Anna Leonowens Gallery
Exhibitions: April 16 – 28, 2021

Gallery 1
MAED Thesis Show

This exhibition showcases the research, artwork, community engagement, and curatorial practices of the first graduating cohort from the new Master of Arts in Art Education program. Featuring work by Rebecca Baccardax, Sadie Bills, Sofia Cardone, Adi Fliesher, Ankie Li, Alexia Mitchell, Pabi Ranasinghe and Ali Zargari. 

Gallery 2
Marie-Soleil Provençal
MFA Thesis Exhibition

What are we leaving behind? REMAINS is an exhibition of things that continue to exist even after being discarded. Visit the physical exhibition or virtual collection of the project to learn about the surprising life of waste such as a broken sewing machine, damaged lobster buoy, burned out light bulb, crooked bicycle wheel, used motorcycle tire, crushed teapot, and parts of a dismantled piano.

Join the Landfill Virtual Tour
Thursday, April 15, 2021 ‒ 7 pm
Led by Halifax Solid Waste Resources Educator
Via Microsoft Teams

Gallery 3
Fruit Salad
Bijan Ramezani
MFA Thesis Exhibition

Ramezani offers, “The Gimmick is some sort of ploy that draws or entices a viewer into some sort of con or schtick. A Gimmick is an apparatus for magic. A device primarily to attract attention or increase appeal, often with little intrinsic value. The Gimmick is often used to make something look greater than it apparently is. A Gimmick can become a viral phenomenon. Digital media has heightened image culture. Making pictures without paint, but with image over image over image. This relapse between time and image creates flux. The magic of the machine allows countless repetition and manipulation of images. These magical machines create manufactured hype, an industry of cool and faulty ideas of utopias. These magical machines both have the affect to create and destroy. Coming Soon.”

Jan 19 – Feb 11, 2021

unpunctuated , MFA group exhibition

For a complete list of project sites, visit unpunctuated.nscad.ca

The NSCAD MFA group exhibition, unpunctuated, represents a diversity of practices and content during a time that leaves process and expectations open ended, not unfinished but ongoing – a reflection of the state of flux we all currently experience. As a continuing event, in multiple locations, unpunctuated demonstrates the ability of our practices to adapt and thrive in fluctuating circumstances, despite the obstacles of a pandemic. A story in the process of telling. 

Exhibition featuring NSCAD University’s MFA students: 

Jordan Beaulieu, Félix Bernier, Grace Boyd, Sarah Brooks, Justin Carter, Sonia Chow, Suzie Cochrane, Emily Davidson, Ali Dixon, Luke Fair, Megan Fitzgerald, Heidi Friesen, Natalie Goulet, Bonita Hatcher, Takashi Hilferink, Hossein Khodabakhsh, Matthew Kratz, Yifan Liu, Sarah Lucja Ratsoy, Natasha Martel, Christian McGinty, Carrie Phillips Kieser, Marie-Soleil Provençal, Bijan Ramezani, Wiebke Schroeder, Zehua Sun


Feb 16 – 25, 2021

Gallery 1
me & all my friends or me, myself & i or covid 2020
Emily Krueckl, undergraduate exhibitor

Krueckl’s exhibition is an amalgamation of painted works reflecting on her experience during the on-going Covid-19 pandemic. She examines her relationship to her self and those around her through colour and abstract figurativism in her oil paint on canvas.



Gallery 2B
Evidence of Something
Julia Clarke, Roloff Beny Scholarship recipient

In her large scale portraits, Clarke explores the juxtaposition between her internal struggles and the abandoned places surrounding her. Using large format photography, Clarke aims to overwhelm the viewer and give them access to her inner space.



Gallery 3
Sunny Day Diary
Meng Qiu, undergraduate exhibitor

Qiu presents a series of paper jewellery created with discard jewellery magazines. Her thoughts and memories are written on the paper strips, folded together to create a new form of wearable diary.



