GLENN CLARK
Vernon Public Art Gallery
July 25 - September 17, 2024
Catalogue of an exhibition held at the Vernon Public Art Gallery 3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada
July 25 - September 17, 2024
Production: Vernon Public Art Gallery
Editor: Lubos Culen
Layout and graphic design: Vernon Public Art Gallery
Front cover: Sex + Death (detail), 2018, mixed media on canvas, 64 x 84 inches
Printing: Get Colour Copies, Vernon, British Columbia, Canada
ISBN 978-1-927407-85-1
Copyright © 2024 Vernon Public Art Gallery
All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the Vernon Public Art Gallery. Requests for permission to use these images should be addressed in writing to the Vernon Public Art Gallery, 3228 31st Avenue, Vernon BC, V1T 2H3, Canada. Telephone: 250.545.3173, website: www. vernonpublicartgallery.com.
The Vernon Public Art Gallery is a registered not-for-profit society. We gratefully acknowledge the financial support of the Greater Vernon Advisory Committee/RDNO, the Province of BC’s Gaming Policy and Enforcement Branch, British Columbia Arts Council, the Government of Canada, corporate donors, sponsors, general donations and memberships. Charitable Organization # 108113358RR.
This exhibition is sponsored in part by:
1 Executive Director’s Foreword · Dauna Kennedy
2 Introduction · Lubos Culen
4 Descent Into Classicism · Julie Oakes
8 - 10 Artist Statement · Glenn Clark
1 Images of Artwork in the Exhibition
40 Curriculum Vitae · Glenn Clark
EXECUTIVE DIRECTOR’S FOREWORD
The Vernon Public Art Gallery is pleased to welcome back artist Glenn Clark with his exhibition Descent Into Classicism. Clark is from the Penticton area in the Okanagan and has a long history of painting. This exhibition which was inspired by Classicism and Neo-classicism features large scale ultra realistic painting which focuses on environmental issues and the human condition. You may also find some political undertones as you explore this exhibition.
I’d like to thank Julie Oakes for her contribution to this publication. Oakes in addition to being a senior Canadian artist, is also the proprietor of the Headbones Gallery located in Vernon, BC.
I’d like to acknowledge Lubos Culen, Curator for the Vernon Public Art Gallery, for his passion in bringing thought-provoking exhibitions to the residents and visitors of the North Okanagan.
Funders such as the Province of BC, BC Arts Council, and the Regional District of the North Okanagan are critical to the work we do and ensure the VPAG is able to pursue its mandate for the people of the North Okanagan. Our donors, members, and sponsors also contribute to the success of our programming and we are grateful for their support.
See you at the gallery,
Dauna Kennedy Executive Director Vernon Public Art Gallery
GLENN CLARK: DESCENT INTO CLASSICISM - INTRODUCTION
Glenn Clark’s studio practice is based on realistic renderings of his subjects. His subject matter includes landscapes, portraiture, still life, and lately, constructed images based on historical references found in the works of classicists’ artists from antiquity, also including influences from the Renaissance and Neoclassicism. The artwork from these periods was based on a clarity in representation of the human body and surrounding environments. The compositions of the artists working in this genre emphasized visual harmony, universality that transcends boundaries and culture, and idealism which affirms the notions of beauty and perfection.1
Clark’s studio practice spans some forty years during which he painted hundreds of paintings and large-scale murals. His subject matter is derived from the multiple photographic images which he uses as elements of his collage-style compositions. In addition to his subject matter featuring intimate portraits of his family members and friends, en plein air and in-studio produced landscapes, Clark’s work is focused on environmental issues, and the human condition.
The exhibition Descent Into Classicism signals Clark’s departure from his approaches to compositions. The Sacred and Profane War painting serves as a metaphor for humanity’s wave of destruction upon nature, leaving behind piles of sculls and ribcages. Similarly, the Sunny Ways painting presents the dense progression of war actors in armor juxtaposed over a naked person on the ground which metaphorically implies defeat and destruction. The painting titled The Squire is in part inspired by Albrecht Dürer’s 1513-1540 print Knight, Death, and the Devil. The original image is the embodiment of medieval scholasticism - theological, intellectual, and moral .2 Clark’s painting is the personification of the struggle for the environment, where the humanity mistreats environment resulting in death and nature’s degradation.
