Trained as a graphic artist, Marilyn’s love of animals and nature led her to the world of sculpture.

Her passion for sculpting inspires her to translate traditional animal forms into her own interpretation using soft flowing lines and strokes to transform the hard stone into a tactile animal that almost demands to be stroked.

Marilyn works extensively with soapstone and alabaster from around the world.

She creates pieces with a strong contemporary feel that are full of movement centered upon the structure and colour of the stone she is working with.

Her carvings reflect her love of western Canada’s wilderness and its endless array of inspirational subjects

His roots in the craft movement inform all aspects of his studio work, animating the vision beyond the sculptural to include pieces involving or implying movement — driven by sound, water, wind, or hand. The result often has a functional aspect or reference, such as vessels, fountains, maps, theodolites, gates, or thresholds, and reflects his engagement with the dynamics of mental and physical play.

The prime focus of his studio practice is on concepts and forms in various media and the processes to shape them. The material presence for this exploration ranges from 2 microns to 2 inches thick.

His investigation of process has extended the reach of his studio practice to include the industrial applications of fabrication: casting, folding, spinning, cutting, rolling, and bending, all of which activates his interest in surface treatments involving material manipulation, heat, and chemical transformations including glazes, patinas, and rusting.

For over five decades Tony Bloom’s work has been exhibited in North America, Europe, and Japan, and he has been the recipient of national, provincial, and civic awards. He is the co-founder of Stonecrop Studios in Canmore, Alberta — now also in Victoria, BC — where he continues to create artwork for municipalities, corporations, and private residences that include civic, interpretive, ceremonial, or inspirational aspects.

Forged in her studio on Salt Spring Island, Katie Ford’s sculptures explore the raw
tension between industry and nature. Each piece reflects her commitment to
environmental conservation, using metal to highlight both the fragility and resilience of
wildlife amid human impact.
A metaphor for the unseen affects pollution, Ford seamlessly incorporates elements of
post-industrial scrap and other reclaimed materials into her work. These elements exist
in plain sight, often transformed by fire and hammer beyond immediate recognition.

A distinctive feature of much of the work is the medium itself: laminated stone in a multitude of forms. An innovator in this approach, Gatin has gradually been expanding his repertoire by developing and refining new techniques with each new series of projects. Both the process and the resulting medium have influenced the subject matter of the work, which tends to draw attention to the composite nature of objects and ideas.

The work seeks to integrate as many of the artist’s disparate interests as possible, combining parallel fascinations with geometry, architecture and design alongside history, literature and philosophy. Gatin sees art as having a central role in the human experience, as essential as the basic necessities of life or as such concepts as ‘imagination’ or ‘society’. The practice of art therefore, is intrinsically connected with everything else in the artist’s attentive experience.

Gatin has participated in group shows and shown in numerous galleries on the West coast and in Winnipeg. His work resides in private collections throughout Canada and the US, as well as in Europe and Central America.

Education
NAIT, Edmonton, AB, Animal Studies   1978–1980
University of Calgary, AB, General Studies   1975-1977

Exhibitions

1. AWA Booth Western Museum Group Exhibit, Cartersville, GA, USA, 2020
2. AWA Rockwell Museum Group Exhibit, Corning, NY, USA, 2018
3. AWA Desert Art Museum Group Exhibit, Tucson, AZ, USA, 2017
4. AWA Master Signature and Signature Show, Bennington Center for the Arts, Bennington, Vermont, USA. Sept. 22 to Nov.13, 2016
5. American Women Artists Museum Member Show – “Prevailing Winds”
   Booth Western Art Museum, Cartersville, Georgia, USA
   October 23, 2014 through January 4, 2015
6. AWA Master Signature and Signature Member’s Show, RS Hanna Gallery, Fredericksburg, Texas Nov 1 – 24, 2013
7. Castlegar Sculpturewalk group exhibit, Castlegar, BC, May-September 2013
8. “Tribute to David Marshall” group exhibit, Big Rock Garden Park, Bellingham, Washington, USA, Summer 2013
9. Artists for Conservation Exhibit (group exhibit), Grouse Mountain Resort, North Vancouver, BC, Canada, Sept. 27 – Oct. 6, 2013
10. RendezVous Art Gallery, 323 Howe St., Vancouver, BC, Canada, Fall 2013
11. AWA Group exhibit, Arizona-Sonora Desert Museum, Ironwood Gallery, Tucson, Arizona, USA, 2012
12. Canadian Construction Association Executive Committee Retreat, Miller Business Centre, Delta June 2011
13. Thunderbird Equestrian Show Park, Langley, BC August 2008-2012
14. AWA Group Exhibit, Huff Harington Fine Art, Atlanta, Georgia, 2011
15. AWA Group Exhibit, Southwest Art Gallery, Dallas Texas, 2010
16. Whyte Museum, Banff, AB Group exhibit 2010
17. Major exhibition, self-promoted at Richie Estate, Langley, BC 2010
18. Masters Gallery, Calgary, AB 2007-2013
19. Peter Ohler Fine Art, Vancouver, BC 2007-2009
20. Texas Art Gallery, Dallas, Texas USA 2005-2009
21. Devin Galleries, Coeur D’Alene, Idaho, USA 1998-present
22. Mountain Galleries, Banff and Jasper, AB, and Whistler, BC 1995-present
23. Howard/Mandville Gallery, Kirkland, Washington, USA 1995-1999
24. Whistler Village Art Gallery, Whistler, BC 1990-present
25. Jenkins Showler Gallery, White Rock, BC 1990-1996
26. Semiahmoo Art Gallery, White Rock, BC 1983-1990
27. Toussawasket Galleries, Kelowna, BC 1981-1983

