Tag: artist

All Around Me, All Around You at Museum London: Hunter’s Eye View.

by Richard Young

Reviewed by Beth Stewart

(Arrival at Museum London’s All Around Me, All Around You. Photo: Beth Stewart.)

During March break week, I revisited Museum London’s All Around Me, All Around You and experienced, for the first time, Tropi-X: Brazilian Art in Canada, 1970s-Now. I was accompanied by my eleven-year-old grandson Hunter.

All Around Me, All Around You features artworks and artifacts from Museum London’s permanent collection with an emphasis on the creative spirit of regional artists. It invites viewers to explore art at a sensory level as well as through memory, language, and symbols.

Hunter’s eye view was vastly different from mine, and I dutifully followed his lead.

We began with the “All Around Me, All Around You” exhibition, and the first piece that grabbed Hunter’s attention was Raymond Boisjoly’s text-based “As it Comes (Started Singing).”

(Raymond Boisjoly’s “As it Comes (Started Singing)”, inkjet prints and staples on stock paper, 2023. Photo: Beth Stewart.)

Next, he gravitated towards an interactive projection of Bernice Vincent’s “All Around Me, All Around You,” a piece that also gives the exhibition its name and embraces its joie de vivre.

(Hunter interacting with the projection of Bernice Vincent’s “All Around Me, All Around You”. Photo: Beth Stewart.)

Hunter spent a great deal of time exploring it and following the instructions (“Wave arm right, left below waist to navigate between individual pieces. Raise arm up/ down to show or hide accompanying artist note. Wave arm in either direction to dismiss instructions and explore the artwork.”) and concluded, with much satisfaction, “The pictures are good, and you can move the thing by just moving your hand.”

(David Merritt’s “Untitled (rope)”, sisal rope fibre, 2010. Photo: Beth Stewart.)

David Merritt’s “Untitled (rope),” was the next attention grabber. Hunter said, “It reminds me of The Lorax by Dr. Seuss because it looks like his fluffy trees. It also looks like chimney smoke that is going up in the air or like an explosion.”

Walter Redinger’s large biomorphic piece, “Snake”, soon slithered into view. While Hunter saw it first as a snake, he then thought it looked more like an extension cord. He was impressed with how “nicely painted” it was.

(Walter Redinger, “Snake” cast fibreglass with steel armature, automotive paint, 2001. Photo: Beth Stewart.)

Next, Hunter was able to satisfy his tactile urges, a rare opportunity in most galleries, at a designated touch station. Each of the six displays is connected to pieces on display. Hunter was drawn to David Bobier’s “Parable Hands,” which uses articulated wooden hands to explore gestures and language.

(David Bobier’s “Parable Hands,” Photo: Beth Stewart.)

He then examined ceramic test tiles related to Jamelie Hassan’s “Bench from Cordoba.”

(Jamelie Hassan’s trial tile from “Bench from Cordoba”. Photo: Beth Stewart.)

Finally, Hunter explored the texture of sisal, which was used in David Marritt’s “Untitled (rope).”

(David Marritt’s “Untitled (rope).” Photo: Beth Stewart.)

Upon encountering Kent Monkman’s mixed media installation “Nativity Scene”, Hunter immediately asked, “Why does the baby have a grown-up head?”

(Kent Monkman’s “Nativity Scene”, mixed media installation, 2017. Photo: Beth Stewart.)

While he recognized some kind of Indigenous connection, Hunter didn’t see a “remagined Christian holy family”; he saw something else entirely. He observed, “Maybe it [the head] grew because of the enchanted necklace above it,” and concluded, “they are doing some kind of ritual.”

Leaving All Around Me, we entered Tropi-X: Brazilian Art in Canada an exhibit comprised of 70 pieces that explore the preservation of Brazilian culture in Canada. It juxtaposes paintings, sculpture, and textile pieces from the 70s with contemporary pieces.

First up was Vinicius de Agular Sanchez’s “The Power of Speech (Shock),” a stop motion film that Hunter described as “fascinating because it combines music and art.”

His attention then went to a textile piece called “The Jaguar.” He said, “I think the cat is cool – it looks very soft – I want to touch it.”

(Ian Indiano, “Between here and there”, acrylic on paper, 102 by 122 cm, 2019. Photo: Beth Stewart.)

