Joice M. Hall Solo Exhibition /// Opening October 13, 2018

Joice M HALL

GWAII HAANAS: Islands & Sacred Sites

JOICE M.

HALL

13- 31. OCTOBER, 2018 OPENING RECEPTION:

GWAII HAANAS: Islands & Sacred Sites

13. OCTOBER, 2018 from 2-5PM

artist in attendance artist talk: 3PM

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cover: installation acrylic on canvas

inside cover: “Red Sea Urchins/ Burnaby Narrows “ (detail), 36” x 75” acrylic on canvas

the residency

Artists in Gwaii Haanas is an annual residency program, presented by the Haida Gwaii Museum and Parks Canada, with the goal of connecting artists to Gwaii Haanas—and through these artists, connect Gwaii Haanas to Canada and the greater world.

Three artists will spend 5-10 days immersed in travel throughout the Gwaii Haanas National Park Reserve, National Marine Conservation Area Reserve and Haida Heritage Site. Based at a remote field-camp, artists will be guided

by Gwaii Haanas staff as they embark on day-trips throughout the region to conduct artistic research through exploration, photography, sketching, writing and contemplation. Breathtaking vistas, unique interactions with culture and nature, and inspirational conversation with Gwaii Haanas staff, the Haida Gwaii Watchmen and others in the area are sure to inspire and inform their artistic practice.

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Following their travels in Gwaii Haanas, the artists will spend an additional 1-2 weeks at the Haida Gwaii Museum where they will practice their art, interact with visitors and provide some public programming. Lastly, artists will create a body of work inspired by their time in Gwaii Haanas, to be exhibited in a group exhibition at the Haida Gwaii Museum. One of their pieces will be donated to the Artists in Gwaii Haanas permanent collection.

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In creating art inspired by Gwaii Haanas, artists can reveal meanings and relationships that complement scientific, cultural and educational perspectives. Participating artists are expected to share their residency experiences through their diverse networks and in creative ways to heighten the profile and exposure of the Artist in Gwaii Haanas residency program, and, to form connect ions that extend across Haida Gwaii and beyond.

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the Islands...

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“Islands 1/ Skidegate inlet”, 19” x 75”, acrylic on canvas

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“Island Group/ Hecate Strait”, 19” x 75”, acrylic on canvas

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“Islands 2/ Skidegate inlet”, 19” x 75”, acrylic on canvas

The Totem Pole in brief

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Totem poles are monuments created by First Nations of the Pacific Northwest to represent and commemorate ancestry, histories, people, or events. Totem poles are typically created out of red cedar, a malleable wood relatively abundant in the Pacific Northwest, and would be erected to be visible within a community.

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Most totem poles display beings, or crest animals, marking a family’s lineage and validating the powerful rights and privileges that the family held. Totem poles would not necessarily tell a story so much as it would serve to document stories and histories familiar to community members or particular family or clan members.

A totem pole typically features symbolic and stylized human, animal, and supernatural forms. Totem poles are primarily visual representations of kinship, depicting family crests and clan membership.

For example, some Kwakwaka’wakw families of northern Vancouver Island belonging to the Thunderbird Clan will feature a Thunderbird crest and familial legends on their poles. Other common crests among coastal First Nations include the wolf, eagle, grizzly bear, thunderbird, killer whale, frog, raven, and salmon. Wealthy and influential families may have more than one crest. Totem poles can also be created to honour a particular event or important person.

Mandas & Mortuary Poles

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When a chief or person of high standing died, his body lay in state in his home and was stored inside a bentwood mortuary box. The box rested on a manda, a large carved figure believed to carry the deceased to the afterworld. The body was eventually transferred to a mortuary house where it rested until the mortuary pole was complete. This tradition allowed the eldest son of the deceased person’s eldest sister preparation time to assume the role left by his uncle. During this two year period, the nephew was tasked with carving a mortuary pole, hosting a potlatch to celebrate the life of his uncle, and amassing the wealth required to pay the witnesses at the potlatch. If the nephew did not complete these tasks within a two-year limit, a relative who was able to fulfill the requirements could challenge the role.

A mortuary pole was the grave of a high status person. The pole, carved with the crests of the deceased person, had a cavity at the top where the remains were placed inside a bentwood box. A plaque, usually with a painted or carved design on it, was placed in front of this cavity to cover the box from view. A board placed on top kept the rain out, and rocks placed on the board stopped the winds from blowing it away. Mortuary poles were considerably shorter than house frontal poles or memorial poles. They were carved with the base of the tree as the top of the pole.

