Statement and Summary of the UHA YOTA Outreach Tour from Bethany MacKenzie
Over the course of 2024 Union House Arts (UHA) sent me across Ktaqamkuk (the island of Newfoundland) to meet with artists, communities and organizations; both as a way for us to learn about them, and for them to learn about us. Visiting with neighbours is how we build resilience, care, and support for one another, especially on an island that is vast and, at times, isolating.
In what was an attempt to make this a short summary, here is what happened, who, and how, we visited, and how it went.
Part One: St. John’s and the East Coast
The very first day of the outreach tour, July 15th, brought me to St. John’s, Newfoundland. The province’s biggest city with a population of roughly 220,00 people that sprawls along the easternmost point of the Avalon Peninsula.
Being the largest urban centre in the province, St. John’s is home to a thriving, welcoming arts community. UHA is about a three hour drive away from St. John’s (depending on if you get stuck behind a campervan before you hit the divided highway).
JULY 15TH: VANL-CARFAC AND THE ICEBERG GALLERY
The first official tour day starts with meeting Dave Andrews, the Executive Director of the artists union, Visual Artists of Newfoundland and Labrador, Canadian Artists Representation/Le Front des artistes canadiens (aka: VANL-CARFAC, or VANL for short). The VANL office sits just off of Harbourside Drive in St. John’s, tucked in-between the Craft Council Clay Studio and Cupboard Up. This is the second time they’ve moved in the past year—Dave tells me that being on the ground floor is more tolerable with the 5th story heat they get in the summer.
VANL’s main mandate is to advocate for fair wages and set rates that artists should be getting paid for during opportunities such as exhibitions, workshops, talks, contract work, and much more. On top of advocacy, their most prized and favored programming has to be the Excellence in Visual Arts Awards (EVA’s). VANL has to fundraise and/or find sponsorships for the prizes every year, raising well over $15,000 for both award winning artists, as well as to find a venue to host the ceremony.
Later in the day I met with Johnny Rose, the Executive Director of the Iceberg Gallery. Johnny is currently working at the Jacob Puddister Memorial Foundation and volunteers as the Director for the Iceberg Gallery.
Every bit of Iceberg Gallery programming is free and open for all to participate in.
When you think of logistics, all of this work is extremely impressive. Johnny tells me they have over four hundred artists from across the province signed up to be a part of their network. Having only started in 2024, the reach that Iceberg Gallery has managed to achieve is outstanding, and they’re only continuing to grow. Over the next few years, Johnny hopes to have paid positions to help run programming, to find a physical space both for exhibiting and storing supplies, and to build new relationships with artists and organizations across the province.
JULY 16TH: THE QUAD, EASTERN EDGE, HERITAGE NL, AND THE ROOMS
That day I turned 26. What a big day!
I start the day off with a visit to Quadrangle: they’re busy having just had a staff changeover, and planning a plethora of pride events for the week. “The Quad” is located in the basement of the St. James United Church, which to me feels like a surprising spot for a 2SLGBTQIA+ organization to be located—however, they have made the space their own. They have a personalized doorbell, and once you make your way through the maze of signage into the main office, you’re greeted by friendly staff, a colorful open concept space, a hangout space, and a beautiful library that is begging you to pick up a book and read.
After chatting with The Quad, I make my way to Dominion to pick up a Deep and Delicious cake because it’s myself and Elijah Martel’s birthday (Eastern Edge’s Hold Fast Coordinator). July is a popular birthday month, and when I arrive at Eastern Edge I’m ushered upstairs to find two other cakes and a small crowd that begin to sing happy birthday to myself, Elijah, and Margaret (a St. Michaels Printshop staff member and former Don Wright Scholar) whose birthday was a few days prior.
For those who don’t know, Eastern Edge is Newfoundland and Labrador’s first ever established artist-run-centre. Based in a building on Harbourside Drive in St. Johns, they run exhibition and artist-in-residence programming, as well as Hold Fast, a contemporary art festival that includes performance, installation, workshops, and community programming. It’s hard to summarize all of the work that EE does to provide opportunities for artists in Newfoundland and Labrador, and it’s certainly not something I can do here. UHA, and artists alike, are very lucky to be a part of such a loving and supportive arts community, and EE has had a major role in cultivating that.
The afternoon brings me to the Heritage NL office, a pale pink building on the corner of Springdale and Water Street. Upstairs I meet with Dale Jarvis, the elusive Executive Director of the organization, and iconic Haunted Hike founder and tour guide. UHA and HeritageNL are tied together through the Sir William Ford Coaker Heritage Foundation (C.F.), but this is the first time I’ve met Dale in person.
Port Union is a registered heritage district, and Heritage NL has done a lot of work with the C.F to validate histories, kickstart educational programming, and much more. One of their most recent province-wide initiatives includes the Craft at Risk program, which lists over seventy different crafts that are practiced within the province, including a number that are at risk of going extinct through a lack of knowledge keepers. UHA has had a number of artists come through that have participated in this program, and it’s exciting to see the impact of the new 2024 Craft at Risk list in revitalizing some of these beloved practices.