Three large acrylic-on-paper panels, “Between Here and There,” were next. Hunter liked that they seemed to tell a “continuing story,” and I introduced him to the word triptych. He noted there were three people, one inside each painting, and that the center panel was symmetrical (kudos to his art teacher). He liked how the side panels were mirror images of each other.

(Bruno Smoky, “Protect What We Have Left”, spray paint, acrylic, and airbrush on canvas, 165 by 287 cm, 2023-25. Photo: Beth Stewart.)

Bruno Smoky’s spray paint, acrylic, and airbrush on canvas painting “Protect What We Have Left” was a definite attention-grabber. Hunter liked that it had lots of colours and that it was so realistic. His favourite part was the two sloths. He commented on the solitary human: “I think it shows people rule; they are above everything else,” but then decided, “the person might be stranded and living with the animals.”

(Vinicius de Aguiar Sanchez, “Pink Dolphin”, balsa wood and wood paint, 2023. Photo: Beth Stewart.)

Vinicius de Aguiar Sanchez’s “Pink Dolphin” sculpture earned much admiration. Said Hunter, “I can relate to it because it looks similar to the stuff that I draw … really crazy things.”

Our last piece of the day was Hélio Eudoro’ s mixed media installation “Mantle N° 5 – Battle Against Destiny – Moirai’s Fate Armour”. Hunter commented that it was “colourful and probably very heavy.” He liked that the artist had used a combination of “clothing, money, buttons, shiny stuff, and necklaces” in the piece.

(Hélio Eudoro, “Mantle N° 5 – Battle Against Destiny – Moirai’s Fate Armour”, mixed media, 2022. Photo: Beth Stewart.)

Hunter said, “I first looked at the head, because someone’s head doesn’t look like that. I then noticed that the heart from the movie Moana is on it, so I think it might be a god.”

Visiting an exhibition with someone else adds another layer of exploration and understanding. Visiting with an eleven-year-old art enthusiast led me to look at pieces I might otherwise have passed and introduced me to unique interpretations. All in all, time well spent.

All Around Me, All Around You is located on the second level in the Volunteer/Moore Galleries and is ongoing. Tropi-X: Brazilian Art in Canada, 1970s-Now is also on the second level in the Ivey Galleries. It runs to April 19, 2026, so time is of the essence if you don’t want to miss it.

For more information about Museum London, visit Home | Museum London

Reviewed by Beth Stewart.

Beth Stewart is a writer, educator, and visual artist. She has a B.A. and a B.Ed. from the University of Windsor and a Diploma in Art Therapy from Western University. Beth has worked as an Art Therapist with Canadian war veterans and as a Secondary School Teacher of art and English for the TVDSB. She retired in 2024.

Beth was the arts editor at Scene Magazine from 2004 to 2006. She founded Artscape Magazine in 2006 and served as its editor until 2008. In addition, Beth wrote on the arts for Lifestyle Magazine from 2006 to 2017 and served as the copy editor for The Beat (in print) from 2009 to 2013.

As a visual artist, Beth works mainly in dry media and favours coloured pencil. Over the past decade, Beth’s focus has been on wild and domestic birds. Beth is a member of the Coloured Pencil Society of America, the Gallery Painting Group, the Eclectic Collage Collective, the Lambeth Art Association, and a founding member of the Coloured Pencil Artists of Canada group.

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363

The Artistry of Notion, at Westland Gallery until February 28.

by Richard Young

Reviewed by Beth Stewart

The Artistry of Notion exhibition at Westland Gallery celebrates the work and friendship of Johnnene Maddison and Mike Brouse. It includes fifteen of Maddison’s colourful abstractions, as well as three of her small hand-stitched gems, and fifteen of Brouse’s expressionistic pieces.

Maddison’s acrylic-on-canvas paintings fill the front gallery, while Brouse’s oils are spread throughout the rear gallery.

Johnnene Maddison’s delightful pieces preserve small points in time in paint and form.

In her artist statement, she writes about how her subject matter and choice of media has evolved over the years from mixed media work about women – their rights, their history, their challenges – to single-media acrylic paintings that are gestural and immediate.

This work is personal yet also presents Maddison’s experiences as universal truths.

The pieces burst with colour and carefully constructed forms. While the pieces stand on their own, the titles guide the viewer’s observations and direct their thoughts.