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left to right: 1-5 “Mortuary Pole 1”, 59” x 9.5”, acrylic on canvas, mounted on dense foamboard 14

“Mortuary Pole 2”, 43” x 8”, acrylic on canvas, mounted on dense foamboard “Mortuary Pole 3”, 19” x 6.5”, acrylic on canvas, mounted on dense foamboard “Mortuary Pole 4”, 41” x 7”, acrylic on canvas, mounted on dense foamboard “Mortuary Pole 5”, 59” x 8.25”, acrylic on canvas, mounted on dense foamboard

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“Longhouse Site1/ Tanu”, 36” x 75”, acrylic on canvas

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“Longhouse Site/ SGang Gwaay”, 36” x 75”, acrylic on canvas

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“Longhouse Site 2/ Tanu”, 36” x 75”, acrylic on canvas

The essence of the past is notably present in the spiritual land of Haida Gwaii, Gwaii Haanas National Park, the National Marine Conservation Area Reserve, and Haida Heritage site.

The fragility & strength of this area and its people are prevalent and preserved. Its story not to be forgotten.

Hall captures its story in these dramatic works in attempt to recreate the drama and beauty she experienced on her visit and residency.

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marine life...

“Red Sea Urchins/ Burnaby Narrows”, 36” x 75”, acrylic on canvas 21

“Sea Stars/ Burnaby Narrows”, 36” x 75”, acrylic on canvas

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“Anenomes & Lion’s Mane Jelly Fish/ Burnaby Narrows”, 36” x 75”, acrylic on canvas

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“Forest To Ocean/ Skedans”, 24” x 48”, acrylic on canvas

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“Beach View/ Tanu”, 18” x 54”, acrylic on canvas

Curriculum Vitae Education 1965 4-year fine art diploma, painting major, Alberta College of Art, Calgary, AB Honours 2000 elected to membership in the Royal Canadian Academy of Art

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Solo Exhibitions 2018 GWAII HAANAS/Islands and Sacred Sites, Kelowna Art Gallery, Jan 20-Apr 1, Kelowna, BC 2016 The Colour of Winter, Wallace Galleries Ltd., Calgary AB 2010 Joice M. Hall: 25 Years of Painting, Wallace Galleries Ltd., Calgary AB 2010 Surreal.Real.Ideal: The Art of Joice M. Hall, Kelowna Art Gallery, Kelowna BC 2007 Variations of Light, Wallace Galleries Ltd., Calgary AB 2005 Swelling Cumulus, Art Ark Gallery, Kelowna, BC 2004 Storms and Rainbows, Wallace Galleries Ltd., Calgary AB 2001 Lake Panoramas, Wallace Galleries Ltd., Calgary AB 2000 Driving South, Atelier Gallery, Vancouver BC 1999 El Dia de los Muretos, Casa Verde Galeria, San Miguel de Allende, Gto., Mx. 1998 Summer Panoramas, Canadian Art Galleries, Calgary AB. 1997 Night Garden Walk, Atelier Gallery, Vancouver BC. 1996 Semana Santa Series, Canadian Art Galleries, Calgary AB 1994 Panoramic Landscapes:Cypress Hills Series, Canadian Art Galleries, Calgary AB 1994 Festive Images of San Miguel: 1988-‘93, Centro Cultural el Nigromante, S.M.A., Gto., Mexico 1990-91 Floating, Art Gallery of Hamilton, Hamilton ON

1990 1998 1987 1987 1984 1982 1981

Ofrenda, Canadian Art Galleries, Calgary, AB Joice M. Hall/ New Works from Mexico, Canadian Art Galleries, Calgary, AB Floating, Southern Alberta Art Gallery, Lethbridge, AB; Nickle Arts Museum, Calgary AB Joice M. Hall / Figures, Paul Kuhn Fine Arts, Calgary, AB. Banff Landscapes, Paul Kuhn Fine Arts, Calgary, AB. Joice M. Hall: Paintings and Drawings, Gallery Quan, Toronto, ON. New Work, Off Centre Centre, Calgary AB.