Public Art

• Physical Activity Centre, University of Alberta, Edmonton, AB
• Croyden Business Centre, Surrey, BC (Elkay Developments)
• Grandview Business Centre, Surrey, BC (Elkay Developments)

Memberships

• Master Signature Member of the American Women Artists (AWA) 2013 – present Cathryn Jenkins is the only Canadian Master Signature member (by invitation only) of the AWA
• Signature Member of the American Women Artists (AWA) 2009 -2013
• Cathryn was honoured to be invited by the AWA Master Members without application
• Artists for Conservation (AFC) 2012 – present

Selected Corporate Collections

• Angio Tech, Vancouver, BC
• Cana Construction, Calgary, AB
• Shaw Communications, Head Office, Calgary, AB
• Precision Drilling, Calgary, AB
• London Drugs, Sonora Lodge, BC
• BC Gas, BC
• Ocean Park Developments, Mill Bay, BC
• Silver Standard, Vancouver, BC
• The Physical Education and Wellness Faculty at the University of Alberta, Edmonton, AB
• Elkay Developements, Grandview Business Center, Surrey, BC
• Erivan and Helga Haub Family Collection of Western Art, USA
• Angus Reid, Vancouver, BC
• Tom and Tina Blaney, Langley, BC
• The Aquilini Family, Whistler, BC
• Dr. Brad Krusky, Calgary, AB
• Mr. and Mrs. Spencer, Edmonton, AB
• Sidney and Joanne Belzberg, Vancouver, BC

Media

• Article and cover page : Fran Jenkins, and Cathryn Jenkins,  Scene section of the Vancouver Sun, November, 2016
• Erivan and Helga Haub Family Collection of Western Art (Vol III), by Christine Mollring, Mollring Enterprises, 2012 (page 303)
• Good Life Connoisseur Magazine (Vol 9. Summer, 2011)
• Good Life Connoisseur Magazine (Vol. 5, Winter, 2007)
• BC Business Magazine 2006
• Inside Out Design Magazine 2006
• Good Life Connoisseur Magazine (Vol 4, Spring 2006)
• Resource World Magazine 2005
• Cottage Magazine 2004
• Magazin’ Art (Vol. 9, No.2 Winter 1996/1997)
• Interview with CTV News, October 24, 2013
• Interviewed on “The Express”, Shaw TV, Vancouver, BC, June 2010

Kent Laforme a Japanese Canadian artist known for his contemplative marble
sculptures.
“Marble is my chosen medium for exploring the newness of something that has existed in one form or another since the beginning of time. The nature of this material resonates with the void, and offers a glimpse into the creation of something true. The origins of the material are the essence of my work and at the heart of my process. Somewhere, within the limits and possibilities of a stone, dwells a language beyond time and space. This is where I search for the shape of my ideas. “
Laforme’s work is influenced by Canadian artist John Greer and Japanese American artist Isamu Noguchi.
Laforme’s artwork has been exhibited in New York, Hong Kong, Italy and across Canada. His work is represented by the Elliot Louis gallery in Vancouver, Canada.

