The Limits of Seeing Katie Brennan Katherine Pickering An exhibition at the Lake Country Art Gallery October 12 to November 9, 2012
Curatorial Â Statement
rtists Â have Â always Â responded Â to Â their Â environment, Â recording Â it, Â studying Â it Â and Â using Â it Â as Â an Â imaginative Â springboard Â into Â the Â unknown. Â Art Â in Â any Â epoch Â or Â culture Â has Â meshed Â with Â the Â rest Â of Â life, Â in Â social, Â spiritual, Â political Â and Â economic Â ways. Â It Â has Â also Â used Â available Â technology Â to Â its Â advantage. Â Ever Â since Â paleolithic Â cave Â dwellers Â experimented Â with Â charcoal, Â ochre Â and Â animal Â fat, Â artists Â throughout Â history Â have Â been Â trying Â out Â new Â tools. Â The Â age Â of Â information Â and Â technology Â we Â now Â live Â in Â provides Â a Â seemingly Â endless Â array Â of Â helpful Â tools Â for Â contemporary Â artists. Â Thus Â we Â have Â Katie Â Brennan Â pointing Â a Â camera Â up Â at Â clouds, Â or Â pulling Â her Â car Â off Â the Â busy Â highway Â to Â aim Â her Â cell Â phone Â at Â the Â light Â patterns Â on Â the Â Bow Â River. Â And Â Katherine Â Pickering Â SURZOLQJDURXQGLQGDUNSODFHVZLWKDFDPHUDDQGDĂ€DVKOLJKWRUPLQHUÂśVODPSUHVHDUFKLQJWKH limits Â of Â seeing Â by Â its Â light. Â Contemporary Â painters Â use Â google, Â facebook, Â photoshop, Â cameras, Â data Â projectors Â and Â other Â technological Â innovations Â as Â easily Â as Â pencils Â and Â paint Â brushes. Â ,Q.DWLH%UHQQDQÂśVZRUNERWKHQGVRIWKHVSHFWUXPDUHLQSOD\WKHWUDGLWLRQDODQGWKHWHFKQL-Â cal. Â A Â painting Â practice Â that Â began Â with Â non-Âobjective Â linear Â abstractions Â that Â came Â straight Â from Â her Â imagination Â shifted Â into Â a Â series Â of Â works Â based Â on Â corporate Â car Â logos Â while Â she Â was Â pursuing Â her Â MFA Â at Â the Â University Â of Â Guelph Â in Â Ontario. Â The Â realization Â that Â she Â could Â paint Â and Â draw Â from Â existing Â forms, Â with Â the Â aid Â of Â technological Â tools Â like Â data Â projectors, Â opened Â QHZDYHQXHVIRUKHU:KHQVKHUHWXUQHGWRWKH2NDQDJDQWKHUHZDVDQHZIRXQGFRQÂżGHQFH ZKLFKVRRQKDGKHUSKRWRJUDSKLQJFORXGVDQGH[SHULPHQWLQJZLWKSRROVRIĂ€XLGSDLQW On Â her Â way Â to Â a Â self-Âguided Â art Â residency Â at Â the Â Banff Â Centre Â in Â Alberta Â in Â the Â summer Â of Â 2011, Â where Â she Â intended Â to Â continue Â with Â the Â cloud Â paintings Â that Â she Â had Â been Â making, Â the Â stunning Â glacial Â blue Â of Â the Â Bow Â River Â caught Â her Â eye. Â The Â more Â she Â watched Â and Â photo-Â graphed Â the Â movement Â of Â water Â and Â the Â light Â dancing Â across Â its