A Portrait of Canada

Come On, Just Let’s Go: A Portrait of Canada Without a Single Person

There are paintings that announce themselves as Canadian immediately. A maple leaf. A hockey sweater. The Rocky Mountains. A canoe on a northern lake. And then there are paintings that feel Canadian for reasons that are much harder to put your finger on. Come On, Just Let’s Go is a portrait of Canada.

At first glance, it is simply two plaid jackets hanging side by side. One is deep blue, the other a vivid red and black. Behind them are horizontal lines suggesting the siding of a cabin, boathouse or coastal building. A little yellow sun peeks over the top, while turquoise water and small white clouds occupy the space between the boards. There is no maple leaf. No flag. No mountain range. And yet, to me, this painting is unmistakably Canadian.

A Portrait of Canada

The Canadian jacket

The red-and-black buffalo plaid jacket carries a particular kind of Canadian cultural memory. It makes me think of cabins, lakes, logging roads, campfires, hiking trails, fishing trips and weekends away. It belongs to the Canadian outdoors, but it is also wonderfully ordinary. This isn’t heroic wilderness. It is the everyday version of being outside.

You put on your plaid jacket because it’s cool outside, because it’s raining, because you’re heading down to the lake or because someone has said, Come on, just let’s go. The blue plaid jacket brings another note to the composition. Together, the two jackets become something more than clothing. They begin to feel like characters.

A Portrait of Canada: A portrait without people

One of the things I love about this painting is that there are no people in it, yet it feels like a portrait. The jackets stand in for the people who wear them. I can imagine two people arriving home after a walk and hanging their jackets side by side. Or perhaps they’re getting ready to head out together. The white heart on the red jacket adds another little clue, suggesting affection and connection without explaining exactly what that relationship might be.

The viewer gets to fill in the story. In that way, the painting is less about two garments and more about companionship, belonging and shared experience. It is a portrait of people by the things they leave behind.

Painting Canada through everyday things

Much of my work is concerned with Canadian identity and the visual language of Canada. I’ve spent years painting the things, places and symbols that have become part of our collective visual memory. But I am increasingly interested in the difference between painting Canada and painting what it feels like to be Canadian. Those aren’t necessarily the same thing. A landscape can tell us where we are. An object can sometimes tell us who we are. The plaid jacket is one of those objects. It carries memories of the outdoors, of practicality, of changing weather and of a culture that has long had a complicated and affectionate relationship with the wilderness. We don’t necessarily need to see the forest, the lake or the mountains. The jacket already tells us that someone is going there.

Come On Just Let’s Go, 2024 Acrylic on Canvas 48 x 30 in Brandy Saturley

A landscape hiding in plain sight

The background of the painting is important too. The horizontal lines create an architectural structure that could belong to a cabin, cottage or coastal building. The turquoise strip suggests water. The small white cloud forms give us sky. The yellow sun sits quietly behind it all. The landscape has been reduced to a few graphic elements. This is something I enjoy doing in my paintings: taking a recognizable place or experience and distilling it until what remains is the feeling of it. Instead of painting a literal Canadian landscape, I have painted the suggestion of one. The coast, the weather, the cabin, the outdoors and the people who inhabit that world are all present, but indirectly.

A very Canadian kind of freedom

Canada is often represented through its grand landscapes. The mountains, the forests, the lakes, the Arctic, the ocean. But our experience of those places is often much more modest and personal. It’s a jacket thrown over a chair. A pair of boots beside the door. A thermos in the car. A weekend at the cabin. A walk along the water when the weather isn’t quite sure what it’s doing.

Someone saying, Come on. Just let’s go. That, too, is Canada.

And for me, Come On, Just Let’s Go is a painting about exactly that: the small, familiar objects and gestures that can carry an enormous sense of place. It is a Canadian painting without a maple leaf. A landscape without really being a landscape. And a portrait of two people who never appear.

Sometimes the most Canadian stories are hiding in plain sight.

Come On Just Let’s Go, 2024 Acrylic on Canvas 48 x 30 in Brandy Saturley

September 3, 2026

Paintings 5000 and Over

Art For Sale, Canadian Paintings

10 Original Canadian Paintings $5,000 and Over

There are certain paintings in an artist’s studio that carry a little more weight.