I end the day with a visit to the provincial gallery, The Rooms. Kate Wolforth, the Director of Art Gallery, Museums, and Visitor Experience, meets me at the front desk and guides me through the bowels of the back rooms that are full of office cubicles, paperwork, and employees getting ready to pack up for the day. Not many people get to see the inner workings of The Rooms, or the effort it takes to curate, run, and deliver the plethora of programs that are active throughout the year.
The Rooms is a place that many artists who’ve grown up in the province have aspired to show in (myself included, being an artsy kid leads you down a lot of imaginative roads, some that include a solo show in the big gallery space on the fourth floor). The Rooms doesn’t just showcase Newfoundland and Labrador based artists, a part of their mandate is to bring artists from all over Canada, and the world, to share cultures, experiences, and art.
JULY 17TH: THE LAURENTIC FORUM AND CRUX, QUIDI VIDI VILLAGE ARTISAN STUDIOS, AND RIDDLE FENCE
On the morning of July 17th I make my way to Birdie, a new cafe set up in the old Hava Java building to buy myself a pastry and coffee. I sit outside and wait for my first meeting of the day with Kym Greeley.
Kym is an active artist and community organizer who participated in the UHA Artist in Residence Program in September of 2023. Rather than a business meeting, it feels like catching up with a friend. But this morning Kym means BUSINESS. She starts by making me aware of an organization that herself and colleague Philippa Jones just incorporated, CRUX is focused on advocating and supporting artist parents. Kym also informs me of the Laurentic Forum, a group of organizers committed to creating conversation and connection between Newfoundland and Ireland. The biggest project Kym is involved with on the Laurentic Forum is as a Creative Economy consultant regarding the artist residency exchange that happens every year between Newfoundland and Donegal, Ireland. UHA’s long-time board member, Michael Flaherty participated in the program in 2022, and since then there have been a number of artists that have made the trek across the pond, and vice versa. The Laurentic Forum is a way to connect UHA to the greater Northern Atlantic community, especially as fellow islanders.
After my morning coffee with Kym I make my way to the Quidi Vidi Village Artisan Studios to meet with the Artisans! Located on the boardwalk in Quidi Vidi Harbour, the Artisan Studios are tucked into a gorgeously restored building that was designed to accelerate the growth of emerging craftspeople. The ground floor is home to a cozy exhibition space, offices, and a front desk, while the artisans work upstairs in their respective studios. The vibe gives off a cozy year-round street market, with each of the artists decorating their studios and displays of hand-made goods.
Not all the artisans are there, it’s a Wednesday after all. But I do meet with Troy Mitchell, the current exhibiting artist, Kimberly of Soft Pony, Nathan of Come From Away Carvings, Roxanne of Rock Sea Clay, Jennifer of Stain Glass Creations, and Rachel of Rizmos Ceramics. The artisans are a diverse group of folks, some having just been there for a few months, others for a number of years. It’s a brilliantly curated communal space where they can support one another, build off each other’s ideas, and find forever friends as they all work towards a shared goal of making a living off their passion.
In the afternoon, I make my way to Bannerman Brewing Co. to meet with Elizabeth De Mariaffi, the director of Riddle Fence, a local publishing company that is focused on supporting artists and writers in Newfoundland and Labrador. If there is anything true about Riddle Fence, it’s that they are down to collaborate. Just last year they released a special edition of their magazine through a partnered project with the Bonavista Biennale. Recently Riddle Fence has also been hosting pop-ups as a way to host local writers by selling publications, books, and other merchandise.
JULY 18TH: FIRST LIGHT, CONSERVATION CORP, ST. MICHAEL’S PRINTSHOP, THE SOCIAL JUSTICE CO-OP
Bannerman Street is located in the heart of St. John’s, just a five minute walk from the downtown core. Here you’ll find postcard worthy row houses, street cats, and the First Light Friendship Centre. First Light is a non-profit organization that serves urban Indigenous and non-Indigenous communities through public services. Located in an old church, First Light has turned the building into a community space with working rooms, a performance hall, office space, and studios. The organization spans outside of the building on Bannerman too, owning a number of affordable housing units that they rent out to Indigenous tenants as well as visitors who may need housing for medical visits and family support.
One of First Light’s biggest anticipated events of the year is their Spirit Song Festival. This year UHA was lucky to be able to partner with First Light to bring Labrador-based artist Billy Gauthier to Port Union for a week before he headed down to St. John’s to carve and partake in festival activities. First Light is a major supporter of Indigenous artists, and Spirit Song is just one of the many ways they support their community and cultivate and strengthen Indigenous Cultures and sovereignty.
After leaving Bannerman Street, I make my way to the opposite end of downtown St. John’s, Kelsey Drive, to meet with the Conservation Corporation at Jumping Bean. I met with Megan Stuckless, the Director of Programs with the Conservation Corporation. The Conservation Corp has a number of programs, some that are dedicated to creating employment opportunities such as the Green Team and their internship program, and others that are dedicated to cultivating education around climate and cultural conservation. They’ve developed an impressive number of partnerships that span the province and are not exclusive to St. John’s.