Â surface, Â the Â more Â she Â was Â entranced Â by Â it. Â Her Â senses Â became Â newly Â attuned Â to Â natural Â forms, Â Â and Â by Â the Â time Â she Â got Â to Â Banff Â she Â was Â also Â captivated Â by Â the Â rhythm Â of Â tectonic Â lines Â in Â the Â mountains Â around Â her. Â In Â a Â recent Â discussion Â of Â landscape Â painting Â Brennan Â stated Â that Â while Â she Â loved Â being Â in Â the Â ODQGVFDSHVKHDOVRKDGDGHHSDIÂżQLW\IRUDEVWUDFWLRQDQGLWLVWKLVDIÂżQLW\WKDWJHQHUDOO\ guides Â her Â work. Â Her Â current Â series Â of Â water Â paintings Â show Â us Â her Â connection Â to Â both Â kinds Â of Â art. Â One Â can Â stand Â before Â these Â images Â and Â look Â deep Â into Â a Â watery Â pool, Â and Â then Â shift Â perception Â and Â veer Â off Â from Â one Â twisting Â abstract Â blue Â form Â to Â another, Â pulled Â along Â by Â the Â waters Â and Â pools Â of Â paint. .DWKHULQH3LFNHULQJÂśVEULHIKLVWRU\RISDLQWLQJWKHODQGVFDSHVDURXQGKHUIDPLO\KRPHVRRQ QDUURZHGWRDIRFXVRQOHVVHDVLO\LGHQWLÂżDEOHIRUPV+HUZRUNLQKHU%)$H[KLELWLRQDWWKH8QL-Â YHUVLW\RI%ULWLVK&ROXPELDÂśV2NDQDJDQFDPSXVFRPSOHWHGLQIRXQGDZRUNDEOHEDODQFH 2
between Â traditional Â landscape Â forms Â and Â abstract Â expressionist Â painting, Â and Â her Â present Â work Â maintains Â this Â balance Â in Â new Â ways. Â Her Â growing Â interest Â in Â visual Â perception, Â on Â which Â she Â based Â her Â MFA Â thesis Â work Â at Â Concordia Â University Â in Â Montreal, Â incorporated Â a Â wide Â range Â of Â experiences Â including Â caving Â in Â New Â Zealand, Â camping Â in Â a Â desert Â in Â India Â and Â photograph-Â ing Â forms Â seen Â at Â night Â at Â the Â edges Â of Â pools Â of Â light. Â A Â recent Â experience Â of Â sitting Â at Â night Â in Â a Â completely Â dark Â part Â of Â her Â home Â with Â her Â eyes Â wide Â open, Â with Â no Â perception Â of Â depth;Íž Â the Â darkness, Â a Â palpable Â thing Â so Â very Â close Â to Â her, Â taught Â her Â much Â about Â how Â we Â see. Â The Â understanding Â Katherine Â gained Â from Â such Â experiences Â informed Â her Â paintings Â as Â much Â as Â the Â colours, Â textures Â and Â shapes Â seen Â at Â night Â or Â underground. Â 3LFNHULQJÂśVORYHRIWKHPDWHULDOLW\RISDLQWOHGKHUSDVWEUXVKLQJRQVKDSHVWRSRXULQJDQGGULS-Â ping Â them Â across Â her Â canvases;Íž Â her Â methods Â of Â painting Â continue Â to Â grow, Â as Â can Â be Â seen Â in Â WKHVHUHFHQWZRUNV7KHFDYHRSHQLQJVGHVFULEHGE\3LFNHULQJDVÂľKHDGOLNHVKDSHVÂśKDYHEH-Â come Â even Â more Â human Â like Â in Â some Â of Â the Â work Â exhibited Â here. Â Yet Â her Â interests Â lie Â more Â in Â abstraction Â than Â in Â making Â portraits