The latest portraits that Clark has produced are large-scale and exquisitely modeled. Despite the fact of the realistic rendering in his subjects, there are undercurrents which lead the viewer to construct implied narratives ranging from blissful existence, existential angst, to feelings of magical narrative. The commissioned painting titled Sisters links the quality of classicist artwork with the notion of utmost idealism expressed in the closeness of the sisters and their demeanor. Happy looking ‘sisters’ are further surrounded by the quintessential sandy Okanagan beach with the lake in the background. The theme of the Okanagan Lake is also carried in the painting titled Young Ladies on the Banks of Okanagan Lake. The image of two ‘ladies’ reclining in the shade of the trees at the lake beach is inspired by Gustave Courbet’s 1857 painting titled Ladies Beside the Seine. Despite the exquisite dresses and bouquet of flowers, there is the sense of disconnection and alienation. The gaze of one of the protagonists stares directly at the viewers which places them in the roles of voyeurs. Equally disconcerting is the painting titled The Portent, showing a youthful protagonist balancing at the edge of the stone protrusion over the void. The painting carries a psychological tension created by the unknown outcome of the balancing act and the feeling that something momentous or calamitous is possible to happen.
The painting titled Persephone is somewhat ambiguous but the entry point into the possible narrative is instilled in the name of the Greek goddess who is considered to be the bringer of death. At the same time, according to the Greek narrative, she was also the goddess of spring growth.3 Clark’s painting is focused on the proliferation of life – a parallel belief into the hope of nature triumphing against the degradation of the environment.
Clark uses the tenets of Classicism to produce the painting titled Sex + Death which portrays two models dressed in Punk rockers’ attire in front of a spraypainted graffiti wall. The creation of the image was achieved in several steps and was somewhat performative. Even though the subject matter is contemporary, Clark painted the captured mise en scène in high realism.
The Descent Into Classicism exhibition is one of Clark’s greatest accomplishments. True to the Classicist aesthetic, he paints with an emphasis on form, proportion, clarity of structure, and perfection. In addition to realistic modeling of forms in his composition, Clark addresses contemporary concerns about the state of the environment and the human condition. His portraits are expressions of more than the portrayal of the subject. The paintings are emotionally charged inviting the viewers to engage and piece together strings of possible narratives about the protagonist and their environments. As is the case with all art advocating changes of the stewardship of the planet, Clark’s images are subversive in their beauty, while not being overtly political.
Lubos Culen Curator
Vernon Public Art Gallery
Endnotes
1 https://www.google.com/search?client=firefox-b-d&q=universality+in+art, accessed June 14, 2024
2 https://www.metmuseum.org/art/collection/search/336223, accessed June 18, 2024
3 https://www.theoi.com/Khthonios/Persephone.html, accessed June 18, 2024
DESCENT INTO CLASSICISM
by Julie Oakes
Glenn Clark is principled. Adopting, or descending into, classicism and therefore revitalizing ethics, ideology and aesthetics which survived from the 4th and 5th century, takes guts and commitment. The works chosen for Descent into Classicism, curated by Lubos Culen, reveal a classical, Socratic sensibility.
Historically, the classicists furthered belief in the capabilities of humankind in an era and society that placed high value on the possibility of perfection. Simplicity and clarity of form, expressed through taste and intellect, were recruited to address subject matter that required a duration of dedicated time. Realist painting presents a series of challenges as to how to render the physical world that has been chosen to carry the narrative. Translating, through paint, that which exists in the physical where the subject is often dramatically served in order to illustrate the idea, places the artist in a position similar to a highwire tightrope walker. He must use his artistic discipline to honor the common vocabulary as to what constitutes the real and yet also inspire awe without showing the strain that such control demands. This illusion of ease, of rightness in the moment, is the confident stroke of realized phenomena, of having created a painting to which nothing else needs be added or taken away, an object that exists as unique.
Clark as an art student would have been hard pressed to see original works of the revered historical classical masters when he attended Okanagan College but at the University of Calgary where he did his BFA, his professor, the contemporary realist John Hall, was an effective mentor. Hall is a master at surfaces and Clark came to understand the alchemy of using paint with an illusionist’s flair. During art history classes as well, Clark felt tremors, but it was not until 2008 when he visited the Louvre to see works first-hand that the earth shook - the impact viewing originals created an inner observation that caused a stop-and-think recognition.