Back to downtown! It’s time to visit St. Michael’s Printshop (SMP)!
SMP is located just above Eastern Edge on Harbourside Drive. After scaling what feels like an extremely steep set of stairs, you arrive at a door that opens into a cozy, bustling, studio space. Today the team is setting up their members’ exhibition, showcasing much of the work that had been done at the print shop throughout the past year. Christeen Francis, the Executive Director; Drew Pardy, Communications Coordinator; and Margaret Joba Woodruff, the Volunteer Coordinator all sit with me in the gallery space.
UHA knows SMP fairly well at this point, having hosted them to do workshops in our own space on a regular/yearly basis. This year however is extra special because it’s the SMP 50th anniversary!! As part of this anniversary, SMP will bring a series of exhibitions, curated by artist and former Don-Wright scholar, Emily Critch, across the province—one of the locations being UHA—to host “etched by wind and water,” the second of three exhibitions that feature work from printmakers throughout the 50 years it’s been operating.
Finally, I end the day off by partaking in a Social Justice Co-Op NL (SJCNL) Monthly General Meeting. The SJCNL is a 50+ year old organization dedicated to addressing climate change and political/economic inequalities within colonial capitalist systems. They hold monthly general meetings via Zoom that allow participants to learn about upcoming opportunities, such as protests, events, and how other organizations are doing similar work.
When I get on the call I’m met by a small group of people—some with cams on, some with cams off. Their Volunteer Coordinator, Lea Mary Movelle, invites participants to join the conversation. This meeting was just as much about introducing UHA to their community, as it was about us getting to know them. The discussion is wonderful, the SJCNL has cultivated an extremely supportive community that is dedicated to transparency, accountability, and understanding among one another.
JULY 19TH: TODOS, TRANS SUPPORT NL, WEAVERS GUILD, AND FOOD FIRST
Back to downtown St. John’s I go to meet with Santiago Guzman, founder and director of TODOS Productions. TODOS is a theatre company that is dedicated to creating opportunities for Black, Indigenous, Artists of Colour, 2SLGBTQIA+, immigrants, and those with disabilities in Newfoundland and Labrador. Opportunities can look like toured shows, educational opportunities, employment and much, much, much more (all of which are paid!).
The organization has taken off in the few years that it has been operating, and that is likely due to the dedication of the staff and the community that supports them. Santiago’s philosophy is that theatre is for people, and by creating opportunities for those who have been marginalized and systematically oppressed TODOS creates representation for people who otherwise have been neglected and underserved by the arts in Newfoundland and Labrador.
After a wonderful conversation with Santiago, I make my way to Elizabeth Avenue to meet with Em Chafe, a representative of Trans Support NL. TSNL is an advocacy collective dedicated to supporting and representing transgender communities and individuals in Newfoundland and Labrador. The organization aims to create programs across all regions of the province to cultivate education, understanding, and awareness of Trans identity.
Being Transgender or Gender-Non-Conforming in a small community is hard, especially if that community is intolerant or uneducated towards gender identity and expression. TransNL is doing work to tackle this by implementing Gender 101 training courses, as well as providing families and/or communities with counselling if a loved one is in transition. The program is lovingly geared towards protecting trans youth, and supporting those who may not receive the support they need.
In the afternoon I met with Christian Dauble, a Masters of Folklore student, artist, and weaver. Christian takes me up to the studio that they and Jess share with two other artists. The first thing I see are three looms towering in what feels like a small, but large space. Christian is one of two founders of the Weavers and Spinners Collective NL (WSCNL) the other founder being Jessica McDonald. The collective is based around the idea of weavers guilds that are present across Canada, but without gatekeeping the craft behind a paywall. Being a collective means that anyone interested in the craft can join and benefit from the number of resources that they are currently working on. The collective has done spinning circles, community weaves, and a lot of work to create a space where people can learn and create together.
Currently, Chrisitan is working on curating a collection of resources, aka the “Weaving Directory” that share weaving patterns, how-tos, and other educational resources that may be of use to new and experienced weavers. Keep an eye out for it!
My day, and last day of my trip to town, ends with a meeting at Food First NL to their brand new location on Charter Avenue. Leah Vatcher welcomes me inside, there are a group of folks working on drawing different fruits and vegetables to make a rainbow banner for the Pride walk later in the week. Inside is a wide space with room for events, markets, and in the back there are offices and even a cafe space!
Food First NL are not strangers to us at UHA, we have been chatting with them and using their resource kits for our community garden for a while now, but haven’t had a chance to meet in person. It’s hard when you’re three hours away. UHA does keep in touch through their Lunch and Learn, regional meetings, and other online programs. Their primary objective is to ensure that individuals and communities have access to affordable and healthy food and to raise awareness about the impacts that food insecurity has on communities across the province. They do this through running a number of programs like Food Skill Workshops, Food on the Move, and working with other organizations to create food hubs and other educational programs.
