OSAC is pleased to announce the following Visual Artist Exhibitions on display at the Saskatoon Inn, Ballroom A.

Friday, October 18, 2019  10pm-11:30pm
Saturday, October 19, 2019 4pm-4:45pm & 10:15pm-11:30pm 

Frank & Victor Cicansky: Keep on Going

Curated and orIn the Thirtiesganized by the Moose Jaw Museum & Art Gallery with funding assistance from the City of Moose Jaw, Saskatchewan Arts Board, SaskCulture, Saskatchewan Lotteries, and the Canada Council for the Arts. This exhibition is toured through OSAC’s Arts on the Move program.

This exhibition features the paintings, sculptures and craft objects of folk artist, Frank Cicansky, in dialogue with the ceramics and sculptural work of his son, internationally renowned artist, Victor Cicansky. The presentation of these artists’ works together offers an opportunity to consider the shared values, creative drives and narratives of memory, place and origin that inform both of their artistic practices. Together these works reflect a sincere and compelling response to place, offering immigrant narratives of first and second generation settler Canadians in southern Saskatchewan, while also exploring the influential connections between our province’s folk art and funk art genres.

Image Info: Frank Cicansky, In the 30’s: #33 Keep on Going, acrylic & mixed media on canvas board, 45.72 x 60.92 cm, 1975. From the collection of Victor Cicansky.

The Flower may not Look like the Roots

Everything I needed to know about Regional Identity, I learned from Artists

Subterranean Cartographies 002

Curated by Jera MacPherson and toured thorough OSAC’s Arts on the Move program. Featuring Sarah Fougere, Bonnie Gilmour, Barbara Meneley, Vera Saltzman, Carol Schmold, Crystal Thorburn, and Sarah Timewell.

With attitudes ranging from the microscopic to the cartographic, the seven artists of The Flower may not Look like the Roots1 cultivate contemporary relationships to landscape, ecology2, and regional identity that respond to local communities past, present and future. The work plants its roots deep and long ago but to ends that are contemporary and evolving. These renegotiations of a well worn-in genre materialize themselves in clay, paint, video, drawing, and textile. Each of the various artistic mediums employed by the artists supply generous insight into the ways in which geography and sense of place figure into the personal landscapes of their own minds. Yet collected together, the suggestion of a regional voice begins to assemble. One that is rooted in history and place, but whose flowers are open and receptive to the conceptual intricacies of region-building.

[1]“The flower may not look like the roots, but from them it derives its life. Similarly regional visions derive their life from the landscape. This is the meaning of regionalism. The regional voice is the landscape. Without it there is no art.” Arthur Adamson, “Notes from the Dark Cellar: Ruminations on the Nature of Regionalism and Metaphor in Mid-Western Canadian Poetry, in RePlacing, ed. Dennis Cooley (Downsview: ECW Press, 1980), 224.

2 “The really existing, true state of interdependency manifested in the relation of all living things.” Artist-made definition. Daniel Tuck, Immersive Life Practices (Chicago: Chicago University Press, 2014).

Image Info: Barbara Meneley, Subterranean Cartographies, Work in progress, Video.

Madhu Kumar: The Stories of Immigrant Women

The Daily Grind 36x48

Toured through OSAC's Arts on the Move program.

When anyone moves to a new country there are challenges. This is especially true for women. My life is not the same in Canada as it was back home in India. I had to overcome many challenges, such as living in a very different environment and culture, being away from family and friends, and so on. In 2001, soon after I arrived in Toronto, I met another new Canadian who was struggling to raise her nine-year old daughter by herself. I empathized with her because I knew how difficult it was to raise children even when you have the support of a partner. I offered to take care of her daughter after school until she returned at night after working long hours at her job. I felt her pain as a single mother being far from her family and friends. I wanted to do what I could to help. 

This relationship inspired me. I wanted to capture the experiences of newcomer women on canvas. I started by contacting women through the Immigrant Women Centre in Regina. I went to their homes and with my camera, recorded their joys and problems. Most of the feelings I heard were of loneliness, emptiness, and sadness.

The women I have painted are bright, and hardworking. They were going through rough times as they tried to settle into their new lives. Through my paintings, I want to show what it feels like to be alone, frustrated, sad, empty, confused, lost amidst strangers and new friends. The paintings help promote dialogue about being new to Canada. I want to offer a glimpse into the life of an immigrant woman during this challenging time. Some show despair; others are more hopeful; while some are more settled.

Storytelling is not only the core of my work, but is also universally important. Human beings need to be seen and heard. Art is a vehicle through which I am empowering these women.

Image Info: Madhu Kumar, The Daily Grind, oil on canvas, 36” x 48”, 2018

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