Sometimes it is the scale. Sometimes it is the subject. Sometimes a painting represents a particular place, a series, or an idea that has stayed with the artist for years. And sometimes it is simply a painting that feels like an important piece of the larger story.

My work has always been rooted in my fascination with Canada: its landscapes, people, symbols, stories and contradictions. Over the years, I have travelled across the country painting and photographing the things that catch my attention, from Newfoundland and the Rocky Mountains to the West Coast of British Columbia. The result is a large and continually evolving body of work that I describe as Pop Canadianisms. I am interested in the visual language of Canada and in finding new ways to look at the familiar.

Here are ten original paintings currently available from my studio, each priced at $5,000 CAD and over.

1. Ucluelet

The West Coast has always been part of my visual vocabulary, but living and working on Vancouver Island has brought me even closer to this landscape. Ucluelet grew out of my recent time exploring the rugged coastline of Vancouver Island. The ocean, forest, rocks and shifting coastal light offer an endless supply of inspiration. There is something about the Pacific coast that invites both observation and imagination. I am interested in capturing not simply a particular view, but the feeling of being immersed in this place.

Original acrylic painting on canvas | 36″h x 48″ w | $6000 CAD

2. Ultramarine Jazz

Not every Canadian story needs to begin with a landscape.

Ultramarine Jazz is a painting about colour, movement and energy. The intense blue creates its own atmosphere, while the composition plays with rhythm and visual tension. Colour has always been an important part of my practice. I often use it to push an image beyond straightforward representation and into something more emotional and expressive. This painting is a reminder that Canadian art can be many things. It can be quiet and contemplative, bold and graphic, playful and unexpected.

Original acrylic painting on canvas | 24″h x 60″w | $6000 CAD

3. Guardians of the Salish Sea

The Salish Sea has become an important focus of my recent work. Guardians of the Salish Sea is part of my ongoing exploration of the wildlife and landscapes of the West Coast, including the orcas, sea lions, bald eagles and other creatures that inhabit this extraordinary ecosystem. I have always been drawn to Canadian wildlife, particularly when an animal becomes more than simply a subject. In these paintings, I am interested in the relationship between the animal, the landscape and our own sense of place within it. The Salish Sea is both magnificent and vulnerable, and these paintings are my way of paying attention.

Original acrylic painting on canvas | 30″h x 60″w | $7000 CAD

4. Stitched in Canada

The Canadian flag, the maple leaf and the symbols we associate with this country appear frequently in my work. But I am less interested in simply reproducing Canadian symbols than I am in asking what they mean to us. Stitched in Canada brings together ideas of identity, memory and belonging. The title itself suggests something constructed over time, with the many individual pieces of Canadian identity stitched together into something larger. This is part of my ongoing #ICONICCANUCK exploration of the visual language of Canada.

Original acrylic painting on canvas | 36″h x 48″w | $6000 CAD

5. Vermillion Canoes

The canoe is one of those quintessential Canadian images that seems almost impossible to avoid. It carries associations with exploration, wilderness, Indigenous histories, recreation, summer and the enormous geography of this country. It is both an object and a symbol. In Vermillion Canoes, I was interested in taking that familiar Canadian image and pushing it into something more contemporary through colour and composition. It is a Canadian icon, but it is also simply a beautiful shape moving through the landscape.

Original acrylic painting on canvas | 36″h x 60″w | $7400 CAD

6. Lake Louise Swish

Lake Louise is one of Canada’s most recognizable landscapes, which makes it an irresistible subject and a challenging one. How do you paint a place that has already been photographed millions of times? My answer has often been to look for the unexpected. Lake Louise Swish approaches this iconic landscape through movement, colour and my own visual language rather than attempting to create a conventional postcard view. The Canadian landscape is familiar territory in my work, but I am always looking for ways to make it feel fresh again.

Original acrylic painting on canvas | 45″h x 83″w | $15,000 CAD

7. Patchwork Nation

What does Canada look like? That question has been at the heart of my practice for many years. Patchwork Nation reflects my fascination with the idea of Canada as a collection of places, histories, cultures, landscapes and identities. There is no single image that can contain the whole country. Instead, Canada is a patchwork. This idea connects closely with my broader Pop Canadianisms series, in which I have spent more than a decade exploring the visual symbols and cultural references that make up our collective Canadian imagination.

