Butterfly Clock contemplates cycles of transformation, ritual and time as they unfurl across human and natural worlds. Borrowing from Ukrainian pysanky traditions—where decorated eggs encapsulate the sun, renewal and continuity—Megan Feniak weaves ancestral knowledge into a contemporary reflection on time and becoming. Her work considers how we might reconnect with the cosmic and cellular rhythms that have long governed existence on this planet. The exhibition’s title reveals the ebb and flow of metamorphosis and duration: the butterfly’s innate timing, the sun’s orbit and the pulse of seasons that shape all life. In this fast-paced and data-saturated era, Feniak gestures toward an embodied, cyclical

August 14, 2025 – January 4, 2026 CommonOpulence is an artist residency held in Demmitt, Alberta, hosted by artists Peter von Tiesenhausen and Maggie Tiesenhausen. Born of the desire to build community, exchange knowledge and introduce artists to the Peace Region, CommonOpulence offers participants the chance to connect with each other and the surrounding environment. This idea is centred around collaboration, permeability and skill-sharing, solving conundrums and engaging in research as a sort of hive mind. Within this temporary land-based community, artists explore the unity between their practices, their daily routines and the collective life of the residency, considering the

Carrie Allison July 31, 2025 – November 23, 2025 Curated by Franchesca Hebert-Spence What values, ideologies, and structures do we uphold when we mow the grass, pull up weeds, or romanticize a lush field of canola? we tend to care complicates and challenges the moral authority that green spaces hold in the public consciousness. For a decade, Carrie Allison has made art that investigates and critiques colonial subjugation strategies that are woven into the maintenance of urban green spaces and agricultural spheres. Based in a multimedia time-intensive approach, this body of work ranges from sensitive responses to Allison’s family and

Fire Season brings together the work of two artists, Robert Guest and Megan Green, reflecting on wildfires as both natural events and urgent symbols of climate change. Robert Guest (1938–2017), a longtime resident of Alberta’s Peace Country, spent many summers stationed at remote fire lookout towers. For decades, he created numerous paintings of the local landscape from memory and observation. One of the subjects he returned to continuously throughout his life was wildfires, capturing the power and spirit of these incredible forces of nature in his work. Megan Green grew up in Fort McMurray. Through painting, drawing and sculpture, she examines

A Second Horizon: Lionel Allingham and Nam Duc Nguyen is the first exhibition in a series of artist pairings with the Art Gallery of Grande Prairie’s permanent collection as a starting point. In June 2023, curator Jessica Groome began exploring the Gallery’s vault, which consists of approximately 850 local artworks. Through getting to know the collection, Groome was immediately struck by the work of Lionel Allingham, and its uncanny connection to the work of Edmonton-born artist Nam Duc Nguyen. A Second Horizon showcases the surprising dialogue between Allingham and Nguyen’s practices. For both artists, the factor that brings their work together is the

Reconnect presents an installation of soft sculptures, speaking to the theme of reconnecting and returning to the self. The work invites the viewer to arrive at their full potential, returning to the knowingness within. Crocheted loops and chains curve together as metaphors for connection internally and externally again and again– changing, moving and flowing through time and life experience. Regardless of religious beliefs or spiritual practices, the concept of the true self exists as an inherently human condition. Using the language of feminist methodology, Elsa Robinson references the work of  women’s hands to convey positive messages and energy from her heart to yours. One

The Faceless Doll Project began in June 2021 as a collaboration between the Grande Prairie Friendship Centre Pikiskwetan Mental Health program and Wahkotowin Seniors program, initiated in response to the discovery of 215 unmarked graves at the Kamloops Indian Residential School in May 2021. This project aimed to foster understanding and healing in the wake of that revelation. Inspired by the initial project that was led by and based on the story of residential school survivor Elder Loretta Parenteau-English, the Pitone Youth Program took on the project in the summer of 2024. Pitone staff members first received teachings from Elder

Worried Earth: Eco-Anxiety and Entangled Grief is an exhibition of work exploring how worry about climate change and ecological collapse is seeping into our lives and dreams, mixing with other fears and anxieties, and entangling with personal experiences of loss. In this ecosystem of grief, art is a place for picturing and shaping bad feelings, including bad feelings about the very act of making art. Each gesture of making is weighed against the desire to do no harm—and the impossibility of a harmless human life within the context of our extractive capitalist system. We grieve our own existence, as well as

Brenda Draney’s Drink from the river features works that delve into the complex questions around the notion of intimacy. Sifting through images culled from her own personal archive, her memory, and the Internet, Draney refers to figures and moments that have shaped her lived experiences. In her paintings, however, Draney leaves space for viewers to reflect upon the content presented as well as the subject matter at hand. Brenda Draney’s artworks explore the relationship between memory-making and knowledge production by way of storytelling. Examining the ways in which narratives are not only formed and shaped by personal or shared events but also