Solo & Two-Person Exhibitions
2014 Temporal Landmarks-Two-Person Exhibition, Gage Gallery, Victoria, BC
2009 Altissimo — Solo Exhibition, Elliott Louis Gallery, Vancouver, BC
1999 1999 Frames of Hong Kong – Two-Person Exhibition, Fringe Gallery, Hong Kong
1998 After Truce – Two-Person Exhibition, Fringe Gallery, Hong Kong
1998 One Concept, Two Artists — Two-Person Exhibition, Artist Commune Gallery, Hong Kong
1994 Echoes and Horizons — Solo Exhibition, Anna Leonowens Gallery, Halifax, NS Group Exhibitions
2020 Penticton Public Art Program, Penticton, BC
2020 Castlegar Sculpture Walk, Castlegar, BC
2015 Sculpture Splash, Victoria, BC
2014 Sculpture Splash, Victoria, BC
2010 Objectified, Pelham Art Center, NYC, NY
2005 Atlantic Stone Sculpture Symposium Exhibition, Inverness Arts Center, NS
1998 Between the Like and Unlike, Artist Commune, Hong Kong
1997 The Yellow Pages Great Wall, Open-Air Sculpture, Hong Kong
1997 The Art of Politics, Le Mistral Gallery, Hong Kong
1995 Foreign Artists in Italy, La Badia Monastery, Camaiore, Italy
1994 Mare e Marmo, Open-Air Sculpture Exhibition, Forte Dei Marmi, Italy
1994 NSCAD Grad Exhibition, Nova Scotia College of Art and Design, Halifax, NS
1994 Mosaic, Anna Leonowens Gallery, Halifax, NS
1992 Peep Show, OO Gallery, Halifax, NS
Selected Media and Publications
2020 Council approves wolf sculpture for Cattle Point- Oak Bay News
2020 Oak Bay considers Takaya sculpture. artists honour lone wolf
2020 Stone Takaya sculpture could soon howl at Cattle Point
2020 Penticton Public Art Program 2020
2020 Italian Marble at home in Penticton
2020 Castlegar Sculpture Walk
2019 Sidney LitFest – An evening with Kent Laforme and Ruth James
2019 CBC 11 children’s books to check out this summer
2019 CanLit for Young Canadians- Book Review
2019 Prince Harry and family spotted vacationing in Victoria – Paseka book
2019 At Home Librarian- Paseka book review
2019 Sidney LitFest 2019
2019 Paseka review- Working Mommy Journal
2019 Book Time- Paseka review
2019 Paseka, a Little Elephant, Brave, Book Illustrations
2016 Mountains with Mountains. Oswego Building, James Bay Beacon
2014 Where Magazine “Temporal Landmarks”, Craig Spence, Fall Issue
2010 “MinusSpace Reductive Art”, Sylvan Leoni, February 3;
2009 iTunes Podcast, Elliot Louis Gallery, Ted Lederer, September 29;
2009 Kristen Krimmel Blog http://artiseternal.wordpress.com/category/sculpture/;
2008 Artist Series Video “It’s All About Art”, Ted Lederer;
2008 Where Magazine “In the Footsteps of the Masters”, Ted Lederer, Summer Issue;
2007 Times Colonist, “Oswego”, C2, April 22;
2005 Espace Magazine “Sculpting a Philosophy”, p. 45-46, Donna D’Amour, Summer Issue;
2005 Atlantic Stone Carving Catalogue, “Inverness Centre for the Arts”, Vanessa Paschakarnis;
2005 Inverness Oran, “Stone Symposium”, Frank McDonald, August 31;
1997 World Sculpture News Magazine, Summer Issue Selected Commercial and Public Commission Work
2020 Soul of a Wolf- stqéyə, Cattle Point, Victoria, BC
2014: Marble Column and Kite, Pillar of Ability. Vancouver BC
Commissioned by the BC Centre for Ability.
2011: Furito, Victoria, BC
Commissioned to create sculpture by Colliers International.
2006: Stone’s Throw, Sidney, BC
Commissioned to carve two outdoor granite sculptures for Stone’s Throw townhouse by Roads End Contracting.
2006: Oswego Hotel (Landmark Law Group), Victoria, BC
Commissioned to carve two outdoor marble sculptures for the Oswego Hotel.
2005: Port Hawkesbury Civic Center, Port Hawkesbury, NS

