Local historian Glenn Parfitt was determined to create a website chronicling the early days of rock ’n’ roll in Victoria — despite the challenges involved in tracking down material.
Jane Michiel has a five year history with Gage Gallery and is currently a board member. The creativity of her 20 colleagues inspires her, and she enjoys the freedom of being part of a non-profit organization. Focusing on faces for Charisma,...
Homeland is an historic journey that reveals the artists’ pre-war lifestyle in Syria, the beginning of unrest, and finally, the trauma of dislocation. These artworks reflect on personal and cultural identity through the lens of memory and migrations.
“What Emerges” by Joanna Pettit.
Solo show at Gage Gallery Arts Collective
September 29 - October 18, 2020
http://www.artopenings.ca/joanna-pettit.html
Plastic is everywhere, explains Yardley in her introduction to Becoming Plastic. “It’s in the depths of the oceans and at the highest of mountaintops,” she says.
A lively Spring tonic awaits visitors to the Gage Gallery in early April 2021.
Margo Cooper and Elizabeth Carefoot present a vibrant series of abstractions titled Eccentric Deliberations. The artwork of this talented duo is eccentric in the best possible
Ira Hoffecker presents Transitions at Fortune Gallery
Parts 1-5. An account of surfing in the Juan de Fuca (JDF) region on south Vancouver Island. No beaches are named in this book. With photos and contributions from Rivermouth Mike, James Murray, Danny Amato, and Bob Kemp, there is a special focus on the na
Samantha Dickie’s conceptual ceramic sculptures
and
Louisa Elkin’s contemplative oil paintings
together at Fortune Gallery Feb 17-March 24, 2022.
Preview: http://www.artopenings.ca/dickie-elkin.html
The ceramic sculpture of Samantha Dickie conveys both mystery and metaphor. The intriguing textural forms of her multi-component installations invite investigation. What are the structures made from? What do they contain? Why are some surfaces channelled,
In 2002, Dave Gifford and Stephen Nguyen found themselves in the not uncommon position of being art-school students with no place to live. While many would simply resign themselves to a period of complaisant couch-surfing, Gifford and Nguyen took their ho