(Pictured: Johnnene Maddison, “Doors and Windows”, acrylic on canvas, 36 by 36 inches.)

Her 36-by-36-inch acrylic on canvas “Doors and Windows” rightfully occupies the front window. The subject can be enjoyed as is, but can also be seen as a representation of transitional thresholds.

(Pictured: Johnnene Maddison, “Wandering in My Mind”, acrylic on canvas. 30 by 40 inches.

Upon entering the gallery, her 30-by-40-inch acrylic on canvas, “Wandering in My Mind”, graces the left wall with its cadmium yellow centre clamouring for attention. Another eye-catcher, her 30-by-40-inch acrylic titled “Crazy Trip”, hangs on the back wall. Both embrace angular forms that straddle a line between staticity and busyness.

(Pictured: Johnnene Maddison, “Crazy Trip”, acrylic on canvas, 30 by 40 inches.)

While Maddison boasts a well-established artistic career, Michael Brouse came late to art after taking a class just before retirement. Around 2010, he began painting landscapes, but says he soon became “excited about the distortions caused by waves on reflections [and] segued into expressive abstraction”.

He cites Maddison and American expressionist painter Krista Harris, whose work is rooted in the natural world, as having influenced his work.

His works have an ethereal quality. As with Maddison’s work, titles are important

His layered, scratched, and scraped surfaces suggest landforms and figures, yet these remain elusive. His brushwork is ragged and energetic.

To Brouse, a notion as reflected in the title of this show refers to “an intuition, a feeling, imagination.” Fitting, as his expressive application of paint on a canvas conveys memory and dreams.

(Pictured: Michael Brouse, “Stillness”, oil on canvas, 36 by 48 inches.)

For example, he says his oil on canvas “Stillness”, which hangs on the left wall with its pops of orange, captures a vivid feeling from his childhood. It is one he has also marked with a poem: “Barefoot I stepped/ on to a cold winter floor/ as a child, touched by the/ radiant magic of a breaking morn./ My secret treasure stored away/ in the stillness.”

(Pictured: Michael Brouse, “North Shore”, oil on panel, 24 by 30 inches.)

On the right wall, Brouse’s 24-by-30-inch “North Shore” is next to the 32-by-40-inch “Notion”. While the subject of “North Shore” remains slippery, it contains forms that come tantalizingly close to representational, making it all the more intriguing.

One can assume its neighbour, “Notion”, is the source of the show’s title.

(Pictured: Michael Brouse, “Notion”, oil on canvas, 32 by 40 inches.)

IF YOU GO:

What: The Artistry of Notion featuring works by Johnnene Maddison and Mike Brouse.

When: February 3 to February 28. Opening Reception on Saturday, February 7, from 1:00 to 3:00pm.

Where: Westland Gallery, 156 Wortley Road, London, ON,

For more information, visit: https://westlandgallery.ca/

Reviewed by Beth Stewart

Andrew Lewis Finding Balance: “Notes from the Mindfield” Preview

by Richard Young

by Beth Stewart

(Pictured: Andrew Lewis, one-third of the “The Three Furies” triptych, acrylic on canvas, 37 by 49 inches, 2025.)

Andrew Lewis’s solo show “Notes from the Mindfield” opens Thursday, December 4, 2025, at TAP Centre for Creativity with a reception from 6:00to 9:00pm.

This collection of new work includes over 250 drawings, paintings, sculptures and wearables and explores the artist’s observations and ideas on the complexity of our current era.

It is, he notes, an era sandwiched between the waning of the pandemic and the rise of artificial intelligence.

The show represents a new direction for the artist. Lewis describes the creative process as more “intuitive.” The result is work that he says “reflects a fragmented world where technology, memory, and human experience are deeply intertwined.” Of note is the dichotomy between abstract and biomorphic forms.

(Pictured: Andrew Lewis, “Ms. + Mr. Squarehouse” (Diptych), acrylic on canvas, 36 by 72 inches, 2025.)

Lewis is a busy creative. His personal work exists in addition to his design/branding business and his teaching at Western University. It is an environment in which he thrives.

The artist says, “At the University, I tell students that artists or designers are like truffle pigs in Italy, finding beautiful morsels that nobody else can see.”