March 2 – 11, 2021

Gallery 1
Across the Fire
Emily Sheppard and Kris Reppas, undergraduate exhibitors

Through the creation of three custom burial shrouds, Sheppard and Reppas explore death through the lens of their cultural systems and beliefs. Each will call into question one’s personal aversion to death, touch upon caring for those passing on, and start a conversation around the ways luxury and class structures determine end of life planning. Who deserves a “good death” and what does that mean in the context of the modern death industry?

Gallery 2
Meg Bennett, undergraduate exhibitor

Meg Bennett is interested in botanical forms and large-scale ceramic constructions. The works in her exhibition are partially inspired by Karl Blossfeldt’s plant images and her own photographic exploration of nature. During walks around the city she collected natural forms with symmetry and interest; these specimens became models for large explorations in clay and hand-built form. Bennett’s palette is derived from the bright autumn colours and sensations of a plant-filled city.

Gallery 3
Join the Club
Joël Brodovsky-Adams, undergraduate exhibitor

Using porcelain to create vases and sculptural objects, Brodovsky-Adams references the legacy of ceramics as functional objects, while producing work that ultimately exists as decorative. He explores the manipulation of pattern and imagery on complex, three-dimensional surfaces using a visual vocabulary comprised of pop culture references and personal touchstones. The central themes of his work are queer nightclub and party culture which for many, play a central role in developing and embracing community and identity.


March 16 – 25, 2021

Gallery 1
Wears for the Revolution
Dakota Burpee, undergraduate exhibitor

Dakota Burpee’s weaving practice is rooted in textile and garment design which richly incorporates both the mind and body in its process. Her collection of handwoven textiles is a reflection and embodiment of hope amidst a pandemic. Burpee’s work aims to find balance amongst contrasts such as desire and despair, light and dark, rhythm and ritual. She sources materials locally and investigates unique processes, incorporating them into her handwoven wears.

Gallery 2
Morphic Resonance
Maddy Filipps, undergraduate exhibitor

Filipps’ exhibition consists of two large-scale relief print installations with drawn components. Both works investigate different structures of the human body during pregnancy. The repeated imagery speaks to the cyclical nature of reproduction – both the beginnings of human life and the physical structures involved. The exhibition title, Morphic Resonance, references the idea that all life inherits something beyond physical traits, that is passed from parent to child during creation and exists as a collective memory shared between all members of a species.

Gallery 3
Anru Zhu, undergraduate exhibitor

Anru uses techniques including crochet, casting, and metalworking to explore the relationship between jewelry and people. She aims for her creative ideas to be reflected in her artworks in numerous ways – through symbolism, their physicality, value and social function.


March 30 – April 8, 2021

Gallery 1
The Girl With No Mouth
Kennedy Collins, undergraduate exhibitor

The Girl With No Mouth is a feminist work the explores themes of identity and mental illness while simultaneously combining sculpture and photography. Collins presents herself in a mask crafted from the letters of her stalker, where she looks through the eyes of a man who forces his fantasy of the ideal woman.


Gallery 2
Just a Little Confused
Melissa Campbell and Q Silva, undergraduate exhibitors

In their exhibition of painting, cyanotype prints and fashion, Campbell and Silva aim to create the feeling of “being in a constant emergency but also not in an emergency all at the same time.” They will be showcasing a turbulent mix of works inspired by current events and “the current state of an artist’s mind.”


Gallery 3
Vessels for Tender Devotions
Sarah Graeme, undergraduate exhibitor

In her exhibition, Sarah Graeme weaves together cultivated plant materials grown and gathered in Mi’kma’ki, as well as SÁNEĆ and T’sou-ke territories with ceramic forms, to create vessels of interrelationship. This work contemplates the inherent story of materials: who they are, where they come from and how those stories intersect with those of the maker. Viewers are invited to contemplate their own stories by looking through the vessel windows and into the intentionally constructed space within.



Launching September 22nd, the Anna Leonowens Gallery will feature 14 student exhibitions throughout the Fall 2020 semester in our historic street level windows. Not in Halifax? We will be sharing works from these exhibitions on social media.

