Reference: for more biographical information and examples of work see artist's website at lynnmalinart.com

Born and raised in Edmonton, Lynn Malin was educated at the University of Alberta and then the University of Toronto. After extensive travels overseas which involved further education in France and some early experiments with painting, she commenced her professional career by teaching art at Harry Ainley High School in Edmonton. Since the early 1980s, Lynn Malin turned to painting full time. first, with watercolours and later, with acrylics and oils both on canvas, paper and lexan. Malin has also worked collaboratively in sculpture and installation. Her works are displayed in the public domain in downtown Edmonton and at the University of Alberta. Lynn Malin has attended various workshops and residencies including the Emma Lake Workshop at the University of Saskatchewan, a self-directed residency at the Banff centre for the Arts, the Gushel Studio in Blairmore at the University of Lethbridge, and the Leighton Colony Residencies at the Banff Centre.

see Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.10, Westbridge Pub., 2001

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference:

Reference:

Reference:

Reference: included on the Katilvik website, disc number E6-410, community Pannirtuq / Pangnirtung

Reference: Kun Chen (Mao) and Chris Savage are a collaborative artist duo based in Calgary, Canada. Working across ceramics, painting, and public art, their practice explores themes of identity, cultural hybridity, and social transformation. Drawing from both traditional and contemporary influences, they create visually layered works that foster cross-cultural dialogue and invite nuanced interpretations of personal and collective narratives.

The pair met in 2017 while completing their Master of Fine Arts degrees at the University of Calgary. In 2020, they founded Mao Projects and established a home studio where their shared vision took shape. Combining Mao’s background as a first-generation Chinese artist with Chris’s Canadian upbringing, their collaborative work reflects a deep commitment to storytelling through material, form, and visual symbolism. Mao and Chris have received recognition through grants and awards from institutions including the Canada Council for the Arts and Calgary Arts Development. Their work has been exhibited across Canada and internationally.

Reference:

Reference: Tannis Marshall is an abstract artist based in Calgary, AB with her partner and three young children.

Inspired by the slow process and ritual she developed as the art director and founder of Eluo. As an artist she aims to evoke a soothing sense of calm, through pieces that express balance and meaning, with a modern perspective that pervades beauty into everyday.

Her work explores an intuitive approach to painting, drawing from beauty in nature and her visual experience. Employing a neutral, matte color palette, her work is characterized by the pouring and manipulation of pigment and water on canvas in a conversational process that builds. The play of light, movement and textures in nature is echoed by the shapes, pigments and layers. She seeks balance through this chance form of expression that emerges into beautiful abstract pieces of art.

for more biographical information and examples of work see artist's website at tannismarshall.com

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: included on the Getty Union List of Artist Names Online, by the Getty Research Trust website

Reference: An Ojibway artist from Ontario's Curve Lake First Nation in southeastern Ontario, McCue was a self-taught painter who learned from his cousin, Ojibway artist Arthur Shilling. McCue spent 19 years training substance abuse workers in Indigenous communities across Canada; during that time, he worked as a freelance illustrator, producing posters, book covers and illustrations. In 1976, he moved to Alberta, where he lived for the rest of his life. - Galleries West

Reference: see Art Attitude: The Random Thoughts of RFM McInnis by Robert McInnis, 2021

biography and other examples in
A is Alberta: A Centennial Alphabet Ken Tingley, Simple Truth Publications, 2005;
Spaces and Places - Eight Decades of Landscape Painting in Alberta, by J.Ironside, pg.106;
Dict. of Canadian Artists, by C.MacDonald, Vol.4, addendum;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.24, Westbridge Pub., 2001

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: Born in Tripoli, Greece, self-taught artist Mertikas and her family immigrated to Canada in 1960. Her first show was in Ville Saint Laurent in 1989. Her work has been selected by UNICEF and the Canadian Lung Association for cards, stamps, and calendars to help raise funds for their charities and she is a Fellow of the Royal Society of the Arts.

for more biographical information and examples of work see artist's website at katerinamertikas.com and chaseartgallery.com/collections/mertikas-katerina;

biography and another example in
Guide Vallee, III Edition, by F.Vallee, pg.799, pub. Le Guide Vallee, 1992;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.32, Westbridge Pub., 2001;

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: for more biographical information and examples of work see artist's website at edwardmichell.com

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; "In the late 1960s, Jean LaPointe Mihalcheon initiated a series of large stylized female ceramic busts. Not intended to be actual portraits Mihalcheon’s theme of womanhood could be seen in the larger context of the women’s movement;" Made in Calgary, Glenbow Museum, 2016 p.44

Reference: included on the Katilvik website, disc number E7-1009, community Cape Dorset

Reference:

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: see Ron Moppett, by Lorne Falk, Walter Phillips Gallery, 1982; Ron Moppett: Painting Nature with a Mirror, 1974-1989, no author, Mackenzie Art Gallery, no date; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; represented by Trepanier Baer Gallery, Calgary and others

Reference: A major retrospective of More's work was held by the Red Deer Museum and Art Gallery in 2019/2020.