Â or Â underground Â landscape Â paintings. Â As Â she Â once Â said Â in Â a Â lecture, Â â€œâ€Śwhat Â I Â was Â exploring Â about Â darkness Â was Â about Â limited Â vision, Â and Â also Â about Â a Â heightened Â sense Â of Â imaginationâ€Śâ€? Â Â Her Â heightened Â imagination Â is Â as Â evident Â as Â ever Â in Â these Â recent Â works. Â 3LFNHULQJ JUHZ XS ZLWK DQ LQWHUHVW LQ VFLHQFH ÂżFWLRQ YLD /XFDVÂś 6WDU :DUV DQG *HQH 5RGGHQ-Â EHUU\ÂśV6WDU7UHNZKLFKOHGWRDGLVFRYHU\RIHDUOLHUVFLÂżZULWHUVVXFKDV+*:HOOVZKRRIWHQ wrote Â about Â underground Â realms. Â The Â discovery Â of Â these Â stories Â tied Â in Â nicely Â with Â her Â interests Â in Â caves Â and Â also Â made Â for Â her Â a Â link Â with Â her Â childhood Â fascination Â with Â space. Â She Â became Â in-Â terested Â in Â creating Â images Â that Â simultaneously Â spoke Â of Â subterranean Â worlds Â and Â outer Â space, Â WZRLQĂ€XHQFHVWKDWFRQWLQXHWRDIIHFWWKHSUHVHQWSDLQWLQJV+HUJHQWO\LQFOLQHGKHDGVGRLQGHHG seem Â to Â be Â dreaming Â of Â deep Â caverns Â and Â endless Â space. Â Â 'HVSLWHWKHFRQWUDVWVEHWZHHQ.DWLH%UHQQDQÂśVZDWHU\VXUIDFHVDQG.DWKHULQH3LFNHULQJÂśVRWK-Â erworldly Â realms, Â an Â easy Â compatibility Â exists Â between Â the Â two Â bodies Â of Â work. Â Perhaps Â this Â is Â due Â to Â their Â common Â interests Â in Â our Â perceptions Â of Â nature Â as Â well Â as Â their Â shared Â techniques, Â and Â in Â their Â abilities Â to Â use Â new Â technologies Â hand-Âin-Âhand Â with Â traditional Â painting Â processes. Â 7KHF\EHUQHWLFDJHLVXSRQXVDQGIRU%UHQQDQÂśVDQG3LFNHULQJÂśVJHQHUDWLRQLWLVWKHLUQDWXUDO environment. Â Thus Â the Â very Â nature Â of Â their Â work, Â while Â it Â owes Â much Â to Â the Â earlier Â painters, Â stands Â apart. Â Â Â Â Jim Â Kalnin Â *XHVW&XUDWRU/DNH&RXQWU\$UW*DOOHU\
:H FDQ UHEXLOG KHU :H KDYH WKH WHFKQRORJ\ :H KDYH WKH FDSDELOLW\ .DWKHULQH3LFNHULQJ.DWLH%UHQQDQDQGWKH/LPLWVRI6HHLQJ Pete Â Smith
â€œHe Â makes Â every Â morning Â a Â study Â of Â what Â he Â sees.â€? )UHQFKFULWLF7KHRSKLOH7KRUHGHVFULELQJWKHPDULQHSDLQWLQJVRI*XVWDYH&RXUEHWLQ1
KHQRWLRQRIWKHDUWLVWDVUHVHDUFKHURIWKHYLVLEOHZRUOGLVDWOHDVWDVROGDV/HRQDUGR'D-Â Vinci. Â Before Â the Â mass Â accumulation Â of Â knowledge Â in Â the Â Modern Â era Â necessitated Â intensive Â GLVFLSOLQDU\VSHFLDOL]DWLRQWKHVHDUWLVWLFLQYHVWLJDWLRQVZHUHFRQGXFWHGDVÂłVFLHQFHÂ´OLNHĂ€DQHX-Â ULHDQGDOFKHP\7KLVWUDGLWLRQRIDUWPDNLQJDVUHVHDUFKKDVIRXQGLWÂśVQDWXUDOKRPHZLWKLQWKH contemporary Â university. Â Although Â the Â process Â and Â results Â of Â these Â artistic Â investigations Â are Â generally Â Â (and Â necessarily) Â more Â idiosyncratic Â than Â the Â ones Â conducted Â in Â the Â natural