His personal truffle-hunting began two years ago when he came down with COVID on New Year’s Day. It affected his physical and mental health. He says, “My creative process became scrambled.”

Since then, Lewis has witnessed the insidious infiltration of AI into daily life and the resulting deterioration of creative and critical thinking. “I see young, fresh minds not having the ability to provide original ideas or thinking due to how they interact with technology,” he says.

(Pictured: Andrew Lewis, “Ultramarine Series No.3”, acrylic on canvas, 36 by 36 inches, 2025.)

His new work is an escape from the aftermath of COVID and from the pervasiveness of AI.

He began with a series of biomorphic drawings and rediscovered the joy of making images and of unplanned work that just flowed. He describes the resulting work as a fascinating outpouring of the subconscious. That’s what you’ll see at “Notes from the Mindfield”

(Pictured: Andrew Lewis, “Pills, Orgies and Chaos,” acrylic on canvas, 48 by 96 inches, 2025.)

“Notes From the Mindfield” continues to January 10, 2026, at TAP Centre for Creativity, 203 Dundas Street, London, ON.

Associated with this exhibition is an Artist Talk on Saturday, December 6, at 3:00 pm and a workshop on Saturday, December 13, from 1:00 to 4:00 pm.

For more information, visit: https://www.tapcreativity.org/

About The Artist:

Andrew Lewis is an internationally recognized Canadian artist and designer. His artwork has been commissioned by clients such as the British Columbia Arts Council, Canada Post, the Royal Canadian Mint, Perrier, Scotiabank, the Stratford Festival, Starbucks Coffee, Converse, and VISA.

For more information about Andrew Lewis and his work, visit: andrewlewisart.ca.

Follow Andrew Lewis on Facebook: https://www.facebook.com/AndrewLewisArtist

Connect with him on Instagram at https://www.instagram.com/andrewlewisart/

Previewed by Beth Stewart

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363

Lisa Johnson Takes Your Breath Away at Westland Gallery

by Richard Young

Reviewed by Beth Stewart

(Lisa Johnson, Photo – Westland Gallery.)

Lisa Johnson’s recent artist residency in Pouch Cove, Newfoundland, is the driving force behind her Full Circle exhibition at Westland Gallery.

While this was Johnson’s third month-long residency at Pouch Cove, this time was different.

In 2021 and 2022, she recalls clambering over rocks and sitting amongst lichen and berries to sketch. This time, she went to Pouch Cove during an East Coast winter, where the conditions are challenging and the landscape is stark. She encountered nature at its most elemental.

Johnson was excited to do a winter residency to bear witness to the dramatic contrast of snow against the black coastal rocks. It is a location she describes as “transcendent” and “raw”, alluding to its timelessness.

Wearing long johns and a parka, and with crampons on her boots to keep from slipping, Johnson was able to go out for hikes, drawing, and even a bit of plein air painting.

(Lisa Johnson, The Painter and the Poet. oil on canvas, 32 by 40 inches. Photo by Beth Stewart.)

On a typical day, she would paint in the studio first thing in the morning and later, if it warmed up a bit, go out for a hike either on her own or with other Pouch Cove residency artists. Returning to her studio, she’d paint for the remainder of the day on large canvases she’d stapled to the walls.

Charcoal gesture drawings have always been an important part of her practice; she loves their simplicity and energy. With this series of paintings, she aimed to achieve a similar aesthetic using oil paint on canvas. The resulting work is pared down to the point of abstraction.

It is an approach that perfectly captures the starkness of the landscape in winter and the drama of this Eastern coastline. It is evident in two oil-on-canvas pieces: “Drawing on Memories” and “Aerie”.

(Lisa Johnson, “Drawing on Memories” oil on canvas 22 by 24 inches. Photo by Beth Stewart.)

(Lisa Johnson, “Aerie”, oil on canvas, 40 by 38 inches. Photo by Beth Stewart.)

A particularly striking piece is “Silent Drift”, measuring 40-by-30-inches, it has an oriental flavour with its ink-like markings, flattened perspective, and preserved white space.

(Lisa Johnson, “Silent Drift”, oil on canvas, 40 by 30 inches. Photo by Beth Stewart.)

Full Circle includes landscape paintings created during this residency as well as work inspired by it and created after returning to her Ontario studio.

In the latter, Johnson continues with the approach that she began in Newfoundland. These paintings are large and gestural and employ a neutral palette. It is work she describes as closer to drawing.