Part Two: Central, West Coast, and Northern Peninsula
While I visited the East Coast and St. John’s in July, September meant that I was in store for a BIG trip across the rest of the island (or as much of it as UHA could fit within 17 days).
Truthfully, this trip was my favourite out of the visits UHA conducted over the course of the Outreach Tour. From arts organizations, community groups, and local schools, UHA was able to visit, meet, and share with a diverse variety of people. This trip served as a reminder of the impact that UHA has had just within the Bonavista Peninsula, but also an impact that has echoed out to the rest of the province. Rural artists and communities are what inspire us and keep us going. This is why UHA does what it does.
SEPTEMBER 12TH: THE REACH,
NEW WES VALLEY
Our very first day on the road meant driving down one side of the Bonavista Peninsula and then making our way back north on the opposite side of Bonavista Bay. New Wes Valley has always been a distant light that residents of Bonavista could see during clear summer nights, but this is the first time I’ve been to glittering light across the water.
Wesleyville is a small hamlet that makes up a part of the greater municipality of New Wes Valley, and the place that birthed the revered Newfoundland printmaker David Blackwood. Within the bowels of Wesleyville and atop what feels like the biggest hill on its glacial plains sits The Reach, a community arts space and museum. Town council workers Kelley and Shirley met me to let me see the space (as it is the off season now that it’s past Labour Day).
Inside The Reach is a winding hallway that leads to a gallery space with unbelievably high ceilings, original wood-panelled walls, and windows that tower over and frame the graveyard next door. A door at the far side of the gallery leads you into a pink room, then a door at the far side of the pink room leads to a seafoam green room, both are filled with 19th and 20th century artifacts that likely came from multitudes of families and generations that have lived and died here. The space is beautifully curated and it is clear that the recent restorations of what was likely an old schoolhouse were purposeful and well thought through.
Kelley and Shirley tell me that the space has been rather underutilized this year due to lack of management and funding. They hope to see it blossom into a place for makers, much like the Quidi Vidi Artisan studios, with more exhibitions, workshops, and studio spaces. The potential is unlimited, and I immediately picture youth programming, travelling exhibitions, community events, and more. Just last year they hosted Lucas Morneau’s “Queer Newfoundland Hockey League.” The Reach “just needs management and support,” Kelley tells me. The organization itself is run and owned by the town, but there is little funding they’ve been able to secure and it feels like the space has quickly grown beyond something the town’s workers can manage.
I thank Kelley and Shirley for taking the time to meet me, and wish them the best in managing the building. I’m reminded about how much support UHA has within our own community, and across the rest of the province. I hope that as The Reach finds its footing within the arts landscape that they are met with a similar support and enthusiasm. Small community run centers such as The Reach have the potential to be the heart and soul of rural communities, if given the chance to do so.
SEPTEMBER 13TH: J.K. CONTEMPORARY, M’LIZ KEEFE, FOGO ISLAND ARTS STUDIO TOURS, ERIN HUNT STUDIO, MAKER’S NIGHT WITH FIA
I arrived in Fogo the previous night after a long wait in the ferry line up and, what felt short, but was an equally long boat ride to the docks of Stag Harbour. Time goes faster when you’re eagerly watching what looked like the small land mass in the distance slowly turn into a bigger landmass the closer you get.
Fogo Island has always felt like somewhat of a romanticized myth to myself and many others from the province; most people I know have never been. The island is isolated and rugged, and the ability to visit is often dictated by what state the ferry is in. This year, ferry headaches have been more than plentiful; luckily it seems to be running smoothly on my journey despite these concerns.
The morning starts with a visit to Joe Batt’s Arm to a gallery that occupies a restored school turned town hall turned vacation home, turned gallery. The building is painted a stark black with cerulean blue text that reads J.K. CONTEMPORARY. I park and make my way around the corner to the front entrance that leads to a cozy interior painted white. The weight of all the building’s former iterations feels present, and heavily dictates your experience of how the art inside lives on the walls.
Run by M’Liz and Ryan Keefe, the space was created as a way to showcase the quality of art that was being created across Newfoundland and Labrador, but specifically on Fogo Island. Primarily the space shares exhibitions to showcase a number of artists that currently live on Fogo Island. The space is privately funded and operates as a connecting place between artist and collector.
Myself, Ryan and M’Liz have a wonderful conversation about what it means to support artists. The ways that UHA and J.K. Contemporary work at their cores are different, but they do share a goal of paying artists for their work. Most of our programming at UHA is juried or selected through a committee for artists to partake in exhibitions, workshops, residencies, etc. J.K. Contemporary curates exhibitions with artists in their community to close the gap between the artists and the people who want to support their work. Both cases mean the artist is getting paid despite their different approaches.
M’Liz invites me back to her studio afterwards and I follow her through the winding roads of Joe Batt’s Arm to a small house that overlooks the North Atlantic. I never really know what to expect when walking into artist studios. Studios can be meticulously orderly, chaotically organized, or tornadoes of creative energy that seems to engulf a space. M’Liz’s studio is certainly the latter.