Original acrylic painting on canvas | 36″h x 48″w | $6000 CAD

8. Poppies for Louise

Some of my paintings begin with a place. Others begin with a person. Poppies for Louise is part of my ongoing conversation with Canadian art history and the artists who came before me. I have long been influenced by the work of Canadian modernists, including Lawren Harris, Emily Carr and Prudence Heward. Their approaches to colour, landscape and the Canadian experience continue to find their way into my own work, sometimes directly and sometimes quietly beneath the surface. This painting is part of that larger conversation: looking backward while continuing to move forward.

Original acrylic painting on canvas | 36″h x 48″w | $6000 CAD

9. Assiniboine

The Canadian landscape can be dramatic, but it can also be deeply quiet. Assiniboine explores that quieter side of the landscape, drawing attention to the vastness and atmosphere of the Canadian West. Mount Assiniboine and the surrounding landscape have long held a particular place in the Canadian imagination. For me, painting these places is not about documenting them exactly as they appear. It is about distilling the experience of standing in front of something much larger than yourself.

Original acrylic painting on canvas | 36″h x 48″w | $6000 CAD

10. Red Red Maple

Variations on red in a Japanese red maple tree.

Original acrylic painting on canvas | 30″h x 40″w | $5100 CAD

Paintings $5,000 and Over: Collecting Original Canadian Art

These ten paintings represent very different aspects of my practice, but together they tell a larger story. There are landscapes and wildlife, Canadian symbols and art historical references, the West Coast and the Rockies, abstraction and representation. Some are connected to specific places, while others are more concerned with the idea of Canada itself. That variety is important to me.

After twenty years as a full-time artist, I have produced more than 400 paintings exploring what Canada looks and feels like through my own particular lens. The work continues to evolve as I travel, observe and respond to the places around me. For collectors, an original painting is more than an image. It is a physical piece of an artist’s practice, made by hand and existing as a unique object.

If one of these paintings speaks to you, I invite you to learn more about the work through my website or contact the studio directly. I am always happy to answer questions about a painting, discuss its history and provide information about collecting, shipping and installation.

Original Canadian art is available directly from Brandy Saturley on Vancouver Island, with shipping available across Canada and internationally.

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August 31, 2026

Canadian Art US Tariff

Art For Sale, Buying Art

When Buying Canadian Art Comes With a 50% US Tariff

For years, Canadian artists have looked south to the United States as one of the most important markets for selling art. American collectors have bought Canadian paintings, galleries have represented Canadian artists, and Canadian artwork has crossed the border countless times on its way to new homes.

Now, that relationship has become considerably more complicated. As of August 2026, the United States has imposed a new 50% tariff on a range of Canadian imports, and that list includes something that may come as a surprise to many people: Canadian art. According to the Canadian Artists’ Representation/Le Front des artistes canadiens (CARFAC), the affected categories include paintings, drawings, pastels, collages, original prints, lithographs and sculptures. The tariff applies to covered works produced in Canada and imported into the United States.

For an American collector, this can dramatically change the cost of purchasing a Canadian artwork. Imagine finding a painting you love for $10,000. That $10,000 painting could now carry an additional $5,000 tariff when it enters the United States. Suddenly, the decision to purchase a Canadian painting becomes a very different financial proposition.

And this is where things get interesting.

Lovers in a Dangerous Time (2025), c. 2025 Acrylic on wood panel 18 x 24 x 1.5 in Brandy Saturley

What does this mean for Canadian artists?

The United States has long been an important destination for Canadian art. It is a large and sophisticated art market with an enormous collector base. But this latest development is a reminder that relying heavily on a single international market can leave artists vulnerable to forces they cannot control. Artists can spend years building relationships with galleries, collectors and institutions in another country, only to find that a change in trade policy suddenly makes their work considerably more expensive for those collectors. That doesn’t mean Canadian artists should stop selling to the United States. It does mean we need to think more broadly.

Perhaps the question is no longer simply:

“How do I sell more art in the United States?”