(Lisa Johnson, “Early Riser”, oil on canvas, 32 by 40 inches. Photo by Beth Stewart.)

Full Circle also includes more colour-filled works from a spring and fall series, some from Newfoundland, and some from other Canadian locations.

These are sequestered in the upper level of the gallery and lean more toward using the visual vocabulary of color, value, shape, and composition to communicate memory while abstracting the landscape.

(Installation shot. Photo by Beth Stewart.)

Lisa Johnson’s Full Circle is invigorating and breathtaking. The show continues to November 29 at Westland Gallery, 156 Wortley Road.

For more information about Westland Gallery, visit https://westlandgallery.ca.

For more information about Lisa Johnson, visit https://www.lisajohnsonart.ca/

Reviewed by Beth Stewart

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363

Artist Profile: Cora Linden – Mixing it Up.

by Richard Young

by The Beat Magazine’s Beth Stewart

(Pictured: Cora Linden, Over the Hedge, Collaged paper on wood panel, 12″h x 12″w x 1″d. Courtesy of the artist.)

Cora Linden is a mixed media artist and a long-time fixture in the London art scene. She is known for her unique two and three-dimensional assemblages into which she incorporates repurposed materials, specialty papers, and distinctive textural elements.

Linden’s work is driven by a few core principles. First, anything can be transformed into an art supply. Perhaps the weirdest thing she’s repurposed is a cracked beaver skull. She believes creativity thrives in resourcefulness. This is evident in her one-of-a-kind pieces. Linden rejects the idea that people should settle for mass-produced décor and believes that art should be accessible to all. She seeks diverse audiences and places. This is why Linden’s work can be found at craft markets and at conventions in addition to traditional galleries.

(Cora Linden, Breaking Through, PVC with collaged paper & thread, 26″h X 16″w x 6″d. Courtesy of the artist.)

At this time, Linden continues to work on her Human Evolution series. The first piece, titled Breaking Through, with its bold vertical stripes and collaged excerpts from a vintage medical reference book, was exhibited at the Pride London Art Show 2025. In the text, a male doctor explains three types of women. Linden says, “The ideas are incredibly outdated now.” The piece illustrates how one’s true nature inevitably overtakes the path prescribed by so-called experts. Linden promises there will be more pieces in this series in 2026.

(Pictured: Cora Linden, Horn Solo, horn with faux florals in wooden frame, 15″h x10″w x 2.25″d. Courtesy of the artist.)

To experience more of Cora Linden’s work, visit Altered Arte & Handicrafts (AAH!) pages on Instagram https://www.instagram.com/alteredartehandicrafts or Facebook https://www.facebook.com/AlteredArteandHandicrafts

By Beth Stewart

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363

Nature Nurtures and Teaches: The Root of Wisdom at Westland Gallery.

by Richard Young

by Beth Stewart, The Beat Magazine 2025

The Root of Wisdom at Westland Gallery marries the work of two disparate yet ultimately complementary artists. Ottawa artist Clara Kim’s work with its frenetic brush work reveals recognizable forms, whereas Guelph artist Christopher Cape’s work is understated and ethereal. Together, they offer a respite from the day-to-day with a giant serving of the natural world.

According to Kim, the title of this joint exhibition is a nod to poet William Wordsworth. She is likely alluding to his piece “The Tables Turned” as, in it, he advises “Let Nature be your teacher/ She has a world of … Spontaneous wisdom”. Nature as teacher is certainly seen in the work of both artists.

Kim’s work with its colourful birds, bears and other beasts is contained in the front gallery. Most of the pieces are quite large. She depicts her animals in a style that she says is influenced by both ancient Korean arts and contemporary western sensibilities.

Through the ages, Korean art has been naturalistic, favouring the beauty of raw materials and natural patterns. Kim takes these traditional values and extends them with modern materials and approaches.

To this end, Kim employs a variety of tools and materials in her oil and acrylic paintings including knife scratching, and ink crayon, and pastel drawing. This is clearly seen in her abstract backgrounds and in what Westland Marketing Coordinator Anna Wilson calls the “evolution” of Kim’s mark making.

(Clara Kim’s oil and acrylic piece on canvas, “My World”. Image courtesy of Westland Gallery.)