She opens the door and I am invited into a space where the weight of turpentine feels more present than oxygen. Unico diced tomato, black bean, and chickpea cans blanket every flat surface that resembles a table, and the floor is its own wading pool of nitrile gloves, paper towels, rags, and paint. On the walls sit in-progress attention-grabbing paintings that feel connected yet separate from what feels like its own installation within the studio. M’Liz tells me that she will spend multiple days in the studio, sleeping in a small kitchen-studio bedroom in the other half of the house when she is creating. Studio visits are my favourite way to connect with artists. There is so much to be learned with how an artist works, and I am always in awe of the infinite multitudes that comes with building an artistic practice.
After meeting with M’Liz I meet Alicia at the far side of Joe Batts Arm to visit the Long Studio. one of the many architectural wonders that are present on Fogo Island. Fogo Island Arts (FIA) often brings artists to the island to live, work, and create in these studios for weeks at a time. They are completely off-grid and respond directly to the landscapes and communities they reside in. The Long Studio is a ten-minute walk from the park on a coastal footpath. It looks like a black censorship bar from afar.
The studio itself impedes on the landscape, and when I enter the building I am immediately captivated with how the architecture frames the coastline. The stark jagged edges and contrasting black of the building create what feel like a viewing screen of the ocean. Floor to ceiling windows offer year round light and you can see the Fogo Island hotel in the distance. The building itself is quite isolated from Joe Batt’s Arm, as are the rest of the studios. Quite different from UHA where the studios are placed in the middle of a community.
After a wonderful visit to the empty FIA studios, I get to visit Erin Hunt who has her very occupied studio in Fogo (the town). Erin rents her studio from a dental office that is in what used to be the Fogo courthouse. Erin’s studio is quite a contrast to M’Liz. A line of paintings sit on the floor, some have the front facing the wall. Erin tells me those were the “unsuccessful” paintings. She makes me mint tea and I sit in a very comfortable chair in the corner of her studio. Every studio should have a big comfy chair. It’s a way of life.
Once I finish with Erin I make my way back to Joe Batt’s Arm to meet with Andria Hickey, the new head of programs for Fogo Island Arts and Shorefast. I meet her at The Storehouse, the local restaurant and Andria treats me to a wonderful Moose Burger! Andria is originally from Newfoundand and lived in New York for a number of years. She just moved to Fogo this year and has been transitioning from busy-city life to slow island living. Andria has been organizing Shoretime, an upcoming arts festival that will be bringing artists and curators from around the world to Fogo Island in just a few weeks. It feels like Andria has a lot of energy, and is SUPER down to collaborate with others across the island. Quite a difference in the narrative that Fogo has been curating over its decade long operation.
After dinner Andria and I head up the road to the Orange Lodge for Maker’s Night. UHA was lucky to be able to organize a special Fogo-Island edition of our beloved programming with FIA. The Orange Lodge is just off the main road in Joe Batt’s Arm. Walking inside you’re met with a towering ceiling and a massive trolley fishing net that is hung like a chandelier.
During my short time in Fogo I heard a lot of folks talk about rug-hooking, a popular craft group that meets every week. Much like the meetings that the Women’s Institute in Port Union share on Tuesdays, except it’s more specific in what craft you can bring. The locals are already pretty familiar with these kinds of casual events. You bring your craft, you grab a tea, and you sit, make, and chat with others. Maker’s Night however is open to all kinds of crafts and artistic practices. People show up with rug hooking, knitting, crocheting, painting, drawing, and much much much more. Everyone notes how inclusive it is, and I have a lovely time meeting Fogo Island residents.
I have since learned that FIA will be continuing Maker’s Nights on a semi-monthly basis. Sharing our successful programs with others has the potential to impact how we visit each other, and sometimes it’s as simple as meeting once a month to share what you’ve been working on.
SEPTEMBER 14TH: WIND AND WAVES, SALTFIRE POTTERY
The morning of the 14th is my last day in Fogo; I’ll be catching the ferry later in the afternoon. I decided to tour around a bit more to see if there are any local stores open.
My first stop brings me to Tilting, a town on the far east side of Fogo Island. In the very centre of Tilting lives Wind and Waves, a craft shop and workspace that sells local wares by maker’s on the island. I’m immediately reminded of the Women’s Institute. The front of the building is filled with handmade mittens and sweaters—they even have a loom with an active warp that looks to be making placemats. In the back, a woman is laying a massive king blanket on a table to get it ready to quilt together. There’s also a small cafe attached to the side of the store.
After buying a small handmade rug hook at Wind and Waves, I make my way back to Joe Batts Arm. I notice a number of small handmade signs stating “POTTERY THIS WAY” that guide me through more narrow streets and to a beautiful house overhanging jagged oceanside cliffs. Saltfire Pottery is a small pottery shop and studio run by Lee Danisch and Fraser Carpenter. I’m lucky to catch Lee and Fraser as they’re coming home and they invite me into their home for tea. They’ve been running Saltfire Pottery for a number of years now, and their home is warm and inviting. Lee and Fraser are both interested in running an artist residency as a way to give an artist an opportunity to exhibit and work in their studios for a season. They seem like a pair that have dedicated their life to their work, giving back to their community through this.