September 22 – Oct 1, 2020 

Gallery 1
Queer Time is a Bushwhacked Path* 
Kayza DeGraff-Ford, undergraduate exhibitor 

Through large-scale narrative oil painting, DeGraff-Ford explores loosely autobiographical topics using distorted space, decorative colors, patterns, and symbolism. Fascinated by the long history of artistic borrowing and appropriation across cultures, DeGraff-Ford merges this interest with the equally vast and timeless nature of queer identity. Originally influenced by Les Nabis and Pierre Bonnard’s bathroom paintings, the piece brings more brown and more queer to classic oil painting inspiration. 

Gallery 2
On Warping
Pamela Juarez, undergraduate exhibitor  

With her collection of textiles Juarez explores the transformation of her cultural identity after various immigrations. Focusing on the process of making instead of the result, she implements glitch-art methods to printing and weaving allowing fragments of her personal and cultural history to be distorted into new sets of data. By creating work balancing both control and unpredictability, she draws parallels to the creation and decoding of new identities in new homes.  

Gallery 3
Here Here, There There 
Danan Lake, undergraduate exhibitor 

In the exhibition Here Here, There There, Danan Lake uses motorized objects and images as players move within the empty space of the gallery. They create a theatrical vignette seen only through the frame of the window. These objects, images on their wood and steel riggings, move and play in the space, trying to escape or find a way to reshape the space. 


Oct 6 – 17, 2020

Anna Leonowens Gallery 3, 1895 Hollis Street, Halifax NS
Fairy Tales from the In-between
Angel Fournier, undergraduate exhibitor 
Performances: Friday 16 Oct, 6pm + 7pm  

Angel Fournier is a non-binary, interdisciplinary artist, practicing in K’jipuktuk (Halifax). Rooted in textiles and fashion, with a back-round in performing arts and music, they have combined their cross-disciplinary practice into a multi-media experience for the viewer, exploring fluidity, in-between space and juxtaposed aspects of identity. They use “dress up,” and “make believe,” as a formal methodology behind their work, fabricating made up worlds through film, photo and live performance, dressed in outrageous garments.  

Oct 13 – 17, 2020
Leonowens Gallery Windows 1 + 2, 1891 Granville Street + Granville Courtyard 
From the Sea, Brought Wealth
Daonne Huff, William Robinson & Ryan Veltmeyer 
*NOCTURNE Performance: Sat 17 Oct, 4 – 10PM  

“E Mari Merces (Wealth from the Sea)”
– official city motto of Halifax, Nova Scotia

Employing creative mimesis, From the Sea, Brought Wealth, seeks to evoke the fog’s spectral and nebulous phenomenon, and its sonic counterpoint, the foghorn. Through verse, voice, performance, and musical resonance, “From the Sea, Brought Wealth” intends to interpret the mechanics of fog’s elusive and enveloping visitations in relationship to its accompanying musical signal(s) sounded by the foghorn. The nautical horn’s dark timbres, arrangements, and imbued meanings are entangled in one’s obfuscated spending in and moving through the fog. Historically, we hear the foghorn as a device of sonic duplicity/complicity, a sirens call. The fog horn’s sounding signal assists the ship through poor visibility and aids in the successful transport of “goods” (bodies, weapons, toys, contraband, food, medicine, etc.).


October 20 – 29, 2020 

Gallery windows 1 & 2 
Breach! An antonym for token 
Kayza DeGraff-Ford, Excel Garay, Morgan Mitchell, Jean Serutoke and Wren Tian-Morris, undergraduate exhibitors 

Breach! An antonym for token is a group exhibition that references the ways in which BIPOC bodies are used as reified raw objects for promotions to gain cultural capital. This creates an image of a performatively progressive institution under the guise of “inclusivity” and acts as automated absolution from taking necessary steps for systemic change. The work will manifest as satirical renditions of printed recruitment material, performance, and art objects from multiple mediums which will be displayed like retail storefronts. The exhibition is by six emerging artists of color: Morgan Mitchell, Kayza DeGraff-Ford, Wren Tian-Morris, Jean Serutoke, and Excel Garay. 

