While dedicated to photographically constructed imagery and environments devoid of human presence, Wolff also includes haunting portraits which reflect the mysteries of the human condition.

The opening reception for Ulrich J. Wolff’s exhibition will take place on Thursday, March 14th, from 6-8 PM at the Vernon Public Art Gallery. The community is warmly invited to join in the celebration, meet the artist, and enjoy a short talk by Wolff about his exhibition. Light bites and drinks will be served, and entry is by donation.

Don’t miss this unique opportunity to engage with the internationally acclaimed artist Ulrich J. Wolff and experience the compelling world of There Must Be Life at the Vernon Public Art Gallery. Entry is by donation.