Â science Â wings, Â they Â are Â just Â as Â rigorously Â and Â passionately Â pursued. Â They Â also Â tend Â to Â incorporate Â a Â less Â imperial Â understanding Â of Â â€œtruthâ€?, Â favoring Â instead Â an Â experiential Â subjectivity Â because Â the Â truth Â that Â an Â artist Â seeks, Â more Â often Â than Â not, Â is Â the Â hidden Â beauty Â buried Â in Â such Â experiences. Â In Â this Â quest Â for Â the Â beautiful, Â artists Â have Â made Â use Â of Â every Â available Â technological Â means. Â In Â the Â DSSOLFDWLRQRIWKHVHDSSDUDWXVHVWKHOLPLWVRIWKHLUYLVLRQDUHRQO\FRQÂżQHGE\WKHOLPLWVRIWKHLU imagination. Â The Â paintings Â of Â Katie Â Brennan Â and Â Katherine Â Pickering Â both Â follow Â this Â tradition Â of Â researching Â the Â nature Â of Â the Â beautiful. Â They Â do Â so Â by Â uncovering Â beauty Â in Â the Â natural. Â For Â both Â of Â these Â artists, Â the Â central Â aesthetic Â act Â is Â one Â of Â revealing Â ephemeral Â visual Â phenomena Â that Â DUHMXVWRXWVLGHRXUQRUPDOH[SHULHQFHRIWKHZRUOGTXLHWWLSWRHVEH\RQGWKHOLPLWVRIVHHLQJ The Â paintings Â of Â Katherine Â Pickering Â are Â idiosyncratic Â investigations Â into Â our Â perception Â of Â dark-Â QHVV%DVHGXSRQSKRWRJUDSKLFLPDJHVRIWKHLOOXPLQDQWUDGLXVRIDĂ€DVKOLJKWVKHWUDQVIRUPV these Â light Â forms Â into Â eccentric, Â abstract Â motifs. Â These Â initial Â photographs, Â however, Â are Â used Â less Â as Â a Â traditional, Â representational Â â€œsource Â imageâ€?, Â and Â more Â as Â a Â springboard Â towards Â a Â sprawling, Â painterly Â exfoliation. Â These Â works Â draw Â upon Â all Â of Â the Â metaphoric Â potentialities Â that Â H[LVWLQWKLVQRFWXUQDOLPDJLQDWLYHVSDFHRIGUHDPVDQGQLJKWPDUHVIDQWDVLHVDQGIDLU\WDOHV In Â her Â most Â recent Â series Â of Â paintings, Â Pickering Â has Â drawn Â out Â the Â anthropomorphic Â quality Â of Â WKHVH OLJKW IRUPDWLRQV FUHDWLQJ SRUWUDLW OLNH DEVWUDFWLRQV OLJKW IRUPV EHFRPH OLIH IRUPV /LNH 5RUVFKDFK7HVWVRUVKDSHVLQFORXGV3LFNHULQJÂśVVKURXGOLNHYHLOVRIZDVK\VPHDU\KXHVVXP-Â mon Â our Â human Â desire Â to Â make Â pictures Â of Â things, Â creating Â complex Â spaces Â of Â malleable Â deter-Â minacy. Â Twentieth Â century Â abstraction Â brought Â with Â it Â a Â giant Â array Â of Â painters Â who Â explored Â our Â perception Â of Â light Â and Â colour. Â Artists Â such Â as Â Bridget Â Riley Â and Â Guido Â Molinari Â investigated Â the Â SK\VLRORJLFDODSSDUDWXVRIKRZZHVHH3LFNHULQJÂśVZRUNVDUHPRUHFRQFHUQHGZLWKWKHSV\FKR-Â ORJLFDOSRWHQWLDOWKDWH[LVWVLQWKLVWUDQVIHUWKHLPDJLQDWLYHEODQNVWKDWRXUPLQGVÂżOOLQDVZH fumble Â through Â darkness, Â fantastic Â projections Â beyond Â the Â threshold Â of Â our Â vision.
