2008 Past Exhibitions

Exhibition / Photographs "Armenius’ Wharf and other Stories" Margo Metcalf, Halifax.
"Artist In A World of Change" Felicity Redgrave
"Works on Paper" Nadia Meyer, Montreal
GAPACC's 2008 Summer Exhibition "Gathering of the Arts" Group Show
Photography, Brea Van Orishot
Tree show, Group Show
Photography, Roy Hartling, Montreal
Art @X Art Dept. Student Show
StFX Fine Art Faculty Exhibition
Art @X Student Union Photo Show
Photographs, Geri Noland

November 18, 2008 - December 21, 2008
Exhibition / Photographs
"Armenius’ Wharf and other Stories"
Margo Metcalf, Halifax.

 The StFX University Art Gallery was pleased to present "Armenius' Wharf and other Stories", an exhibition of photographs by Halifax artist Margot Metcalfe. 

Margot Metcalfe is a widely published award-winning photographer. Her works are found in many private and public collections including the Art Gallery of Nova Scotia, the Nova Scotia Art Bank, the Atlantic School of Theology, the Mary Black Gallery and the Canada Council Art Bank. In addition to exhibiting, Margot also leads creativity/photography retreats.

In 2007 Margot wrote "Photography and Spirituality", an essay published in "Arts and the Spirit: Using the Arts in Faith Formation. ", United Church of Canada, 2007.  In it she writes "We are - all of us - creative throughout our lives. We get up in the morning and we look around our bedroom at our personal arrangement - or disarrangement – of furniture and items we love. We "create" the order of our day."

As a photographer, Margot does just that, she looks at our personal arrangement - or disarrangement and though this gaze she finds order. 

As within so without- Her gaze however is not limited to interior images and Metcalfe makes apparent that order is to be found outside as well.  She finds it in the layout, maintenance, and subsequent appearance of our enclosures - buildings, yards, fields. In her pictures, private and public displays of order are framed and captured by a lens focused in season and time.  Hence order in this context is fleeting, it is subject to change. In this exhibition, human order is not to be seen against a background / backdrop of nature but is situated within nature itself. 

The StFX University Art Gallery 2007-2008 exhibition season was sponsored by MacLeod Group and this exhibition is co-sponsored by AA Munroe Insurance.

October 7, 2008 - November 9, 2008
Exhibition: "Artist In A World of Change"
Felicity Redgrave

The StFX University Art Gallery was pleased to present "Artist In A World of Change" by Antigonish Artist Felicity Redgrave.  For the past three decades Felicity Redgrave has created a large body of paintings that depict the point were the land meets the ocean.  This exhibition gives to us a chance to enjoy her latest works, the majority created within the past two years. Visitors to the gallery will be offered over 30 paintings for their contemplation and enjoyment.
Never one to blur edges or meaning, Felicity’s landscapes deliberately avoided meadow, forest, sandy beaches, and estuaries, the soft transitions of the salt water marsh and the comforts of the urban landscape. Redgrave focuses on the points where water and bedrock collide, remain separated and insoluble.
Birth /death and creation /decay are her subject matter, symbolically explored in an arctic environment. This land, frozen into symbolic idealism becomes the stage upon which Redgrave paints the entropy of our existence. This pristine timeless place is simultaneously a limenal theatre of political and environmental uncertainty and the territory for dreams, actions and consequences.

September 2, 2008 - October 5, 2008
Exhibition: "Works on Paper"
Nadia Meyer, Montreal

The StFX University Art Gallery was delighted to have the honour of bringing the art of Nadia Myre to North eastern Nova Scotia. It is exciting that Nadia has given us an exhibition that explores on so many levels our perception of visual art.

Language takes on many forms and is not limited to the written and spoken word. Literacy, our ability to understand and communicate through language, is measured by the degree of accuracy with which we interpret, communicate, and, ultimately, express our thoughts.

Visual art is a form of language and, given the degree to which it is used globally, it is one of our most powerful languages. Visual art as advertising is used to incite all manner of desires and ideologies.

In this exhibition we are given art works dealing quite literally with words. Words in frames, words erased, words covered, and words written big. Words create images, and in this context of the fine art experience, each picture is worth a thousand words.


In my practice as producer, consumer, and teacher of the fine art experience I explore how the visual art I am making, experiencing, or communicating, is used. To do that my praxis always includes American architect Louis Sullivan’s dictum "Form Follows Function".

Form in the fine art experience is manifested as genre: landscapes, portraits, abstracts, multimedia installations, and so on. As there are many forms of fine art so there are many functions. One such function, perhaps the one best understood or at least most widely accepted, is to maintain and reiterate belief values through art which comfort and reassure. Another function is to question our assumptions, belief values, and, ultimately, the status quo. However, art is more than ideological wallpaper. It is also capable of expressing our innermost feelings.

My interpretation of Myre’s art is informed by the fact that Nadia is a female Algonquin Canadian/Quebec artist and, conversely, I am a male colonial Canadian/ Cape Breton artist. We both are highly trained post modern artists.

For me, a difference that makes the difference is fine art that simultaneously acts as a vehicle of reaffirmation and change. A cutting edge occurs when the aforementioned dual function is present and, our involvement as consumer, interpreter and active participant in the process of reading the art and giving it meaning becomes transparent.