In a visual interpretation of the Socratic method, Glenn Clark began to question assumptions. By taking commonly held themes and, through treatment and re-examination, he veered closer to what might be called ‘the truth’. Elusive intrinsically, ‘the truth’ clarified in the making. If art is a way of searching for truth by way of human’s faculties - and classicism was viewed as such - then a necessary area of inquiry in probing Glenn Clark’s work would be to consider the subject matter.
Clark says that while swimming in realism, it was not until 2018 that he made a deep dive into classicism with Sunny Ways, a work that expresses Clark’s concern for the environment and his stand on political issues. Although, he also admits that the impetus to paint Sunny Ways and to stage it as a battle scene was also the lure of how to paint chain mail. In the painting, a naked male figure, fallen or trampled, is underplayed as part of a knightly battle scene where the emblems on the standards signify corporate collusion. Dogs appear freaked while above a flying Canadian goose trails flames and in the distance more birds-on-fire plumet. The grand pictorial convention of classicism is pertinent here - there is a private opinion being presented in a public format, begging attention.
Vacillating between home and heroic, quotidian and sublime, Clark employs grand themes through familiar faces and places. He finds a way to not only bring the private into a public context but tends to positivize the message in doing so and this is partially due to his expertise. He depicts his subject clearly, substantially, and convincingly, leaving no room to doubt the ‘reality’ of the scene. Then he throws in hitches as when Clark turned to the Greek myth of Persephone, goddess of the spring and daughter to Zeus and Demeter.
Persephone was abducted by her uncle Hades and taken to the underworld where he eventually married her. Unhappy in his grave-like climate (it is said she was missing her mother), she secures permission to spend a certain amount of time above ground, during the spring. Still, the deal is that Hades returns in the fall and takes her away and this is the scene most often portrayed in paintings - Persephone slung over Hades’ shoulder, protesting, as she is being carried into darkness.
Clark’s painting diminishes Hades’ position of power and focuses instead on Persephone. In fact, Hades is barely discernible in the far distant left as he pushes open a crack in the earth to come and fetch his pretty prize and submit her to his world once again. Persephone, dressed in teal velvet that frames her perfect skin and clear eyes, is center stage. The shadows of her lashes on her cheek are in tune with the shade dappled grass which suggest a verdant lushness and although leafless branches reach towards her like bony skeletal fingers, she sits composed. Her expression is knowing with a hint of accusation as if she is questioning the validity of this cyclical birth and death that has been imposed upon her. Beauty flutters about her as a ginger cat rolls on its back, fronds of grass pleasant on ruffled fur.
Nothing scary here. Clark ‘s imagery, supported by his perfect technique, adds a reassuring chapter to the existential mystery.
Specificities of common life can assume gigantic meaning when the presentation supports the subject. Chuck Close, Audrey Flack, Richard Estes as well as Canada’s Alex Coville, Christopher Pratt and Mary Pratt had revitalized realism in an art scene that was enamored with abstraction. Today, Eric Fischl’s contemporary narrative paintings utilize the form, style, and grandeur of renaissance masters to tell domestic tales and Kehinda Wiley uses classicist scenes to address the representation of black people by referring to historical settings and styles of portraiture. Bill Viola’s large scale, often slow-motion videos bring classical subject matter to the digital era, scale intact or expanded, poetry uppermost.
The classical way is a useful path to actualization.
Constantly carrying on a dialogue between the will and the way forward, realist painting requires adept skill that is then overlayed by specificity. Clark is not awkward or ill at ease balancing his ideas with his technique; nor does his work feel superficially ambitious. If the subject is grand, it is because it requires scale. If it is complex, it demands a series. If it is to appear more relevant than virtual reality, the decisions he makes as he moves forward must be right-on. His reasoning must be faultless. And this is at the very core of classicism. The Romantics and Neoclassicists also addressed themes of love and the sublime, often casting their renditions within a moody or ancient setting while using the dress of the day. Sex and Death possesses a
brooding undercurrent of defiance. The bold, challenging nonchalance of the figure identifying as poncily female is in contrast to the Werther-like downcast of the other more androgynous, less theatrical figure. The graffiti in the background was painted by one of the models, his daughter Colette; Clark meticulously used the same materials to depict it. Clark takes photographs of his subjects, often combining takes into a single painting, but Sex and Death was shot intact, just as the ginger cat wandered onto the photo shoot. This private pet entering the public storyboard and Clark deciding to retain it within the imagery adds another element of particular intimacy to the message.