Symposium outdoor marble sculpture selected to be installed at the Community Civic Center.
2005: Atlantic Stone Carving Symposium, Cape Breton, NS
Worked as one of eight Canadian artists selected for the National Sculpture
Symposium.
2004: Custom House Global Foreign Exchange, Trophy for the Canada Rugby
Sevens MVP
Commissioned to design and create one principal bronze trophy, and four secondary trophies, to be awarded to Rugby Canada’s Player of the Year and the Canadian Rugby Sevens MVP.
2004: Cinque Terre, English Bay, Vancouver, BC
Commissioned to create an outdoor marble fountain sculpture with water feature for the Cinque Terre residences.
2003: Interlude Spa, Halifax, NS
Commissioned to create three indoor marble sculptures.
1996: Korean Business Air Services (KBAS), Seoul, South Korea
Commissioned to create an indoor black granite sculpture for the lobby of KBAS office building in South Korea.
Professional Sculpture Assistant
1996 Pietrasanta, Italy, Canadian artist John Greer (Art Gallery of Nova Scotia, Canada)
1995 Pietrasanta, Italy, Taiwanese artist Cynthia Sah (Museum of Taiwan, Taiwan)
1993 Zurich, Switzerland, Japanese artist Akiko Sato (Museum Bellerive, Switzerland)

Education. Scholarships and Grants
1990 to 1994 Nova Scotia College of Art and Design (NSCAD), BFA, Halifax, NS
1993 to 1994 NSCAD, Independent Off-Campus Study Program, Pietrasanta, Italy
1987 to 1990 John Abbott College, D.E.C Fine Arts, Montreal, QC
1993 to 1996 Studio Leonardi, Pietrasanta, Italy
1998 Hong Kong Arts and Development Council, Artist Exhibition Grant
1993 NSCAD, William Peters Scholarship
1992 NSCAD, Centennial Scholarship

Georgina Lohan’s work has developed through extensive exploration & experimentation with materials.
Georgina’s work with porcelain began as an extension of her practice as a mixed media painter when she began working in wall mounted relief panels in ceramic, glass, painting and cast paper.

After gradually becoming more involved with clay, she established her first ceramic studio in 2007.
Her current studio is located in the hub of the recently established Eastside Arts District, providing a dynamic container for her creative practice.

As well as exhibiting her artwork, Georgina has contributed to the development of many creative projects including her role as founding director of the Eastside Culture Crawl, the largest visual arts festival in western Canada.
Georgina is based in Vancouver, BC, and has exhibited in North America & Europe.

Artist Statement:

The sensuous nature of working with clay connects me with my body, its feelings, experiences, and memories. Excavating 18,000 years of ceramics history, which contains the worlds cultural heritage, informs my practice, and links the Late Paleolithic with the contemporary era; the Anthropocene.

This dialog between the personal and the universal connects questions of existence & equality, psychology & evolution, the fragment & totality, and helps contextualize the effects of advanced industrialization on human development. It has led me to re-imagine the human story as a 3D collage made of porcelain clay, describing how we can move between the experiences of trauma, disintegration & loss, to strength, regeneration, and vitality.

On this journey of transformation, we are not alone, but connected in an intricate web of relationships to the world around us.

Through the development of my work, I have been able to observe the interaction of individuals as they relate to the details of each sculpture. The use of these materials brought to my attention the interaction the audience has with each individual sculpture. Some of the viewers are drawn to the recognition of materials that were identifiable from their everyday lives, while others preferred pieces that have been altered so that the original components were no longer easily recognizable. It was these two reactions that inspired me to explore this tension in my development process.

Until recently, I have been focusing on creating works that have very few recognizable components, but decided to exaggerate aspects of them to become feature components of the sculptures. Certain attributes, such as a sharp angle of a chair arm or the curve of a wheel arch, help determine the visual flow of the piece. Certain mechanical components are integrated into the sculptures not only for the aesthetic qualities, but also for their relation to movement. The sculpture is able to strip away the functionality of the individual components to emphasize their aesthetic merit. The outcome is to reinforce the idea that any material can go through a metamorphosis and become contrary to its formal existence.