Gallery 3 window
Rock Shop
Sadie Bills, MAED exhibitor 

The works in Rock Shop are manifestations of Bills’ ongoing reflection on personal relationships with the natural world – in which possession (of a piece of land, a rock collected on a beach) can be mistaken for belonging, and degradation (mowing a lawn, turning fibers into textiles) can be synonymous with care. Through a literal combination of handwork (human) and natural materials (environment), Rock Shop conjures juxtapositions that point to a futile relationship rooted in continual commodification and consumption. 


November 3 – 12, 2020 

Galleries 1 + 2 
Disturbance & Indelible Marks
Rae RezWell, undergraduate exhibitor and Ayoka Junaid, exhibitor 

RezWell invites Junaid to undertake an exploration of themes based on their personal and family histories, identity, and language. These Disturbance and Indelible Marks are three distinct artworks connected through process and material – cyanotype, natural dye and printmaking on paper.  Here, we honour our cultural traditions of knowledge sharing through storytelling, intergenerational exchange and collaboration.  


November 17 – 26, 2020 

Gallery 1 

The artists role, historical or contemporary, is to develop the ability to see that which lays before them, and to represent this vision. kimmerT has chosen to combine abstracted realism with symbolism using oil paint on cotton weave canvas to create her view of still-life objects. She aspires to capture a piece of the essence that exists within all creations, be it natural or manmade. The viewer will be challenged to observe the world as seen trough the eyes of an artist whose life experience brings a unique perspective to each piece.  

Gallery 2
Defamiliarizing Atmosphere
Hannah Poirier, undergraduate exhibitor 

Defamiliarizing Atmosphere explores our interpretation of truth in a photograph. It explores the banality of everyday life by staging people, places, and objects to defamiliarize and distance our perception of familiarity. In hopes of creating tension and curiosity throughout each photograph, I have created short narratives of characters and settings that are then played out through performance.  

Gallery 3
Current Equipment:
Grey Kimber Piitaapan Muldoon, undergraduate exhibitor 

Installation / Performance: “How is what we are able to see effected by what we have already seen?” Grey Kimber Piitaapan Muldoon installs vantages, projections, interiors, perceptions, gravities, and lights. Live feed videos from the International Space Station and from an Eagle rehabilitation facility in Nova Scotia fill the North and South windows. Pre-recorded video of Lakes bounce from a headlamp inside. The inner-space is gently animated nightly and visitors may peer in from the central window, one or two at a time. Leave the artist a bag of potatoe chips or a vessel of water in the isolation container provided.  


December 1 – 10, 2020 

Gallery 1
Tender Beings
Jayme-Lynn Gloade  

About their exhibition of ceramics, Gloade offers, “Tender Beings are creatures made from the earth that have no face. This concludes they have no senses such as smell, hearing and sight. Even though they lack these qualities that guide most of us through the world, they express their emotion by humbly holding flowers in their spouts that grow off of their bodies as an offering to connect and comfort others. Even though they are oblivious to their surroundings, they are kind hearted. This speaks to the common disconnect we have with nature and each other in the modern era. In Mi’kmaq legends people, animals and objects are seen as equal. Everything is to be treated as an everyone, creating respect for the natural world and everything in it. This informs how we should carry ourselves in the world and to be tender in our surroundings.”

Gallery 2 
Kayla Rudderham, MAAE student exhibitor 

About this exhibition, Rudderham states, “As Indigenous perspectives and ways of knowing continue to be undermined by colonization, I want to remind people of the connections between human beings and the land. Emojis have become a widely understood way of communicating, and through their usage in this work I aim to remember and share the original names given to places in Nova Scotia by Mi’kmaq. Through drawing, bead work and collage, the work explores the images and language of place.”  


Gallery 3
Postcards from a Time of Crisis

Students in the course “Making Art in a Time of Crisis” made and sent postcards to engage with course material and to connect with each other.  Making and receiving postcards is a way to have something physical and handmade to hold on to in a semester of virtual learning.

Featuring works by: Eilidh Bassani, Alex Bateman, Lee Bertram-French, Autumn Ducharme, Anna Halcrow, Kayleigh Isenor, Jean Jacobson, Daisy Jin, Amy Johnston, Emily Krueckl, Dominic Lajeunesse, Daniel Lillico, Zena Malik, Morgan Mitchell, Esli Nkunku, Madeleine Putnam