Classically, Clark reveals insights, perspectives, and conclusions gleaned from his immediate life. “Ready and heady; happily lightheaded”, he takes what comes, weeds out that which chokes growth and goodness, and with size, composition and skill, he buffs up the common place. He is the messenger, running from source through subject to embodiment. True to the Socratic ideal, whatever happens, Clark lives with himself, and it is that world that he shares with us.
Endnote
1 Friedrich Nietzsche Thus Spoke Zarathustra Translated by Walter Kaufmann Penguin Books 1966.
As a multidisciplinary artist, Oakes uses painting, ceramics, glass, performance, installation and video to address environmental protectionism, women’s rights, spiritualism and cultural diversity.
Oakes received a Masters in Visual Arts, NYU, and a Masters in Social and Political Science, New School for Social Research, in New York. After living in Toronto, Oakes, with Richard Fogarty, moved back to Vernon where they designed and built Headbones Gallery and her studio.
ARTIST STATEMENT
I was born and raised in Kelowna, and now live in Penticton, British Columbia. My escape from a chaotic world has always been art. I was that kid always with a pencil in hand and by age twelve began selling portrait drawings and it gave me a taste that maybe I can do this, but there was really no choice of career path.
I finally got to art school in my mid-twenties, late but probably for the best as there was some life knowledge behind me. In my early thirties I began a lifelong autobiographical series of large-scale canvasses that were painted between commission work. With a growing family I turned to my paint brushes to keep a roof over our heads. There were a lot of murals.
I explored a few avenues, but large-scale, life-size portraiture has always been my go-to, initially modelled off the North American 20th century realist movement. I was drawn to artists like Jack Chambers and Robert Bechtle, among others, documenting their families and North American experience. So much art to try, so little time to do it; I would settle into this genre. Like most portrait artists, I work with family and friends as models while exploring different themes and human affairs. My work has been gradually changing but there is usually a thread that connects it. Events have affected this journey; after the Deepwater Horizon oil spill I made a conscious decision to paint more animals in my work, to give them a voice. Exploring the art halls of Paris would shake my foundation. My work would shift again with the Lockdown, in scale and subject; the art no longer examined existence, but now pondered mortality.
No one knows their fate, and I certainly had no idea where this slow-growing series would go as I got older. The years stack up and the result is a divergent body of work originally reflecting on, and now reacting to, an ever-shifting Canadian experience. My daughter Colette turned to modelling early in life and was a perfect infusion of youth to my art. She is posing in four of the canvasses in this exhibition.
Many of my paintings take months to complete. It’s non-glamorous work being a studio artist, with long hours of solitude in front of a canvas. A reprieve from the hustle and bustle. The act of mark making is a distraction, an act of worship of sorts, but it is more than that; it allows me to push myself, to explore subject and surface. The challenge of controlling paint while solving new textures and problems is endless. Making better paintings is a lifelong pursuit, and as long as it is capital letter FUN, I will continue to explore this life through my art.
DESCENT INTO CLASSICISM – EXHIBITION DESCRIPTION/STATEMENT
When I was young, in first year art history class seeing David’s masterpieces on the screen for the first time, I dreamed and schemed of creating Neo-classical paintings. There are a lot of ducks one must put in a row before mural size classical-themed paintings can develop. Fifteen years ago, I took a couple years off my regular practice to build a studio and that opened the gate of possibilities.
I always get there, it just takes me longer. Beyond the space and gumption, an artist needs the reason, finances, imagery, time, ambition, and lots of practice to create this type of work. After visiting the Louvre in 2016 there was a jolt, my paintings would look to the past for guidance. It finally all came together and I suspect this descent is turning into something more akin to a spiral.
It always seemed to me that classical artists from previous centuries had better props to work with: horses, armor, castles and archaic ruins. I needed new models to push ahead and a photo shoot at a jousting event in Osoyoos was perfect to get started.
What drives an artist; is it the fear of death? The love for life and art are interconnected. When you look at centuries old work you sense a window into the past, a connection, a message, or warning through this time hole called a painting. You see how things were, the humor, mood, fashion, cruelty of the time. It’s like the artists were reaching out through a one-way portal to the future, never wanting to let go, hanging on through their art.