Group Exhibitions 2016 Landscapes Reconstructed, (June 19-Oct. 6) Whyte Museum of the Canadian Rockies, Banff AB

Shh! Good Art Up and Down The Okanagan Valley, (July22-Sept 10), Headbones Gallery, Vernon BC 2015 Getting Naked, (March 6-May 31) curated by Virginia Eichhorn, The Museum, Kitchener ON

OK Be ST, Headbones Gallery, Vernon BC 2014-15 Hibernius, RCA exhibition, John B Aird Gallery, Toronto ON 2013-14 Made in Calgary: The 1980’s, The Glenbow Museum, Calgary AB 2012-13 Okanicon Iconagan, Headbones Gallery, Vernon BC

Made in Calgary: The 1970’s, (May-Aug), The Glenbow Museum, Calgary AB

Made in Calgary: The 1960’s, (Feb.-April), The Glenbow Museum, Calgary AB

OK Thaumaturgy, Headbones Gallery, Vernon, BC 2011 Traditions Illuminated:Celebrating the Halls, The Art Gallery of Calgary, Calgary

Okanagan Eyes Okanagan-ise, Headbones Gallery, Vernon BC 2006 Mimesis, 2-person exhibition with John Hall, Art Gallery of the South Okanagan, Penticton BC 2005 Oasis, Kelowna Art Gallery, Kelowna BC 2004 Fire and Rebirth, (Jan-Mar) Art Ark Gallery, Kelowna, BC

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Landscape Revisited, (Mar-May) Art Ark Gallery, Kelowna, BC 2003 Valley Lakescapes and Still Lifes, 2-person exhibition with John Hall, Art Ark

Gallery, Kelowna BC 2001 Spring Show 2002, Wallace Galleries Ltd., Calgary AB 1999 Calgary in Perspective, Muttart Gallery, Calgary AB 1996 Artistas Canadienses en Mexico, Centro Cultural ISSSTE, Celaya, Mexico 1995 Realism Revisited, Muttart Gallery, Calgary AB

Cinco Dedos de una Misma Mano, Canadian Embassy, Mexico, D.F., Mexico 1995 Mysteries of the Flesh, Gulf Canada Tower, Calgary AB. 1994 The Human Factor, C.C.A.B. exhibition, Walter Phillips Gallery, Banff AB 1990-91 Within Range, U. of Idaho, CCA, Moscow, Idaho, travelling ex., Great Falls, Montana & Missoula Museum of the Arts, Missoula, Montana.

1990 More than One, Nickle Arts Museum, Calgary AB Spaces and Places: Eight Decades of Landscape Painting in Alberta, Hokkaido Museum of Modern Art, Sapporo, Japan 1989 Painting Representing Landscape, Illingworth Kerr Gallery, Alberta College of Art, Calgary, AB 1988 Celebration 88, Petro Canada Exhibition Gallery, Calgary AB 1987 Contemporary Painting in Alberta, Glenbow Museum, Calgary AB

The Exchange Show, Milan, Italy; Stuttgart, West Germany 1986 Faculty Exhibition, Illingworth Kerr Gallery, Alberta College of Art, Calgary AB Spaces and Places, organized by the Alberta Art Foundation, Edmonton Art Gallery, Prince George Art Gallery, Nickle Arts Museum, Calgary, Burnaby Art Gallery, Prairie Gallery, Grande Prairie, Rodman Hall Arts Centre, St. Catherines, Art Gallery of York University, Toronto 1985 A Measure of Success, Alberta College of Art Gallery, Calgary AB 1984 The First 10, Off Centre Centre, Calgary AB

Edge and Image: The Frame in Recent Canadian Art, Concordia University, Montreal QC 1983 Choices, Alberta Art Foundation 10th anniversary exhibition, Provincial Museum, Edmonton AB

Le Nu et l’Erotisme dans l’Art Contemporain Canadien, University of Quebec,

Montreal QC, Martin Gerard Gallery, Edmonton AB 1982 Body Parts, SUB Gallery, Edmonton AB

Canada Council Art Bank Exhibition, IGA Gallery, Toronto ON 1981 New Acquisitions, Glenbow Museum, Calgary AB 1980 Alberta Now, Edmonton Art Gallery, Edmonton, AB 1977 Alberta Work, Alberta College of Art Gallery, Calgary AB

Painting Now, Agnes Etherington Art Centre, Kingston ON

New Realist Painting and Drawing, Subway Galleries, Calgary AB 1976 Joice Hall / John Hall, Dalhousie Art Gallery, Halifax NS

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Notes:

https://indigenousfoundations.arts.ubc.ca/totem_poles/ https://www.researchgate.net/figure/Map-of-Haida-Gwaii-showing-the-locations-of-previous-archaeological-research-mentioned-in_fig1_228711529 3 GWAII HAANAS Visitor Guide, 2016, pp52-53 1 2

2018 the contributors and Wallace Galleries ltd.

All rights reserved. No portion of this publication may be reproduced without permission of the gallery.

owner/director: Heidi Hubner director/designer: Colette Hubner images: Courtesy of Joice M Hall & Wallace Galleries