After tea with Lee and Fraser I make my way back to catch the afternoon ferry back to what Fogo residents might refer to as “the mainland.” It’s a strange thing when you’re from an island and visiting another island, islandness in this way is so relative. I caught myself multiple times referring to both Fogo and Newfoundland as “the island,” and then having to clarify which I was referring to.
SEPTEMBER 15TH: ALEX ANTLE, ROBYN LOVE STUDIO
I stayed the night in Gander and started making my way further West in the morning. Alex Antle, a former Exhibiting and Artist in Residence of UHA, meets me for a coffee at Tim Hortons in Grand Falls Windsor. Alex is currently doing her Masters while working for Ulnooweg, an Indigenous-led organization that provides services to “promote the social and economic welfare” of Indigenous individuals and communities in Atlantic Canada.
After bidding farewell to Alex, I continue my way West through my favourite part of the Trans-Canada Highway: Greenbay. It’s a stretch of highway that is sheltered by towering birch trees, and while it’s a rather long stretch, it’s a beautiful landscape. Once you pass Green Bay, you can tell you’re getting closer to the West Coast as the horizon line is broken by tall rolling hills of the Long Range Mountains. They’re deceptively close; the hills on the East Coast don’t impose nearly the same impact.
Corner Brook is nestled in a bowl-shaped valley where the Humber River meets Elmastukwek (Bay of Islands). Across the Bay from Corner Brook is a winding stretch of road that holds communities like Irishtown, Summerside, Meadows, and Gillams. The latter is where you will find Robyn Love, the second UHA alum that I’ll be meeting with today.
After a thirty-minute game of cat and mouse with Robyn’s address and Google maps, I finally arrived at the Gillams fire department that neighbours Robyn’s studio. The space is filled with trinkets, dolls, meshy fabrics, and a large hoop skirt adorned with shotgun shells that took part in a performance piece at the St. John’s Sound Symposium just weeks earlier. Robyn makes mint tea and has put out some chocolates and snacks to eat (perfect for any studio visit). We talk about her most recent body of work: Jinker. (read more about it here).
SEPTEMBER 16: 62 BROADWAY, THE ROTARY ARTS CENTRE
The West Coast is still in the full swing of summer; only the mornings give a hint that fall is around the corner. Corner Brook autumn is my favourite, and I’ve really missed how the cool mornings transition into humid afternoons as the trees shift from a sickly green to vibrant oranges, yellows, and reds. The West Coast is even more beautiful in the winter; Corner Brook turns into a real-life snow globe with powdery white blankets covering any surface that allows. The backdrop of striking mountains and conifers has nurtured and inspired a strongly connected arts community that works with the land to create amazing events, music, festivals, and more.
One of many organizations located in Corner Brook, Laughing Heart Music (LHM), has taken this sentiment and run miles with it. A subset of LHM, 62 Broadway is an organization that has spearheaded kids band camps, communal performance spaces, and grass-roots music production since 2023. Most recently they hosted Tree Party, an outdoor festival that consisted of an outdoor Makers Market, sword demonstrations, a bigfoot scavenger hunt, and much much much more. 62 Broadway has had an immensely impactful couple of years since opening its doors; it feels like the community has truly embraced and supported all they do. Their reach extends beyond music into what wellness looks like for both individuals and community. They have truly captured what the West Coast is about and holds their community much like the mountain range holds their town.
After admiring the 62 Broadway studios, I make my way down to a familiar space, the Rotary Arts Centre (RAC), a beloved and well-known arts centre in the heart of Corner Brook. Located on the ground floor of the Corner Brook Town Hall, the Rotary Arts Centre is home to the Tina Dolter Gallery, the RAC Theatre, The Open Gallery, and Artist Studios. The spaces are dedicated to supporting emerging and established artists, writers, actors, and makers in Corner Brook and surrounding areas.
When I arrive I am welcomed by Samantha Osmond, their Visual Arts Coordinator and Nicole Fougère, the Executive Director. Nicole just started as the Executive Director about two months prior to my arrival, she seems to have a lot of ideas and ambitions for the RAC:
A fully paid Artist Residency, sister memberships, and continuing to build partnerships with other organizations in Corner Brook and across the province. The RAC is an integral part of the Corner Brook arts community, it’s nice to see them continue to thrive and prioritize artists in rural spaces.
SEPTEMBER 17 & 18: CODROY VALLEY, MEGAN’S FARM, BELANGER SCHOOL VISIT
I stated earlier that Green Bay was one of my favourite parts of the TCH, but (really) Corner Brook to Port Aux Basque takes the cake. Through winding mountains and valleys and over rushing rivers—it’s truly a beautiful drive. There were a few too many times I caught myself looking off in the distance rather than on the road ahead, I think to myself that there should be a distraction hazard notice because of the view.