Timing is everything and it’s a good time for artists to take cues from the eighteenth century and beyond when art famously rebelled against the status quo. People are consistent, history repeats. Neo-classicism, the art of the time of the French Revolution, arguably the most important chapter in the history of modern civilization, is the perfect art for a time of upheaval. All these influences: art history, my own history, and the current events that are making history - you throw that in a studio with yours truly and this is what shakes out.
Glenn Clark
DESCENT INTO CLASSICISM
ARTWORK IN THE EXHIBITION
Sacred and Profane War, 2020-2024, acrylic and oil on canvas, 97 x 110 inches
Sunny Ways, 2020-2024, oil on panel, 48 - 48 inches
The Squire, 2022, oil on panel, 48 - 48 inches
DESCENT INTO CLASSICISM PORTRAITS
The Portent, 2018 - 2023, oil on canvas, 60 x 60 inches
Persephone, 2023, acrylic and oil on canvas, 66.5 x 91.5 inches
Young Ladies on the Banks of Okanagan Lake, 2017, oil on canvas, 68.5 x 81 inches, collection of Nadine Guy
Sisters, 2024, oil on canvas, 96 x 67 inches, collection of Gregory Rhyason
Sex + Death, 2018, mixed media on canvas, 64 x 84 inches
DESCENT INTO CLASSICISM
LOCK DOWN, THE MANNEQUIN SERIES
DURING THE LOCKDOWN, I BEGAN A NEW SERIES OF PAINTINGS ABOUT THE STRESSFUL ORDEAL USING OLD MANNEQUINS THAT I HAD BEEN PACKING AROUND THIRTY YEARS AFTER A SUCCESSFUL DUMPSTER DIVE. THIS WOULD BE MY TIME TO DO SOMETHING WITH THEM. THE PAINTINGS ARE CREATED FROM MANY EXPLORATIVE PHOTO SHOOTS OF THE SARAN WRAPPED SUBJECTS. I CAUGHT FIRE DURING ONE INFAMOUS OUTDOOR PHOTOSHOOT. I USE MY WORK TO COUNTER STRESSFUL TIMES, AROUND THE CLOCK, AND EVERY WEEK AS THEY STACKED UP I WOULD HAVE TO TAKE A BREAK AND MAKE NEW CANVASSES TO WORK ON AND THE GROWING SERIES. HERE IS A SELECTION OF THEM.
Black Widow, 2020, acrylic and oil on canvas, 10 x 8 inches
Cat Woman, 2020, acrylic and oil on canvas, 12 x 9 inches, collection of Bethany Handfield
Ripley, 2020, acrylic and oil on canvas, 8 x 8 inches, collection of Bethany Handfield
Creamsicle, 2020, acrylic and oil on canvas, 10 x 8 inches, collection of Bethany Handfield