7KHUHLVDSV\FKRORJLFDOFRPSRQHQWWR.DWLH%UHQQDQÂśVSDLQWLQJVDVZHOODQGWKH\DUHOLNHZLVH concerned Â with Â a Â personalized Â research Â into Â a Â naturally Â occurring, Â ephemeral Â opticality Â -Â Â the Â VKLPPHULQJUHĂ€HFWLRQDQGDEVRUSWLRQRIOLJKWXSRQDQGLQWRPRYLQJZDWHU%DVHGXSRQGLJLWDO photographs Â taken Â by Â the Â artist Â with Â her Â cell Â phone, Â these Â paintings Â evoke Â a Â deep Â history Â of Â
SDLQWLQJVRIZDWHU7KLVLVDKLVWRU\ZLWKDVWURQJDIÂżOLDWLRQWRKLVWRULFDOSKRWRJUDSK\DVZHOO as Â one Â of Â the Â early Â technical Â holy Â grails Â in Â that Â emergent Â medium Â was Â the Â ability Â to Â document Â PRYLQJZDWHUWRFDSWXUHDQLQVWDQWRILWVPRYHPHQWZLWKSRHWU\DQGÂżGHOLW\*XVWDYH&RXUEHW SDLQWHUDQGDYLGSKRWRJUDSKHUZDVRQHRIWKHÂżUVWSDLQWHUVWRGUDZXSRQSKRWRJUDSKLFVRXUFHV to Â impressive Â effect Â in Â his Â marine Â paintings, Â such Â as Â â€œWaveâ€? Â of Â 1870 Â (a Â title Â which Â clearly Â mir-Â rors Â another Â famous Â art Â historical Â depiction Â of Â moving Â water.) Â But Â unlike Â the Â romantic Â tumult Â of Â &RXUEHWÂśVVXEOLPHVHDV%UHQQDQÂśVSDLQWLQJVHOLFLWWKHFDOPLQJVHGDWLRQRIPRYLQJZDWHUVUK\WK-Â PLFK\SQRVLV%XWLWLVLQKHUKDQGOLQJRIZDWHUVRSXOHQWWUDQVSDUHQF\WKDW%UHQQDQÂśVSDLQWLQJV really Â steer Â away Â from Â historical Â landscape Â painting, Â where Â water Â is Â treated, Â more Â or Â less, Â as Â an Â RSDTXHÂżHOGRILQWHUORFNLQJFRORXU,Q%UHQQDQÂśVSDLQWLQJVZDWHULVDYHLOWKURXJKZKLFKZHVHH glimpses Â of Â an Â expansive Â landscape Â beneath Â its Â multicoloured Â skin. Â It Â is Â important Â that Â these Â paintings Â are Â rendered Â in Â gouache Â as Â well, Â a Â medium Â that Â is Â water-Âbased. Â Gouache Â can Â be Â ap-Â SOLHGWRDSSHDUWKLFNDQGRSDTXHRUWKLQQHGWRDSSHDUOLNHZDWHUFRORXUZLWKWKHDGGHGEHQHÂżW WKDWWKHFRORXULVQRWUHDFWLYDWHGRQFHGU\7KLVDOORZIRU%UHQQDQÂśVGHHSOD\HULQJRIWUDQVOXFHQ-Â FLHVZKLOHDYRLGLQJWKHJRRS\ORRNLQJSODVWLFLW\WKDWÂśVW\SLFDOO\IRXQGLQDFU\OLFSDLQW7KHUHVXO-Â tant Â works Â are Â freeze Â frames Â into Â a Â speculative Â world Â of Â perpetual Â motion Â rendered Â in Â dazzling Â hue Â -Â Â lying Â just Â beneath Â the Â threshold Â of Â our Â immediate Â visibility. Â Churchill, Â Manitoba Â is Â a Â town Â of Â 923 Â people