Perhaps it is:

“How do I build a stronger market for Canadian art everywhere?”

Stitched in Canada, c. 2023 Acrylic 36 x 48 x 1.5 in – Brandy Saturley

Canadian collectors have an opportunity

This is where I believe Canadian collectors have an important role to play. If you have been thinking about buying a painting by a Canadian artist, this may be the moment to look closer to home. Canada has an extraordinary community of artists working across the country. From Newfoundland to British Columbia, from the Arctic to the Prairies and the Great Lakes, artists are telling the stories of this country in wildly different ways.

Canadian art is not one thing. It is landscape and abstraction. It is portraiture and Pop Art. It is Indigenous art, contemporary practice, photography, sculpture, ceramics and so much more. It is our stories, our places, our people and our particular way of seeing the world. And buying Canadian art does more than put a beautiful painting on your wall.

It supports an artist’s career. It keeps money circulating within Canada’s creative economy. It helps galleries continue to operate. And it gives Canadian stories a place to live.

Ride My Wake, c. 2014 Acrylic 36 x 48 x 1.5 in – Brandy Saturley – Private Collection Edmonton, Canada

Canadian Art US Tariff: Perhaps it is time to look beyond the American market

For Canadian artists, there is another opportunity hidden inside this difficult moment. If the United States becomes a more expensive market for Canadian art, perhaps we should be looking more deliberately toward other international markets. Europe, The United Kingdom, Australia, Asia and, importantly, Canada itself.

Canadian artists already have audiences around the world. The challenge is to continue building those audiences rather than assuming that the American market will always be the easiest or most accessible destination. For me, this is particularly relevant because so much of my work is about Canada.

For more than 20 years, I have been painting the people, places, wildlife, landscapes and cultural symbols that make up my own Canadian experience. My work has travelled across the country and beyond, and I have always believed that Canadian stories can resonate with audiences far outside our borders. But perhaps we should also be asking whether Canadians themselves are collecting enough Canadian art.

Royal Gaze 122cm x 91cm Acrylic on canvas – Brandy Saturley

Investing in Canadian stories

When you purchase an original painting from a Canadian artist, you are not simply purchasing an object. You are investing in a story. You might be buying a painting of a place you have visited, a landscape that reminds you of home, an animal that feels distinctly Canadian, or an interpretation of Canada that you have never seen before. You are also helping determine which stories survive. Artists document their time. We notice things. We interpret them. We make sense of the places we live and the moments we experience. A painting can become a record of a particular Canada. That makes collecting Canadian art more than a decorative decision.

It is a cultural investment.

Blind Love, c. 2026 Acrylic On Canvas 30 x 30 x 1.5 in – Brandy Saturley

The Canadian art market needs Canadian collectors

For years, Canadian artists have been encouraged to look outward. We have been told to build international careers, enter international markets, exhibit internationally and find collectors around the world. I still believe in all of that. But perhaps we also need to look inward. Canada has a tremendous amount of wealth, cultural diversity and artistic talent. There are collectors here who could play a much larger role in supporting Canadian artists. Imagine what could happen if more Canadians decided that their next artwork would come from a Canadian artist.

Imagine if Canadian businesses made Canadian art part of their collections. Imagine if Canadian homes, hotels, offices, hospitals and public spaces increasingly reflected the work of artists who live and work here. That would create a stronger ecosystem for Canadian art. And a stronger Canadian art market means Canadian artists have more choices.

Dreaming Under Northern Lights, 2022 Acrylic on Canvas 36 x 36 in – Brandy Saturley

Canadian Art US Tariff: The world is bigger than one border

The 50% U.S. tariff is frustrating for Canadian artists and collectors alike. It adds cost and uncertainty to something that should ultimately be about connecting a person with a work of art. But perhaps it also gives us a reason to rethink how we build an art career and how we collect art. The American market will undoubtedly remain important. But it does not have to be the only market. There are collectors elsewhere who are interested in Canadian art. There are galleries and art fairs beyond the United States. There are international audiences discovering Canadian artists every day.

And there is an enormous market sitting right here at home.

Canada.

Perhaps this is the moment for Canadians to look at the art being created around them and ask:

What Canadian artist would I like to live with?