In Kim’s “My World”, the bear stands firmly on calligraphic shapes and is backed by abstract forms. In her “Rainbow Raven #2”, colourful lines meander playfully as flecks of similar hues dance across the blackness of the bird’s plumage.

(Clara Kim’s oil and acrylic on canvas piece “Rainbow Raven #2” Image courtesy of Westland Gallery.)

Christopher Cape’s plein air landscapes occupy the upper gallery. Bold and mysterious, these works shun detail in favour of colour, reductionist form and evocative titles. They avoid obvious telling and beg for individual interpretation.

(Christopher Cape’s oil on cradled birch “Before the End”. Image courtesy of Westland Gallery.)

On the other hand, his “Take Flight”, with its stacked birds, bucks the non-representational trend while still embracing its pastel colouration and a limited depth of field.

(Christopher Cape’s oil and acrylic on cradled birch, “Take Flight”. Image courtesy of Westland Gallery.)

Titles stand out as integral to Cape’s art. His are evocative. To what end does “Before the End” refer? What happened “Moments Before”? What does “You Remember More than You Know” mean?

Happily, for the artists, there are lots of red dots to be seen; a few pieces have already gone to their forever homes.

“The Root of Wisdom” continues to October 25, 2025, at Westland Gallery, 156 Wortley Road. For more information, visit https://westlandgallery.ca/

Reviewed by Beth Stewart

For information about Beth Stewart’s art, visit https://bethstewart.ca/

New Exhibition, Echoes of the Land, opens at Westland Gallery, Sept. 2.

by Richard Young
MEDIA RELEASE – Westland Gallery’s incredibly brilliant and successful textile show will be closing this weekend, and I will be installing the next show, titled Echoes of the Land, this Sunday. This exhibition features Jane Roy, VC Glennie and Denise Antaya; three painters who are creating landscapes and urban scenes with a few figures thrown in to mix it up a bit. Denise is a high realism painter whose landscapes are generally from close to home. VC’s work is leaning towards abstraction, with some architecture and figures introduced for a more urban appearance. Jane has created two impressionistic series of works based on landscapes in both Canada and Scotland. We have worked with Jane for almost as long as she has been painting. She started taking painting lessons with Jamie Jardine 8-10 years ago and within a couple of years she was ready to show her work. I was fortunate enough to be the gallery that Jane chose to exhibit with. I was confident that she had the talent, drive and mentorship that would take her a long way.
Over the years Jane has found her own style, as well as confidence in her ability to create some wonderful work. She and Jamie are now both friends and collaborators and have created many pieces together that are really incredible. Somehow she has an endless supply of energy to be a mother, hockey player, painter and co-executive director of the London Foodbank with her husband, Glen Pearson. I feel honoured to have Jane as a part of our gallery.
Denise Antaya has been with us for about eight years, and again, when I met Denise, I knew she was determined and destined to be a star in the art world. After a life altering event she chose to return to school to study high realism painting. She went to the Academy of Realist art in Toronto where they teach you how to draw and paint like the old masters. Denise is a lifelong learner who keeps evolving and getting better and better. She was a finalist in the Great Canadian Landscape painter show on CBC and wins awards around the world for her beautiful landscapes. Nobody sees or depicts light like Denise. Her paintings make you feel the warmth of the sunshine and the joy a beautiful sunset brings.
VC Glennie is a more recent painter for us. Although she has been in our Square Foot Show for years, she was never able to commit the time to paint a full show for us. VC was a caregiver for aging parents for four years and she selflessly took on the role and drew whenever time allowed to keep her skills honed.
VC has had extensive formal training, starting off with a BA from the University of Western Ontario, then B.Sc.A.A.M. Art as Applied to Medicine from the University of Toronto.  She worked for years in the field as a medical illustrator until she found it too isolating. She then went to Sheridan college to study computer animation and then worked in the United States in that profession for a while. When she returned home, VC took a studio at The Arts Project until she was needed at home full time. When life changed again, VC went back to painting and has explored an array of different styles and subject matters. She was recently in The Figurative Show and has now created  architectural and figurative landscapes that push the definition of landscape painting just a bit.   The show promises to be another great one, I hope you all will be able to come and see it.

Al Stewart, Westland Gallery
For more information about Westland Gallery, visit https://westlandgallery.ca/