TV Interviews:

CV

Public Work:

– “Linotype Wapiti” – City of Castlegar, Castlegar, B.C

– “Exodus” – Castlegar, B.C, Canada

– “Breaching Orca III” – Hastings House, Salt Spring Island, B.C

– “Breaching Orca” – City of Nanaimo, Nanaimo, B.C

– “Roaming Deer” – City of Nanaimo, Nanaimo, B.C

– “Breaching Orca II” – San Juan Museum of Art, San Juan Islands, WA, USA

– “Sentinel” – Sioux Falls, South Dakota, USA

– “Ascension” – Salt Spring Arts Council, Salt Spring Island, B.C (Private Collection)

Awards:

– 2012 – “2nd place, Juried Show” for “Dive II” – SRAM pArt Project 2012

– 2011 – “Peoples’ Choice Award” for “Linotype Wapiti – Castlegar Sculpturewalk 2011

– 2010 – “Juror Choice Award” for “Avocet” – Sidney Fine Art Show 2010

– 2010 – “Juror Choice Award” for “Vicissitude” – Sidney Fine Art Show 2010

– 2009 – “Best 3-Dimensional in Show” – Sidney Fine Art Show 2009

Academic History:

– 2004 – 2008 – University of Victoria – Visual Arts, Business

– 2002 – 2003 – Victoria College of Art – Courses in Visual Art and Art History.

– 2002 – 2003 – Camosun College- Courses from the Science and Humanities Faculties

Ken set out on his sculpture practice creating clay character maquettes in the development process of his animated short films. From here he developed mold making, casting, and metal fabrication skills which opened the door to a myriad of sculptural media. Ken’s current works are in bronze, concrete, stoneware, steel, and wood.

Ken currently lives in Maple Bay on Vancouver Island splitting his time between working as an animator for the feature film industry, producing fine artwork, and exploring the Canadian wilderness.

Ken is also a proud member of Artists For Conservation, meaning 10% of proceeds from his art is donated to a charity pertaining to the character of each piece. Read more here:
https://www.artistsforconservation.org/artists/31218

ARTIST BIO

Morley Myers was born in Saskatoon, Saskatchewan in 1956, and grew up primarily in the Medicine Hat region. A self-taught sculptor, Morley has been working with stone since 1991 and has been involved in exhibits on the west coast and has displayed in both Canadian and US galleries.

When creating a sculpture from a raw block of stone Myers often starts with the fault line, the unruly fracture, or some other perceived defect, not in order to make a correction, but rather to initiate a process of discovery.

The chisel is guided into a series of moves and countermoves; shapes emerge and disappear and a hidden three-dimensional poetry is, in the end, revealed. Myers is like the archer who, though he knows where he is aiming his arrow, ultimately retains a certain indifference to its exact destination. The work is meticulously composed but open. If this approach sounds like the working method of a previous era – it is precisely that. Myers is one of a growing number of artists who have been struck by the disappointing results of the “new critical” artistic forms and styles. When compared to the art produced in the first part of the 20th century, it is hard not to notice that the results of postmodernism are sometimes little more than sociologically inspired one-liners with perhaps limited durability. Over the last 30 years postmodern critics have tended to emphasize the disruptions and downplay the continuities. This has lead, in certain quarters, to the belief that the art of the past is merely historical artifact, lacking in aliveness or contemporary relevance. Given the relative paucity of durable results, dealing in recoveries, re-developments and extensions is not only valid but perhaps necessary. In a conscious effort to disengage with the new orthodoxy, Myers has investigated anew pre-postmodern strategies and methods.

Before settling on his current approach, Myers experimented with several artistic methods of the recent past. At one point, for instance, he took up the welding of found objects after being inspired by an exhibition of Anthony Caro but found the results lacking in the essential qualities he was looking for.

He then reached further into the past, eventually coming upon a territory of high experimentation. It was here, among works by Picasso, Moore, Brancusi and Smith, that Myers not only found inspiration but a fertile ground of unrealized possibilities. An effort to redevelop and extend what he saw – and felt – in these sculptures began. The project became to see what emerged when, without seeking to pastiche or imitate in a nostalgic way, an artist immersed in postmodern culture takes up a working method that privileges experience over “reading”.

Postmodernist sculpture relies, in general, upon symbols and their play to convey its meaning while Myers’ work evolves from a more direct encounter with the material itself. By beginning with what he identifies as “the defect”, Myers initiates a process of salvage or recovery. In the moulding of each “recovered” shape Myers puts into play both that which is already there and that which is anticipated but not yet realized. His compositional skills have, in addition, been finely honed by 20 years of hands-on experience with the chisel.
His work is rich and sensuous, inviting the viewer to walk around it in order to experience how the individual forms emerge and dissolve, how they impact each other, how they influence the whole.

Morley’s style is a unique blend of cross-cultural primitive imagery. He says, “I feel the primal aspect of my work touches everyone on a basic level. Living on Salt Spring Island since 1989, I have had many opportunities to enjoy and be influenced by many of the artists that reside here.”

His work is currently represented exclusively on Salt Spring Island at Gallery 8.