Because while trade policy can put a tariff on a painting crossing a border, it cannot put a tariff on the cultural value of the painting itself. And perhaps the best response is to make sure Canadian art continues to find homes, here in Canada and around the world.

Buy Canadian art. Collect Canadian stories. Keep Canadian creativity moving.

Monarch of The Arctic Realms, c. 2024 acrylic and gouache on canvas 48 x 48 x 1.5 in – Brandy Saturley

August 24, 2026

Contemporary Canadian Landscape Paintings

Art For Sale, Artist Process

Stories Written Across the Land: Contemporary Canadian Landscape Paintings

Contemporary Canadian landscape paintings have a long and important place in the story of Canadian art. From the mountains of the Rockies and the vast prairie skies to the rugged Atlantic coastline and the forests and beaches of the West Coast, the Canadian landscape has inspired generations of artists.

As a contemporary Canadian landscape painter, I am drawn to these places not simply because they are beautiful, but because they carry stories. For me, painting the landscape is a way of exploring our relationship with place, memory and Canadian identity. Over the years, I have created paintings of mountains, oceans, beaches, forests, wildlife and the distinctive places I have encountered while travelling across Canada.

But my approach to Canadian landscape art is not always traditional. I often bring a Pop Art sensibility to the landscape, using vivid colour, bold shapes and graphic details to transform familiar Canadian places into something fresh and contemporary.

Contemporary Canadian Landscape Paintings

Canadian landscape painter Brandy Saturley making an oversized landscape painting, 2019

What makes a Canadian landscape painting?

When we think about Canadian landscape paintings, we might immediately picture mountains, lakes, forests or expansive skies. These are certainly important elements of Canadian art, but I believe the Canadian landscape is about more than scenery. It is about experience.

A landscape can hold the memory of a journey, the feeling of standing beside the ocean, the quiet of a mountain lake or the exhilaration of seeing wildlife in its natural environment. A painting of a Canadian landscape can therefore become a visual record of both place and experience. That is what interests me.

I am less interested in simply reproducing what I see and more interested in capturing what it feels like to be there.

A Long and Winding Road, acrylic on canvas, 24 x 30 x 1.5 Brandy Saturley

My approach to Canadian landscape art

Much of my work begins with observation. I travel with a camera, sketchbook and a painter’s curiosity, collecting visual impressions of the places I encounter. A mountain range might catch my attention because of its shape. A beach might stay with me because of its colours. A particular stretch of coastline might become memorable because of the weather, light or something unexpected that happened there.

Back in the studio, those experiences become paintings. This is where my interest in Pop Art and contemporary Canadian landscape painting comes into play. I might intensify the colours, simplify the forms or emphasize particular shapes. A familiar landscape can become almost graphic. I want the viewer to recognize the place while also seeing it differently.

Cascade, acrylic on canvas, 36x48x1.5 inches Brandy Saturley

A Pop Art take on the Canadian landscape

Over the years, I have created a number of contemporary Canadian landscape paintings that combine recognizable Canadian scenery with the bold visual language of Pop Art.

For me, colour is particularly important. The deep blues of the Pacific Ocean, the turquoise of a Rocky Mountain lake, the greens of a coastal forest or the bright colours of Newfoundland fishing villages can become starting points for a painting. I am interested in taking those colours and pushing them further.

The result is a landscape that may be recognizable, but it is not necessarily a literal representation of the place. A mountain can become a bold geometric shape. An ocean can become an expanse of saturated colour. A forest can become a rhythmic pattern of trunks, branches and shapes. Wildlife can move from being simply part of the landscape to becoming an iconic Canadian subject.

This is one of the ways I connect my work to Canadian Pop Art and contemporary Canadian art.

Contemporary Canadian Landscape Paintings: Canada from coast to coast

Travel has played an enormous role in my development as a Canadian landscape artist. My paintings have taken me from the West Coast to the East Coast, through the Rocky Mountains, across the Prairies and into Newfoundland. Every region has given me something different to paint.

The Canadian Rockies

The Rocky Mountains offer some of the most recognizable landscapes in Canada. Mountains, lakes, glaciers and enormous skies create a visual language that is almost impossible to ignore. But rather than simply painting a postcard version of the Rockies, I am interested in the shapes, colours and emotional experience of being there. The mountains become both subject and symbol.