With this exhibit, “Works on Paper”, Nadia reveals her continuing investigation of lost, stolen and reclaimed meanings. We cannot but place ourselves in each and every instance.

August 4, 2008 - August 15, 2008
Exhibition: GAPACC's 2008 Summer Exhibition "Gathering of the Arts"
Group Show

June 30, 2008 - July 11, 2008
Exhibition: Photography
Brea Van Orishot

June 9, 2008 - June 27, 2008
Exhibition: Tree show
Group Show

GAPACC and the StFX University Art Gallery collaborated to present a multi-part show at StFX and around the town of Antigonish. The premise for the show is this:

Recent concerns with climate and water resources have drawn attention to the fact that trees are essential for human life. Our language and visual art are filled with metaphors and allegories based on trees, so that trees play a core role in what it means to be human. Since we depend on wood for housing, furniture, wood, pencils, and cellulose products in numerous forms, it could be said that we still inhabit trees. Yet, the history of our area is one of intensive tree removal, for farming, shipbuilding, sawn timber and, more recently, cycles of factory-scale clear-cutting for paper--and to grow parking lots and shopping malls. How do we alter ourselves by changing the landscape to utilize trees? How do trees participate in our lives as metaphors and signs for ideas from strength to escape, even tenderness? In what ways can we re-value trees, or point to their expense? What about the lives and vicissitudes of trees?

April 15, 2008 - May 30, 2008
Exhibition: Photography
Roy Hartling, Montreal

Artist Statement:

Talking Turkey

This exhibition consists of images produced over a three year period, primarily in the historic Sultanhamet, Galata and Pera districts of Istanbul. The pictures are exposed in a Hasselblad X-Pan panoramic camera, which uses conventional 35 mm film. The film is processed normally, the negatives are scanned and converted to digital files and prints are output to acid free, cotton rag watercolour paper, utilizing archival quality colour pigments. It is a time consuming process but allows me to profit from the advantages of both traditional and contemporary digital photographic technology.

Why Istanbul? The pull of the exotic is undeniable. In many ways Istanbul feels built to be photographed. It is a strikingly beautiful city and given Istanbul’s location at the nexus of western and Moslem values, it is a particularly interesting context to work in. Things are more intense there; the food has more taste, the flowers smell sweeter and the refuse smells worse. Peoples’ lives are closer to the surface. It is a rich environment for a photographer steeped in the social documentary tradition of photographers like Josef Koudelka and Pentti Sammallahti. It would be presumptious to claim these images offer any kind of definative insight into the complexities of Turkish culture. They are an introduction, fast sketches of a most fascinating and dynamic society.

My gratitude to the people I met in Turkey and Istanbul. It would be difficult to overstate their natural generosity, humour and kindness. On the other hand, watch out for rug salesmen.

April 1, 2008 - April 11, 2008
Exhibition: Art @X Art Dept. Student Show

The Art Dept Student Show featured various pieces from students at StFX who were enrolled in courses within the Art Department.

March 18, 2008 - March 28, 2008
Exhibition: StFX Fine Art Faculty Exhibition
The StFX Fine Art Faculty Show featured over 30 works by faculty members in the StFX Fine Arts Department.

February 26, 2008 - March 14, 2008
Exhibition: Art @X Student Union Photo Show

The Student Union Photo Show featured photography submitted by various students at StFX.

January 15, 2008 - February 20, 2008
Exhibition: Photographs
Geri Noland
Artist Statement:

My photographic subjects often make reference to nature through landscape imagery and through my interaction with natural environments. Inspiration for my work comes from situations where nature is a shared commodity amid human activity. Sometimes these ideas appear in the form of documentary work or through representational imagery. I believe that by experiencing nature our lives are enriched and connected more directly to our natural world. As a visual artist I am drawn to ideas about how we interact with and adapt to certain environments.

The familiar shorelines and waterways near my home along the Minas Basin in Nova Scotia have allowed me the opportunity to explore the diversity of this particular region. These images in “The Minas Basin: Elements of Light” help to bring a certain sense of ethos to the place as a whole. Its prehistoric geography, panoramic vistas of eroding cliffs, the rise and fall of tides, and the rush of north winds as they pummel their way inland, all contribute to an awareness of timelessness that one feels when standing alone on these shores.

I work with a variety of photographic formats, from view camera to pinhole to digital imaging, and employ both black and white and color film. For me pinhole imagery represents a kind of gesture towards hyperrealism in a natural setting, and without a viewfinder to compose the image one can only suggest a vantage point for the camera to record its view. It has its own way of allowing light to expose film, which often reveal unique characteristics about its subjects. Working with a pinhole camera is as close to drawing with pure light as you can get.

The photographs in this exhibition are taken from a variety of locations along the north and south shores of the Minas Basin. The initial project itself was supported by the Nova Scotia Department of Tourism, Culture and Heritage in 2005 but has continued to be an ongoing adventure.

I am dedicating this body of work to my husband Ted Hilfiker without whom such beauty could not have been realized. I hope that you will share some of that experience here with me in this wonderful enduring place of The Minas Basin.