see Greatest Garden - The Paintings of David More, by Mary-Beth Laviolette, published by the Red Deer Art Gallery and Museum and the University of Calgary Press, 2021

biography and another examples in
Measure of Success: Graduates of the A.C.A. 1963-1984, by L.Greenwood, pg 98;
Spaces and Places, Eight Decades of Landscape Painting in Alberta, by.J.Ironside, pg.60
listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: see
Norval Morrisseau, by Norval Morrisseau, published by Musee de Quebec, 1966;
The Art of Norval Morrisseau, by Norval Morrisseau, published by Methuen, 1979;
The Art of Norval Morrisseau - The Writing of Basil H. Johnston, published by Glenbow Museum, 1999

biography and other examples in
A.G.O., by the A.G.O., pg. 326;
Time for Dialogue, by Joane Cardinal-Schubert, pg. 18, Calgary Aboriginal Awareness Society, 1992;
Dictionary of Canadian Artists, by Colin MacDonald, Vol. 4 pg. 1304;
Collector's Dictionary of Canadian Artists at Auction, by Anthony R. Westbridge, Vol. 3, pg. 44, published by Westbridge, 2001

Reference: Born in Edmonton, Canada, Mullin has taught at various academic institutions in Canada and exhibited across North America and Europe. He has been a member of Alberta University of the Arts faculty in Calgary since 2003.

for more biographical information and examples of work see artist's website at www.markcmullin.com and www.paulkuhngallery.com/artists/mark-mullin

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Artist statement: My recent work attempts to offer a multiplicity of references that straddle notions of what constitute the abstract and the representational. Though calculated in their placement and execution, the arrangement of reoccurring forms make little literal sense yet possess enough fleeting familiarity to engage the viewer in a game of deduction. Somewhere a narrative lurks. Yet whatever gains are made by reading into possible allusions (to biological/atomic forms, urban graffiti, comic books, Celtic knots), a summation of either original intent or final result is to rest quizzically out of reach. That which declares itself so apparently forthright and boisterous perhaps conceals as much as it reveals The vocabulary of forms and surfaces seem to necessitate and command their exact locale within their spatial field, yet are conditioned by a sense that catalytic chain reactions push the paint - paint as organic form and symbol of abstract form - out of bounds. The paintings are square, with an increased depth that forces them into in our personal space and face. Brash and beefy, they assume a presence that refuses to function typically as an illusionistic window where paint describes form. The thick, woven brush-stroke structure suggests an organism undergoing catalytic proliferation, rapidly regenerating itself and spreading beyond the painting’s perimeter, whereas the work’s girth seems a necessary counterpoint to the packed surfaces with their conflicting temperaments and stylistic knuckle balls. Writhing tubular forms negotiate for space and control with flat, monochrome circles. Perhaps one suspects that behind their tight geometry there is housed the hard-wiring, cogs, residual energies, chemical leaks and whatever else that was necessary to push them to the forefront. These seemingly playful works are to teeter on the edge of a pending crisis. Their frivolous "silly" colours and forms negotiate within their allotted sector, but to alter the present dialogue (by nudging one circle a little left?) might kick start an uncontrollable system meltdown. Here our unseen abstract reality ( the place of 'superstrings' fashioned in bathtub toy colours) is hinged upon the ridiculous which is also the imperative. This dialectic establishes a state of suspended animation, as if the paintings are being made and unmade at the same time. Another way of stating this, is that the paintings seem to be forever under construction or deconstruction, falling apart and coming together. It is my strategy that the origin(s) and reference(s) for these works change with interpretation. An organic thread-like filament of paint appears biological, then shifts to Japanese writing found on food packaging, then again to tag-like names from street graffiti. Pockets of deep recessive space dissolve, suggesting a 'pre-world', which in turn is swallowed by replicating forms, oddly autonomous yet keenly interested in symbiosis. No form settles into character for long before an alternate proposition comes to light. The result is something of an impenetrable "catch me if you can" engagement. The act of looking becomes a fool's game of defining. It is my hope that the works' resiliency lies with the dilemma posed by their flippancy and self concern; the dilemma of deciding whether the paintings are all smiles and teasing, or deeply dismissive of any claim to a place in the serious canon of painting. Perhaps if a cartoon of molecular activity were capable of being haunted, it would look and function like these paintings.

Reference: see Inuit Artist Index, by Indian and Northern Affairs Canada, pg.124

biography in Biographies of Inuit Artists, Vol.2, by Canadian Arctic Producers;

illustrated by the artist, Tales from the Igloos by M.Metayer, St. Martin's Press, 1972

included on the Katilvik website, disc number W2-473, community Holman

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: included on the Katilvik website, disc number E9-1652, community Great Whale River

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: NASARIMBA is a Calgary-based artist duo comprised of Rachel Ziriada and Mikhail Miller. Since 2015, NASARIMBA has been collaborating across the mediums of collage, painting, printmaking, sculpture, installation and public art. Their large-scale murals are featured in public spaces across Canada and Mexico. They recently participated in artistic residencies in Mexico City (2023) and Oaxaca (2025).

Reference: for more biographical information and examples of work see artist's website at careynewman.ca

Reference: included on the Katilvik website, disc number W2-444, community Holman

Reference:

Reference:

Reference:

Reference:

Reference:

Reference: biography and another example in Guide Vallee, III Edition, by F.Vallee, pg.832; biographies in Dict. of Canadian Artists, by C.MacDonald, Vol.5, pg.1394; Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.3, pg.55, Westbridge Pub., 2001; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website