Farming in the Dust Bowl
Featuring Grande Prairie artist Carol Bromley Meeres, the 19 artworks in Farming in the Dust Bowl explore the histories of the dust bowl in the Canadian prairies. In the 1930s, an intense period of drought swept across the Great Plains of Alberta, Saskatchewan, Manitoba and parts of the United States. This helped to set the stage for the historical crisis known as the dust bowl—named for the clouds of dust that were so massive they turned the sky black for days, wiped out crops and livestock, swept through homes, and deeply changed the lives of many
Carefully researched by Carol Bromley Meeres in consultation with archives, cultural sites, and personal stories from across the prairies, each piece contains a unique reference to farm life during the dust bowl, highlighting stories of survival, innovation, and resilience during an economic, climate and social crisis. Adding to the rich historical references, the artworks combine three unique historical mediums—encaustic painting (wax painting), cyanotypes, and photography. The artworks, like the stories they tell, are full of delicate layers and texture, showcasing Bromley Meeres’ impressive technical and narrative skills.
To learn more about Carol Bromley Meere’s process, click here.
Curated by Robin Lynch
Curator/Manager of Travelling Exhibitions Northwest
Featured image: Carol Bromley Meeres, Keeping the Dust Out, 2021, Encaustic and Mixed Media
Carol Bromley Meeres is an Alberta-born Grande Prairie artist who has studied visual arts and communication at Simon Fraser University and (for many years) Grande Prairie Regional College. Printmaking workshops and mentoring from artists in B.C., Alberta, and Cambridge, England have also contributed to her range of techniques. She is a member of the Federation of Canadian Artists, Flying Colours Artists’ Association, and Print Artists North. Now retired, her working life included twenty-eight years with suicide prevention, mostly involving information services, graphic design, and administration, but also including crisis calls.
She is a lifelong experimenter with techniques, materials, and media combinations, including nontoxic printmaking, encaustic painting, photography and acrylic painting. Environmental and social issues are at the base of many of her works, while others purely reflect a fascination with colour, materials, and form or texture. Growing up near the Rockies and living in the Peace Country have formed a passion for the western Canadian environment. Drawing on family history and documents, including their war service and correspondence as well as homesteading, has also been incorporated into her art.