Do your Part, Stay Apart, 2020, acrylic and oil on canvas, 12 x 12 inches
The Rapper, 2020, acrylic and oil on canvas, 8 x 8 inches
Trapped, 2020, acrylic and oil on canvas, 8 x 8 inches
Zip Lock, 2020, acrylic and oil on canvas, 10 x 8 inches, private collection
I Can’t Breath, 2020, acrylic and oil on canvas, 8 x 8 inches
GLENN CLARK CURRICULUM VITAE
EDUCATION
1988-1991 BFA, Major in Painting, University of Calgary, Calgary, AB
1986-1988 Fine Arts Diploma (with Distinction), Okanagan College, Kelowna, BC
1978-1979 Certificate of Graphic Design, Kootenay School of Art, Nelson, BC
AWARDS AND HONORS
2015 Central Okanagan Artist of the Year
2014 South Okanagan Artist of the Year
2014 Purchase Award, Gallery 2, Grand Forks
2012 British Columbia Arts Council Category II Artist Project Grant
2011 Art in the Park, Selected Artist, Revelstoke Art Centre/Parks Canada
2004 Guest Artist, Hockey Night in Canada, Vancouver, BC.
1993 People’s Choice Award, Regional Juried Exhibition, Images & Objects XI
1990 Dean’s Award, Fine Arts, University of Calgary
1988 KADAC Scholarship
1988 British Columbia Post Secondary Scholarship
1988 Permanent Collection, Okanagan College
1988 Helen Pitt Scholarship
1988 President Award, Okanagan College
1987 Vancouver Foundation Bursary
SOLO/TWO PERSON EXHIBITIONS
2024 DESCENT INTO CLASSICISM, Vernon Art Gallery, Vernon BC, solo exhibition
2018/19 GIDDIEEYUP, HeadBones Gallery, Vernon BC, solo exhibition
2018 WACKEM SACKEM, Gallery Two, Grand Forks, BC, solo exhibition
2017 WACKEM SACKEM, Two Rivers Gallery, Prince George BC, solo exhibition
2016 WACKEM SACKEM, Chazou Contemporary Art, Kamloops BC, solo exhibition
2014/15 WACKEM SACKEM, HeadBones Gallery, Vernon BC, solo exhibition
2014 ABANDONING PARADISE, Campbell River Art Gallery, BC, 2 person exhibition
2014 ABANDONING PARADISE, gallery2, Grand Forks, BC, 2 person exhibition
2013/14 BEST OF SEVEN, Kelowna Art Gallery, Airport Gallery, solo exhibition
2013 ABANDONING PARADISE, Touchstones Gallery, Nelson, BC, 2 person exhibition
2013 ABANDONING PARADISE, Station House Gallery, Williams Lake, BC, 2 person exhibition
2011 SNAPSHOT, Lake Country Art Gallery, Winfield BC. solo exhibition
2010 IN SEARCH OF THE PICTUESQUE, Vernon Art Gallery, Vernon, BC, solo exhibition
2010 PAINTING THE CARIBOO, Island Mountain Arts Gallery, Wells BC, solo exhibition
2007 IN THE FOOTSTEPS OF E.J. HUGHES, Lloyd Gallery, Penticton, solo exhibition
2004 THE GOLDEN YEARS, The Art Ark Gallery, Kelowna, BC, solo exhibition
2004 GO VEES GO, The Kelowna Art Gallery, Kelowna, BC, solo exhibition
2000 HOME OF THE PENTICTON VEES , Penticton Museum, solo Exhibition,
1999 ICONS FOR A CANADIAN , Okanagan College Gallery, Kelowna, BC, solo exhibition
1995 LANDSCAPES OF THE KEREMEOS VALLEY, The Grist Mill Heritage Centre, Keremeos, BC, solo exhibition
1993 CLARK AND CLARKE, The Summerland Art Gallery, Summerland, BC, two person exhibition.
1992 SHOW TIME, Okanagan College Gallery Kelowna, BC, solo exhibition
1984 DRAWING EXHIBITION, Community Skills Gallery, Kelowna, BC, solo exhibition
SELECTED EXHIBITIONS
2023 HITHER and YON, Headbones Gallery, Vernon, BC., group exhibition
2022 WE MEET AGAIN, Lake Country Art Gallery, Winfield BC, group exhibition
2021 SOS, Okanagan, Headbones Gallery, Vernon, BC., group exhibition
2019 FROM LOCHS TO LAKES, Lake Country Art Gallery, Winfield BC, group exhibition
2019 CORrE, Headbones Gallery, Vernon, BC., group exhibition
2018 THE ART OF PROTEST, Lake Country Art Gallery, Winfield BC, group exhibition
2017 Hand-Picked OK, Headbones Gallery, Vernon, BC., group exhibition
2016 Art Up & Down the OK Valley. HeadBones Gallery, Vernon, BC., group exhibition
2016 UBCO ALUMNI, Lake Country Art Gallery, Winfield BC, group exhibition
2015 PLEIN AIR: RIVER Chazou Contemporary Art Gallery, Kamloops BC, group exhibition