Land Breaths reflects on the signing of Treaty 8 from the perspectives of the Beaver, Dene, Cree and Métis peoples. Each artwork in this group exhibition speaks to how Treaty 8 has shaped the artists’ relationships with the land over time. These connections are deeply rooted in family, history, identity, and the enduring resilience found in joy and cultural survival. Expressed through a variety of mediums such as photography, sculpture, textiles, painting, printmaking, beadwork, and multimedia, the artworks in this exhibition reveal the profound impact of Treaty 8. Each artist brings to light an evolution from the signing of Treaty

Resonance encapsulates the collective research of five Special Studio Projects Students from Northwestern Polytechnic’s Visual Arts Program. Under faculty mentorship, the Special Projects course emphasizes independent creative exploration and critical inquiry within a supportive community of peers. These students spent the year cultivating their unique artistic voices, pushing boundaries, challenging conventions and navigating the intricate tapestry of human experience in their work. Through diverse mediums and perspectives, the exhibition sheds light on the universal themes of identity, memory, and interconnectedness that bind us all. Each artist brings a unique voice to the conversation, yet together, they create a narrative that transcends

Kim McCollum is a multidisciplinary artist based in Treaty 6 territory (Edmonton, Alberta). Working in a variety of mediums, including painting, collage and textiles, weaving is at the heart of her practice. In 2019, she co-founded a collaborative weaving studio called Gather Textiles, and has created a remarkable community, emphasising teaching and learning between a diverse pool of makers. The generous energy and exchange fostered by McCollum’s shared weaving studio influences all aspects of her practice. At the core of McCollum’s work is the grid: an essential structure prevalent in our everyday world. At first glance, the grid is a

“When I have arranged a bouquet in order to paint it, I go around to the other side that I have not looked at.” [1] Henri Matisse recounting a conversation with Pierre-Auguste Renoir When artwork is presented in a gallery, choices about how to view the work are made. Decisions such as framing, lighting and the many ways in which artwork can be displayed deeply affect how it is interpreted and what it means. When it comes to paintings and works on paper, one dimension of the work is chosen to present, but that is not the whole story. In this Double-Sided exhibition,

Weave and Intertwine explores the intricate nuances of weaving as an artform as well as a community practice. Integrating hands-on studio-based learning, exhibition and interpretive gallery space, Weave and Intertwine encourages the interactive exploration of the multi-faceted ancient craft of weaving in a vibrant artistic atmosphere. At its simplest, weaving involves two sets of threads: the warp and weft. These threads are intertwined with each other to form a fabric or cloth. The weft runs horizontally and is interwoven with the stationary, often vertical, warp. Generally, a device called a loom holds the warp under tension so that the weft can go easily over

The Art Gallery of Grande Prairie is pleased to present two travelling exhibitions from the Vancouver Biennale Threads Through Time and Weaving Cultural Identities. The exhibitions feature weaving as a central practice and an important cultural life-force of Muslim and Indigenous communities, transcending time, space and language. Threads Through Time is a manifestation inspired by the monumental Vancouver Biennale public art installation Paradise Has Many Gates: a life-size chain-link mosque created by the Saudi Arabian artist Ajlan Gharem installed at Sen̓áḵw – Vanier Park, Vancouver. During its installation for the 2018-2020 Vancouver Biennale exhibition, the artwork inspired a historic collaboration amongst Musqueam, Squamish, Tsleil-Waututh and

Miranda Bellamy and Amanda Fauteux’s collaborative practice identifies and extends the stories of plants through site-specific research and experimentation. By listening and responding to plants, they make space for the critical revision of settler-colonial histories, reflect on material accountability, reciprocity and ways of seeing. Collective has been a process of accumulation. Over several years and across many seemingly disparate locations, Bellamy and Fauteux have met with and photographed hundreds of marked trees. In this exhibition, varied etched or painted traces on numerous trees are emphasized, however, the authors of these marks are absent. We are left to wonder who is responsible for

“How Does a Moose See the World?“ exhibition is a selection of paintings, prints, and drawings that explore the theme of animals in art. The pieces are drawn from the gallery’s permanent collection and together present the role, popularity, and significance of animals in artistic expression, with a particular emphasis on Canadian artists. The exhibition highlights the works of artists who endorse and celebrate the lives and beauty of animals, acknowledging their intrinsic value as creatures in their own right rather than classifying and interpreting their existence from the human perspective. Through their artwork and highlighting animal lives, these artists

Powwow! Ohcîwin* The Origins features 7 powwow dance styles, with full Regalia and craft work. Curators and creators, Patrick Mitsuing and Marrisa Mitsuing, have gathered the stories, worked with the Artisans, and carefully built the Regalia for this exhibition organized by the Red Deer Museum + Art Gallery. Working with a diverse team of Indigenous Artists from Western Canada and the US they assembled each of the individual dance regalia on display. During the 2019 and 2020 Powwow season, they met with knowledge keepers across North America to record the origin stories of the dances they perform. The dances on display