Mount Temple, acrylic on canvas, 36x48x1.5 inches Brandy Saturley

Newfoundland landscapes

Newfoundland has become another important part of my painting practice. The colourful houses, fishing boats, rocky coastline and deep Atlantic blues offer an extraordinary palette for a painter. My Newfoundland landscape paintings are rooted in my experiences of spending time on the island, including artist residencies and time spent painting in coastal communities.

Newfoundland has a visual personality all its own. It is colourful, rugged, dramatic and deeply connected to the sea.

I Lost My Souwester in Pouch Cove, 2023 Acrylic on Canvas 28 x 64 in Brandy Saturley

The West Coast and Vancouver Island

Today, my attention is increasingly focused on the landscape close to home. Living on Vancouver Island has opened up an entirely new chapter in my painting practice. The beaches, forests, mountains and marine life of the West Coast have become an important source of inspiration.

I am particularly interested in the landscape around the Salish Sea, where the ocean, islands, forests and wildlife create an ever-changing visual environment. Sea lions, orcas, bald eagles, beaches and coastal forests have all begun finding their way into my recent paintings. After years of travelling across Canada to find subjects, I am discovering that there is still an enormous landscape waiting to be explored close to home.

Two paintings of the Salish Sea by Brandy Saturley

Canadian landscape paintings are also about memory

One of the things I love most about painting landscapes is that a painting can mean something different to every viewer. I may paint a particular beach because of an experience I had there. Someone looking at the painting may remember a family holiday.

Another person may be reminded of the landscape where they grew up. Someone else may simply experience the colours and shapes as an emotional response. This is what makes Canadian landscape art so compelling. The artist brings one story to the painting. The viewer brings another.

The landscape becomes the place where those stories meet.

Prairie Flight, c. 2020 Acrylic 24 x 30 x 1.5 in Brandy Saturley

Contemporary Canadian landscape painting

Canadian landscape painting does not have to look a certain way. There is an important history of landscape painting in Canada, but contemporary Canadian artists continue to reinterpret the land through new materials, styles, ideas and perspectives. My own approach combines my fascination with Canadian iconography with the visual energy of Pop Art.

I am interested in the familiar Canadian symbols and landscapes that surround us, but I want to see what happens when they are pushed, simplified, amplified and reimagined. The result is my own form of contemporary Canadian landscape art. It is colourful. It is graphic. It is distinctly Canadian.

And sometimes, it is a little unexpected.

The Beach, c. 2025 Acrylic on wood panel 18 x 24 x 2 in Brandy Saturley

Painting the stories of Canada

Canada is an enormous country, and there will never be a shortage of landscapes to paint. There will always be another coastline, another mountain, another forest, another road leading somewhere I have never been. But after twenty years of painting professionally, I have learned that I am not really painting places.

I am painting stories of places. The landscape is the starting point. The colour, shape, memory and experience become the painting. From Newfoundland to Vancouver Island, from the Atlantic Ocean to the Pacific, my Canadian landscape paintings are an ongoing visual record of my experience of this country. I paint Canada because I am endlessly curious about it.

And I suspect I will never run out of Canada to paint.

Red Rocks, c. 2025 Acrylic on wood panel 18 x 24 x 2 in Brandy Saturley

Explore More Canadian Art

If you enjoy Canadian landscape paintings, contemporary Canadian art and Pop Art-inspired paintings of Canada, I invite you to explore more of my work and follow my ongoing journey as a Canadian artist.

There are always new landscapes, stories and paintings emerging from the studio.

August 14, 2026

Painting the Hudson’s Bay Brand

Art For Sale

The Stripes That Tell a Canadian Story: Painting the Hudson’s Bay Brand

For more than two decades, I have been painting the stories, symbols, and shared memories that shape our understanding of Canada. Throughout my practice, I have returned again and again to the familiar icons woven into our everyday lives: hockey masks, Mackintosh’s Toffee, Tim Hortons cups, Hawkins Cheezies, canoes, plaid, wildlife, and the roadside landmarks that quietly define our landscapes.

