Reference: CHIN

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

see
Dess[e]ins II / Drawing[s] II, by J.LeVeille, Les Editions du Ble, 2001;
Tony Tascona: Resonance, by P.Bovey and J.Patten, Winnipeg Art Gallery, 2001

biography and another examples in
A.G.O., by the A.G.O., pg.439;
Manitoba Society of Artists by J.Stoppler, pg.519, the Manitoba Society of Artists, 2003;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.54, Westbridge Pub., 2003;
Manitoba Visual Artists Index 1983, ed.T.Lysenko, pg.65, Canadian Artists Representation Manitoba, 1983

exhibition list in
R.C.A.A., by E.McMann, pg.396;
M.M.F.A., by E.McMann, pg.370

Reference:

Reference: Don Toney grew up on a cattle ranch in the foothills near Pincher Creek, Alberta. After majoring in fine arts at the University of Lethbridge for two years he apprenticed briefly with sculptor Leon Levesque. He set up his own foundry in 1979 and has worked as a full-time artist since.

for more biographical information and examples of work see Webster Galleries; see also a 2021 article at Lethbridge Herald

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 E2-426, community Baker Lake;

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: Oviloo Tunnillie, RCA, was a sculptor who became one of the few early female carvers to achieve international fame. Born in Kangia, one of several small camps on the southern coast of Baffin Island, she produced the majority of her work in Kinngait [Cape Dorset], NU. Tunnillie is best known for her particular focus on women, autobiographical carvings and taboo subjects, creating a unique collection of work that spoke to the lives of Inuit women over the course of her life.

Toonoo and Sheojuke, Tunnillie’s parents, were both artists, and Toonoo in particular helped Tunnillie hone her craft from a young age. When discussing the process of learning to be a sculptor, Tunnillie stated, 'I didn’t know I could carve, but watching my father, Toonoo, I learned . . . From there, I began to carve, always noticing the beauty and shape of the rock'. In an interview, she recalled the first work that she sold in 1966 was a carving of a woman in traditional clothing, which she noted with some humour was not fully formed but sold anyway. Tunnillie’s decision to work in the male-dominated medium of stone was a revealing indication of her independence. In these early stages of her career Tunnillie created realistic human and animal sculptures, before moving on to less traditional and more taboo themes in the 1980s, and finally to her autobiographical content in the 1990s.

Tunnillie worked with a range of stones including quartz crystal, white marble and serpentinite, a distinctive deep green stone from the area surrounding Kinngait. Her works are visually evocative, sensitively addressing painful subjects as well as bringing laughter and delight. A common theme in her work is the female form, in particular the female nude. As a young child, Tunnillie was affected by a major outbreak of tuberculosis across the North, a result of colonization. She was sent south to Manitoba for treatment, returning to Kinngait when she was ten. She was deeply affected by the time spent away from her family, and in 1991 produced the autobiographical steatite sculpture This Has Touched My Life in response, presenting herself as a young person being escorted away by nurses whose faces are obscured by surgical masks. Through works like this, Tunnillie is able to confront settler-colonial power structures and the trauma of displacement and dislocation. Another sculpture, Woman Passed Out [1987], depicts a woman held in the arms of another figure, having imbibed alcohol and lost consciousness. The head is thrown back, exposing the neck in a painful arch and suggesting the complete vulnerability of the woman depicted. Rather than presenting an idealized depiction of life in the North, featuring traditional lifestyles and activities, Tunnillie chose to address the real struggles of contemporary Inuit society in general and of women in particular.

As a deliberately contemporary artist who drew on her own experiences to tackle difficult issues head-on, Tunnillie was one of the most innovative and important sculptors of her generation, holding particular significance for a later generation of Inuit sculptors who have been similarly determined to address contemporary life. She is one of few Inuit female carvers to achieve international success, with more than a dozen solo exhibitions and countless group exhibitions that have crisscrossed North America and taken her work as far afield as Sweden, Germany and Russia. In 2003, she was elected to the Royal Canadian Academy, and in 2019 the Winnipeg Art Gallery in Manitoba released a book on her life, titled Oviloo Tunnillie: Life & Works.

biography from the Inuit Art Foundation

Reference: see Sunfield Painter, The Reminiscences of John Davenall Turner, by J.Turner, University of Alberta Press, 1982 and The Artful Codger, by J.Turner, Whyte Foundation, Banff, 1978; Shell Canada Collection, by B.Shammas, pg.56, Shell Canada, Calgary, 1977; included in Jubilee Exhibition of Alberta Paintings, by J.Nicoll, pg.30, Calgary Allied Art Centre, 1955; biography in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.74, Westbridge Pub., 2003