Â 2 Â LQWKHWXQGUDRI+XGVRQÂśV%D\ÂśVZHVWHUQVKRUH,W is Â affectionately Â known Â as Â the Â â€œPolar Â Bear Â Capital Â of Â the Â Worldâ€? Â 3,QDLQWHUYLHZ$PHULFDQ painter Â Barnett Â Newman Â famously Â claimed Â that Â he Â â€œwould Â prefer Â going Â to Â Churchill, Â Canada Â to Â walk Â the Â tundra Â than Â go Â to Â Paris.â€? Â 4 Â Newman Â sought Â through Â his Â work Â to Â create Â vast Â optical Â ÂżHOGVWKDWHYRNHGWKHH[SDQVLYHVXEOLPLW\RIWKHQDWXUDOZRUOG$OWKRXJKKHQHYHUDFWXDOO\ZHQW to Â Churchill, Â Manitoba, Â he Â did Â spend Â the Â summer Â of Â 1959 Â leading Â a Â famous Â workshop Â in Â Emma Â /DNH6DVNDWFKHZDQ1HZPDQZDVDGHÂżQLWLYHDEVWUDFWSDLQWHU\HWKLVSUDLULHSLOJULPDJHZDV primary Â research Â into Â the Â natural Â phenomena Â that Â inspired Â his Â work. Â The Â overwhelming Â gran-Â deur Â of Â the Â Canadian Â north Â was Â something Â for Â Newman Â to Â take Â in, Â something Â to Â be Â immersed Â in, Â WRH[SHULHQFHWROLYHMXVWOLNHKHZDQWHGKLVSDLQWLQJVWRGRWRWKHYLHZHU$ORWRISDUDOOHOVFRXOG EHGUDZQEHWZHHQ1HZPDQÂśVPRGHORIUHVHDUFKDQGWKHRQHVXVHGE\.DWKHULQH3LFNHULQJDQG .DWLH%UHQQDQ/LNH1HZPDQWKHLUSDLQWLQJVDUHÂżFWLRQVEDVHGRQDWUXHVWRU\,QWKHLUZRUN the Â occurrence Â of Â natural Â phenomena Â is Â evoked Â without Â being Â represented, Â conjured Â without Â being Â mimicked, Â allowing Â for Â gaps, Â slippage Â and Â intuitive Â understandings Â to Â emerge. Â The Â paint-Â ings Â of Â Katherine Â Pickering Â and Â Katie Â Brennan Â are Â primary Â research Â into Â the Â edge Â of Â experience Â â€“ Â generous Â extrapolations Â beyond Â what Â we Â can Â imperially Â observe Â toward Â spaces Â we Â can Â never Â too Â abundantly Â imagine. Â 1. Â ,WLVTXRWHGKHUHIURPSDJHRI'RPLQLTXHGH)RQW5pDXO[ÂśVSDSHUÂł3DUDOOHO/LQHV*XVWDYH&RXUEHWÂśVÂł3D\VDJHVGHV0HUVDQG *XVWDYH/H*UD\ÂśV6HDVFDSHVÂąÂ´SUHVHQWHGDWWKH6\PSRVLXPÂł/RRNLQJDW/DQGVFDSH&RXUEHWDQG0RGHUQLVPÂ´WKH- 3DXO*HWW\0XVHXP0DUFK,ZDVQÂśWWKHUHRUDQ\WKLQJEXW,IRXQGLWRQWKHLQWHUQHWDWKWWSZZZJHWW\HGXPXVHXP V\PSRVLDSGIVBFRXUEHWFRXUEHWBIRQWBUHDXO[SGI Â $FFRUGLQJWRWKH&DQDGD&HQVXV 3. Â According Â to Â Wikipediaâ€Ś. )URPÂł)URQWLHUVRI6SDFHÂ´LQWHUYLHZE\'RURWK\*HHV6SHFNOHU$UWLQ$PHULFD6XPPHU,WLVTXRWHGKHUHIURPÂł%DUQHWW 1HZPDQ6HOHFWHG:ULWLQJVDQG,QWHUYLHZVÂ´-RKQ3DXO2ÂśQHLOHGLWRU8QLYHUVLW\RI&DOLIRUQLD3UHVV%HUNOH\SDJH