2015 OKANAGAN BE ST, Head Bones Gallery, Vernon, BC, group exhibition
2014 COYOTE’S ~ FACING NORTH, Crowsnest Pass Public Gallery, Crowsnest Pass, AB, group exhibition
2013 OK THAUMATURGY, Head Bones Gallery, Vernon BC, group exhibition
2013 COYOTE’S ~ FACING NORTH, Visual Arts Association Alberta, Edmonton, group exhibition
2012 OKANICON ICONAGAN, Head Bones Gallery, Vernon BC, group exhibition
2012 COYOTE’S ~ FACING NORTH, Prince of Wales Museum, Yellowknife, NT, group exhibition
2012 2 PRO:GRESS, Island Mountain Arts, Wells, BC, group exhibition
2011 ART IN THE PARK, Revelstoke Art Centre, Revelstoke, BC, group exhibition
2011 OKANAGAN EYES, OKANAGAN WISE, OKANAGAN-ISE, Head Bones Gallery, Vernon, BC, group exhibition
2010 EN PLEIN AIR, Group Exhibition, Leir House Cultural Centre, Penticton, BC, group exhibition
2010 PLEIN AIR, Leir House Cultural Centre, Penticton, BC, group exhibition
2006 ANNIVERSARY EXHIBITION, U of C students, Nickel Arts Museum, group exhibition
2006 SEE, U of C Realist Painters, Schurfield Hall, University of Calgary, group exhibition
2003 ARTROPOLIS, Vancouver, BC, juried exhibition
2001 PASSION, Summerland Art Gallery, group exhibition,
1998 PENTICTON ARTISTS STUDIOS , Art Gallery of the South Okanagan, Penticton, BC group exhibition
1998 HOCKEY NIGHT IN CANADA , Vernon Art Gallery, Vernon, BC, group exhibition
1997 GRADUATES EXHIBITION , Okanagan University College Gallery, Kelowna, BC, group exhibition
1997 300 AND TWENTY-EIGHT, OUC Fine Art Department, The Kelowna Art Gallery, group exhibition
1996 LAND BIOGRAPHY, PA(Y)SSAGES OF THE OKANAGAN, The Kelowna Art Gallery, juried exhibition
1996 INTERIOR LANDSCAPE, BC Festival of the Arts, Pop Up Gallery, juried exhibition
1995 GUILTY PLEASURES, Summerland Art Gallery, Summerland, BC, group exhibition
1994 FAMILY TIES, Okanagan College Gallery, Kelowna, BC, group exhibition.
1994 AIRING DIRTY LAUNDRY, Summerland Art Gallery, group exhibition.
1994 THE I.D., THE EGO, AND THE OAA, The Alternator, Kelowna, BC, group exhibition
1993 IMAGES &OBJECTS XI, Pop Up Gallery, Penticton BC, juried exhibition
1992 ON YOUR MARK, Vernon Art Gallery, Vernon, BC, juried exhibition.
1991 OKANAGAN OPEN, Kelowna Art Gallery, Juried Exhibition, Kelowna.
1991 DRAWERS OF WATER, Okanagan Artist Alternative Gallery, Kelowna, juried exhibition.
SELECTED MURAL PROJECTS
2023 BIRD HOUSE TREE. Lake Country, BC
2020 BEACHFRONT MURAL, Osoyoos BC
2015 ARTS WELLS. Island Mountain Arts, Wells, BC
2014 RATTLESNAKE PARK, restoration mural, Oliver BC
2013 HORNETS NEST, South Okanagan Secondary Gym Mural, Oliver BC
2011 REIMAGINE MURAL FESTIVAL, General Paints, Penticton BC
2010 COMMISSIONED MURAL, Village by the Station, Penticton BC
2009 COMMISSIONED MURAL, Ruby Blues Winery, Naramata BC
2009 CENTENNIAL STUDENT MURAL PROJECT, McNicoll Park Jr. Secondary School
2005 COMMISSIONED MURAL, Wine Country Information Centre, Penticton BC
2005 100 PANELS, children’s Mural Project, Naramata Elementary School, Naramata BC
2004 COMMISSIONED MURAL, Penticton Memorial Arena, Penticton BC
2004 COMMISSIONED MURAL, La Casa Ouzeria Restaurant, Penticton BC
2002 COMMISSIONED MURALS, La Casa Ouzeria Restaurant, Penticton BC
2002 COMMISSIONED MURAL, Big Bend Hotel, Golden BC
2001 Refurbished Penticton Vees Display, Penticton Memorial Arena, Penticton, BC
2000 THE PENTICTON VEES AT THE BRANDENBURG GATE, 1955 WORLD CHAMPIONS , Commissioned Mural, Elks Hall, Penticton, BC
1997 HISTORICAL FAIRVIEW PROJECT, 12 painted information panels, Oliver Historical Society Kiosk at
Fairview Townsite, B.C.
1996 Historic Transportation Mural, R.N. Atkinson Museum, Penticton, BC
1992-93 DIORAMA/Wild Life Display, R.N. Atkinson Museum, Penticton, BC
1990 COMMISSIONED MURAL, Big Bend Hotel, Golden, BC
1989 COMMISSIONED MURAL, Big Bend Hotel, Golden, BC
1982-83 COMMISSIONED MURAL, Temple Hotel, Grayson Saskatchewan