Reference: Pamela Vickerson is a multidisciplinary artist who grew up exploring Alberta, moving from the prairies, to the mountains, and then to the city as a teen. With a background in fashion and graphic design, she worked as an editorial and commercial illustrator for a number of years. A never-ending appetite for learning compels her into creative community as both an instructor and a perpetual student. Vickerson attended the Alberta University of the Arts for more than two decades, both informally and formally, graduating with a Bachelor of Fine Arts with Distinction (Drawing) in 2024. Her nomadic and playful early years along with later experiences of loss, profoundly impact the vision and direction of her research and arts practice.

Reference: Peter von Tiesenhausen is a settler artist based in rural Treaty 8 territory, in the community of Demmitt, AB. Von Tiesenhausen's long-standing multidisciplinary practice staunchly eludes categorization; land art, community-building, steel sculpture, environmental activism, bronze-casting, and wild blueberry propagation equally contribute to a complex synergy: a life lived as art.
Emerging in resonance with the natural cycles of the land he stewards and lives on, von Tiesenhausen's work contains an elemental urgency—a capacity to demonstrate momentary, precise unities between celestial mechanics and rural common sense: states in which every droplet of water reflects the sun.

see artist's website tiesenhausen.net

see Peter von Tiesenhausen, Deluge, by J.Stebbins, S.A.A.G., 2000; Peter von Tiesenhausen, Songs for Pythagoras, by Catherine Crowston, Art Gallery of Alberta, 2018; included in Alberta Biennial of Contemporary Art 1998, by C.Crowston/C.Mastin, pg.29, E.A.G. and Glenbow Museum, 1998; also listed in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.87, Westbridge Pub., 2003

Reference:

Reference: biography in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.94, Westbridge Pub., 2003; see Shell Canada Collection, by B.Shammas, pg.57, Shell Canada, Calgary, 1977

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

Reference: Risa Witten is an artist living and working in Calgary, Alberta. Her practice moves fluidly between abstract painting and sculpture, exploring play, form, and opticality. Through repetition, symmetry, and the interplay of positive and negative space, she constructs inventive, lively compositions that build their own internal logic - playful, precise, and intuitively structured. Her work invites the viewer into a world of visual tension and rhythm, where materiality and illusion interact. Witten holds a Bachelor of Fine Arts from Alberta University of the Arts. In recent years, she has exhibited in galleries across Canada in exhibitions highlighting emerging voices in painting, including Herringer Kiss Gallery (Calgary), Art Mûr (Montreal), and The Art Shop (Vancouver).

Reference: Jonathan Wolfe is a multidisciplinary artist based in Calgary, Alberta, primarily working with acrylic paint. His vibrant and playful use of colour invites viewers to explore the everyday scenes and objects that often go unnoticed. From telephone poles to grocery stores, his work aims to capture the essence of these seemingly mundane subjects, infusing them with a sense of brightness and play. Rooted in a sense of exploration, Wolfe's artworks reflect the places and scenes he comes in contact with while living in Calgary, inviting viewers to take a closer look and to find joy in the seemingly ordinary. His works serve as a reminder to appreciate the beauty that surrounds us in our daily lives.

Reference: Wood was born in Winnipeg and began his artistic career in Vancouver in 1964. He moved to the Ghost River region near Cochrane, Alberta about 1984. His artistic practise was devoted to the mountain landscapes and flora and fauna of western Canada and he often painted on location in the backcountry. Karl Wood's father, Robert E. Wood, was an artist and his son, Robert Wood, is also a painter.

for more biographical information and examples of work see Karl Wood and Koyman Galleries;

biography and another examples in
Contemporary Western Artists, by P.Samuels, pg.586, Bonanza Books, 1982;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.4, pg.113, Westbridge Pub., 2003

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 artist's website www.robertewood.ca

represented by Gainsborough Galleries, Calgary; grandson of Robert E. Wood and son of Karl E. Wood

Reference: see Silent Stories, by Vilem Zach, 2000; biography in Collector's Dictionary of Canadian Artists at Auction, by Anthony R. Westbridge, Vol. 4, pg. 122, Westbridge Publishing, 2003; 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; exhibited at Gainsborough Galleries and others; artist's website at www.vilemzach.com