Katie Â Brennan, Â Off Â in Â Deep Â Pools Â of Â Ether, Â She Â CrumblesJRXDFKHRQFDQYDVÂ´[Â´
Katie Â Brennan, Â In Â the Â Wake Â of Â Your Â Footprints Â (you Â see Â it Â too)JRDXFKHRQFDQYDVÂ´[Â´
Katie Â Brennan, Â In Â an Â Icy Â CavernJRDXFKHRQFDQYDVÂ´[Â´
Katie Â Brennan, Â A Â spotted Â cat Â kind Â of Â day, Â JaguarJRDXFKHRQFDQYDVÂ´[Â´
Katie Brennan, The Love Affair That Never Was, gouache on canvas, 54”x72”, 2012
Katie Â Brennan, Â The Â Ripples Â Can Â Only Â Go Â On Â So Â LongJRXDFKHRQFDQYDVÂ´[Â´
Katie Â Brennan, Â Dusty Â Roses Â & Â Russian Â TeaJRXDFKHRQFDQYDVÂ´[Â´
Katherine Pickering, The Ice Sphinx, oil on canvas, 30”x32”, 2009
Katherine Â Pickering, Â Untitled Â (Head-ÂLike Â Shape Â #1), Â RLORQFDQYDVÂ´[Â´
Katherine Â Pickering, Â Untitled Â (Head-ÂLike Â Shape Â #2), Â RLORQFDQYDVÂ´[Â´
Katherine Â Pickering, Â Untitled Â (Head-ÂLike Â Shape Â #3), Â DFU\OLF RLORQFDQYDVÂ´[Â´
Katherine Â Pickering, Â Untitled Â (Head-ÂLike Â Shape Â #4), Â acrylic Â & Â RLORQFDQYDVÂ´[Â´
Katherine Â Pickering, Â Untitled Â (Head-ÂLike Â Shape Â #5), Â DFU\OLF RLORQFDQYDVÂ´[Â´
Katherine Â Pickering, Â Untitled Â (An Â Opening Â in Â the Â Clouds Â #1),RLORQFDQYDVÂ´[Â´
7KH0LVVLRQRIWKH/DNH&RXQWU\$UW*DOOHU\LV Â To Â celebrate Â art Â as Â an Â essential Â part Â of Â the Â human Â Â experience, Â enhancing Â our Â community Â through Â art Â Â and Â art Â experiences.
7KH/DNH&RXQWU\$UW*DOOHU\JUDWHIXOO\DFNQRZOHGJHVWKHÂ¿QDQFLDO DVVLVWDQFHRIWKH'LVWULFWRI/DNH&RXQWU\WKH&HQWUDO2NDQDJDQ Foundation, Â BC Â Arts Â Council, Â and Â the Â United Â Way.
Â‹/DNH&RXQWU\$UW*DOOHU\ Â $%RWWRP:RRG/DNH5G Â /DNH&RXQWU\%&997 www.lakecountryartgallery.ca 20
Â Designed Â by Â Shauna Â Oddleifson Printed Â by Â UBR Â Services Â Photos Â courtesy Â of Â the Â artists
The exhibition catalogue for "Limits of Seeing - Katie Brennan & Katherine Pickering" presented at the Lake Country Art Gallery, in Lake Cou...
Published on Oct 12, 2012
The exhibition catalogue for "Limits of Seeing - Katie Brennan & Katherine Pickering" presented at the Lake Country Art Gallery, in Lake Cou...