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
14 Lives, 31 Years Later: Bergeron, Colgan, Croteau, Daigneault, Edward, Haviernick, Laganière, Leclair, Lemay, Pelletier, Richard, St-Arneault, Turcotte, Klucznik-Widajewicz
group exhibition, organized by Britt Moore-Shirley

This group exhibition addresses the anti-feminist 1989 École Polytechnique Massacre in Montreal. Until recently, this massacre which claimed the lives of 14 women and traumatized thousands more was so-called “Canada’s” most deadly mass shooting. Prompted by the memorialization and activism of Feminist Collectives of the past; we will use projection, video, and virtual media to place this tragedy in conversation with our contemporary experiences of misogyny and its intersections within institutions like NSCAD University.