After roughly two hours, I hit the turnoff into Katalisk (Codroy Valley) and make my way through the winding communities of Doyles, Upper Ferry, Great Codroy, and eventually into Millville, where our chair, Megan Samms, resides on her farm. “The Valley” is a swampy wetland that is fed by the Great Codroy River and Eastern River. Megan’s Farm is on the north side of the Valley; a five minute drive from the beach and a ten minute drive from the most westerly point of the island of Newfoundland.
I arrive at the farm before Megan, who arrives home with sandy toes and salt-damp hair; she was just coming back from a swim in the river. It still feels like summer in the valley despite it being late September, compared to the East Coast and Fogo. I feel like I’ve gone back in time —August humidity clings to my skin. The farm is home to a busy colony of bees, a flock of chickens, Ryer (the dog), Ash (Megan’s partner), and a variety of squash, dye plants, and wildflowers that Megan and Ash have tended to over the summer. Previous summers would have seen the farm producing fresh produce and skin products for community members in the Valley, but this summer Megan and Ash have decided to step back to focus on other life demands such as Megan’s art practice and Ash’s conservation work.
The farm has, for the last couple of years, hosted “Art Camp!” with Jane Walker as a means to give youth the opportunity to learn about art and the many different ways that one can be an artist, especially in a rural space.
Most of my Codroy visit is a flurry of beach visits, shared meals, feeding chickens, and Megan sharing with me the place that has held generations of her ancestors. The true highlight, however, was our visit to Belanger Memorial School, the Valley’s K-12 school that Megan attended in her youth. The visit was supposed to be a single day with us telling grade 4-to-6 and 9 about UHA and how we are both artists. There are no art classes at Belanger, many of the kids have never spoken to an artist outside of Megan. The classes were truly a hit, many students were asked by myself and Megan what we do as artists, what art is, and what it can be. We ended up going back the next day to talk to primary aged children and grades 10-12.
I am reminded during these sessions about how important it is for youth to have access to art. One teacher noted that many students don’t know what art is, or what it can be because they have never had the available resources to learn. It is especially hard to find art exposure in rural spaces as many community schools, like Belanger, in the province are underfunded, understaffed, and don’t have the population or funding to justify establishing art classes and spaces for rural-based youth.
SEPTEMBER 19-22: CRAFT COUNCIL SUSTAINABILITY FIBRES CONFERENCE
Nestled into the nooks and crannies of the Long Range Mountains sits Bonne Bay, a fjord-carved maw that peers out into the Gulf of St. Lawrence. The jaw-dropping scenery is the backdrop of the Craft Council Sustainability Fibres Conference, a gathering of makers, crafters, scientists, and business owners focused on the future of sustainable fibres in Newfoundland and Labrador.
The conference takes place over three days in neighbouring towns of Norris Point, Rocky Harbour, and Woody Point. UHA was able to meet with creators all across the country, with many neighbouring arts centres, artists, crafters, and sustainable-living enthusiasts partaking in panels, workshops, and talks. The entire week is a blur, and I feel that I am still absorbing the information months later.
Some highlights (for me personally) from the weekend include learning about the FLAXMOBILE by the Cape Breton Centre for Craft and Design, many lengthy talks about settler fibre systems and the future of wool in Newfoundland and Labrador, seeing former Artist-in-Residence Noémie Pomerleay Cloutier’s work installed at the Gros Morne Visitor centre, and visiting with Lys-Ange from Gros Mourne Creative.
The entire experience makes me reflect on the role of UHA, and other artist-run-centres, in prioritizing sustainable ways of making. It’s especially fitting that the conference took place in a rural town where access to materials for artmaking is limited and, at times, difficult to obtain. The conference is inspiring in that it shows that fibre and material are all around us. We can spin sheep’s wool into yarn, weave willow stems into baskets, and harvest flax to be turned into soft linen.
Truly, the processes that were discussed over the course of the weekend all centered around slowing down, taking things step-by-step, and feeling and partaking in the entire process of material-creation from start to finish. Something that our communities have become increasingly alienated from in a world of fast-fashion and bargain-bin big-box stores.
SEPTEMBER 23-24: THE GNP: CONCHE, FRENCH SHORE TAPESTRY AND ST. ANTHONY
This is my first time making my way north through the Viking Trail. The Great Northern Peninsula truly lives up to its name. From tabletop mountains to barren limestone flats, you’ll find moose and caribou warnings around every corner, and some of the most beautiful corners of the island. The journey is no small feat, it’s roughly a four hour drive from Norris Point to Conche, our first destination of this short and sweet visit. Conche is nestled in the Eastern Coast of the Northern Peninsula, just South of the larger town of St. Anthony. It’s home to a World War II plane crash, and the French Shore Interpretation Centre.
The Interpretation Centre is a large vibrant green building overlooking the harbour of Conche. Inside is a museum filled with crochet lace, maps, and 20th century artifacts. The biggest room, and what brought me here, is just up a small flight of stairs. Inside sits a 227 foot long tapestry that snakes around the room. Started in the early 2000’s by Jean Claude Roy, and completed in 2010 in collaboration with women residing in Conche, the tapestry is inspired by Baeyeux tapestry work and tells the story of Conche from the initial creation of the world, to a meta-like depiction of 21st century women working on the tapestry. I’d be lying if I said I didn’t tear up a little bit by the time I got to the end of the tapestry. It’s truly a work that showcases community pride, resilience, and commitment.
I went to bed early that night because the next day I had to make the hour and a half long journey north to St. Anthony. Leaving at 6:30 meant taking my time as the sun rose, the only other folks on the road were hunters. Most of them were driving slowly, I assume looking for trail runs, or where their buddy left the carcass for them to pick up later. After a cautious hour and a half I arrive at St. Anthony, a small coastal town at the tip of the island. I’m here to do a Career Fair.
White Hills academy invited me after Artist in Residence alumni Daniel Rumbolt connected me with them. Representation from the Arts is rare at career fairs, especially in rural spaces. While my booth isn’t the most popular, I do get a few students approaching with questions about being an artist, working in the arts, and potential plans to go to art school or pursue a creative career. An interaction that I keep returning to is one student asking me: “Do you regret going to art school? I hear most people do.” While I’m not surprised this question was asked, I am saddened that pursuing education in the arts is still looked at as a waste of time. I share with the student that art school is not a path that everyone has to or even wants to do, nor is it technically necessary depending on the kind of arts career you want. For me, getting a BFA opened me up to critical creative thinking and a network of supportive peers. Without that, I would not be where I am today. My art practice is still evolving, and is certainly very different to how it looked when I was in school, but my education was not a waste.
The conversation just hit home that arts’ representation is important. It’s important for students who may be interested to see the many different avenues that you can take to be an artist, as well as the unlimited types of artists you can be. Some colleagues I went to school with run their own creative business, some have pursued graphic design, some are now art teachers, and I myself am working in arts administration. It’s because of the access I had as a youth to art and art mentorship that I have been able to pursue this career.
SEPTEMBER 25-26: GRENFELL VA, SHAWN O’HAGAN, MAKER’S NIGHT WITH GRENFELL ART GALLERY
The last few days of the tour meant making my way back south to Corner Brook. Most of my time was spent driving and I was definitely feeling the two+ weeks of solo travel catching up to me.
Returning to my alma-mater, Grenfell Campus, Memorial University, specifically the fine arts building, I get to meet with the fourth year class of the Visual Arts Program to share with them the opportunities they can get involved with at UHA and open the floor to questions. I also get to do studio visits with them! It’s hard to imagine that I was them just three years ago; the world outside of academia really changes you.
After chatting with students, I met with a beloved AiR alumni, Shawn O’Hagan, for tea and a studio visit. Shawn is working on a new body of work that includes braided mats made out of upcycled tartan, as well as small sculptural maquettes that use sticks, wooden platforms, and braided, natural-dyed linen cordage. Continuing her intuitive making, Shawn’s interventions have started to blend foraged materials with textiles that she herself has altered and changed. The result is a grouping of gently made objects that explore her connection to the land and home of 20+ years.
After an inspiring studio visit, it’s time for Maker’s Night at the Grenfell Art Gallery! It’s extra special because former UHA Director, Jane Walker, is now the curator of the Grenfell Gallery and will be helping set up for an evening of making while hanging out! When I arrive at the gallery Jane is in a flurry of emailing and typing, all the while fighting with a label maker that she discovered was in a desk cupboard. Truly a portrait of arts administration.
Maker’s Night is what it always has been, a chill evening where a bunch of creatives gather, make, and share what they’re working on. It’s a small but mighty crowd, and I couldn’t ask for a better way to end the tour.
THANKS FOR READING!
It’s really difficult to summarize everything I got up to during these short trips. To the people I visited, met, and shared time with, thank you. I hope, and trust, that UHA can stay connected despite the distance between us. I can’t wait to see what you all get up to in the coming year, and I hope we can work together in the future to continue creating a more connected arts sector.
I’m overwhelmingly grateful to have been able to travel to the many corners of the island that I’ve been able to call home. I will see you again soon!
BONUS FEATURES/OTHER HIGHLIGHTS:
A shortlist of things that happened that I didn’t write about:
- Having too many meetings at Jumping Bean at Atlantic Place
- Getting to visit a record number of gas station bathrooms
- Swimming with seals in Codroy
- Tableland sunrises and walks on the Norris Point beach
- The underground salmon pool on route 433
- L’Anse Aux Meadows (in general)
- Limestone Barrens in Port Aux Port
- Finally getting to visit the Deer Lake Insectarium
- Almost running out of gas in Terra Nova on my way home
- Going to Sackville to visit Struts, Mount Allison, and to go to the Arts Atlantic Symposium in Moncton
This trip would not have been made possible without the support from the Newfoundland and Labrador Arts Council and Year of the Arts funding.