These are more than objects. They are visual markers of place, memory, and belonging. They are the things we recognize instantly, the symbols that carry stories long before we put words to them. Among all of these Canadian references, one symbol has appeared in my work more than any other: the unmistakable stripes of the Hudson’s Bay blanket.

Long before those stripes became a recognizable Canadian design motif, the Hudson’s Bay point blanket was part of the country’s history. Its bold green, red, yellow, and indigo bands became a visual signature known around the world, connected to exploration, trade, wilderness, home, and nostalgia. For many Canadians, those colours hold personal memories. They recall a blanket folded at the end of a bed, wrapped around shoulders at a cabin, warming a family gathering, or appearing as a toque, scarf, or jacket on a winter day. The stripes became part of our collective visual language.

Throughout my career, I have incorporated this enduring symbol into approximately twenty paintings. Sometimes the reference is quiet and unexpected: appearing on a piece of clothing, a toque, a hockey stick, or a small detail that rewards closer looking. In other works, the blanket itself becomes the central subject, transforming from a familiar object into a powerful symbol of Canadian identity. The Hudson’s Bay stripes have also influenced my own colour palette, finding their way into contemporary stories while remaining connected to a much older tradition.

My paintings are not advertisements for a brand. Instead, they explore the emotional power of cultural symbols and the memories they awaken. Like many of the Canadian icons that appear throughout my work, the Hudson’s Bay motif acts as a bridge between personal experience and collective history. It invites viewers to bring their own stories to the canvas. The recent closing of Hudson’s Bay Company as a department store marked the end of a significant chapter in Canadian retail history, while the continued life of the beloved stripes under new Canadian stewardship demonstrates something important: companies may evolve, but the symbols they create can become part of a nation’s cultural fabric.

Painting the Hudson’s Bay Brand

When I gathered these paintings together as a collection, I was struck by how often those famous stripes had appeared throughout my artistic journey. What began as a visual reference became a recurring conversation about memory, heritage, and the objects that help define who we are. Together, these Hudson’s Bay-inspired paintings represent nearly twenty years of exploring Canadian identity through colour, symbolism, and storytelling. They are another chapter in my ongoing journey of painting Canada, one familiar icon at a time.

Here is a collection of works inspired by one of Canada’s most recognizable designs: the Hudson’s Bay stripes.

July 27, 2026

Iconic Artwork

Art Career, Art For Sale

When a Painting Becomes More Than a Painting: Iconic Artwork

As artists, we never really know which paintings will take on a life of their own becoming an iconic artwork.

Some works are created quickly and find a collector almost immediately. Others travel quietly through exhibitions and collections before disappearing into private homes. Then there are the rare paintings that continue to follow us throughout our careers, appearing in conversations, publications, exhibitions, and unexpected opportunities long after the paint has dried.

For me, one of those paintings is Goalie’s Mask: Red, White & Dryden.

Goalie’s Mask: red, white & Dryden (The Goalies Mask Painting), c. 2011 Acrylic 48 x 36 x 1.5 in – Brandy Saturley

Painted in 2011, the work emerged from my ongoing fascination with Canadian identity and the symbols that shape our collective story. Hockey has long occupied a unique place within Canada’s cultural landscape. More than a sport, it is a source of memory, mythology, and national conversation. The goalie mask, in particular, has become one of the most recognizable icons in Canadian culture.

When I painted Goalie’s Mask: Red, White & Dryden, I wasn’t thinking about awards, exhibitions, or where the painting might eventually travel. I was simply responding to a subject that felt deeply Canadian. Like much of my work, it was an exploration of the stories we tell ourselves about who we are.

What happened next was something I could never have predicted.

Over the years, the painting found its way into exhibitions, publications, and conversations about contemporary Canadian art. It was exhibited at Canada’s Sports Hall of Fame and, in 2014, was shortlisted for the International Olympic Committee’s Sport and Art Trophy. The recognition placed the work on an international stage and connected it to a broader conversation about the relationship between sport, culture, and artistic expression.

Goalie’s Mask: red, white & Dryden (The Goalies Mask Painting), c. 2011 Acrylic 48 x 36 x 1.5 in – Brandy Saturley – Olympic Trophy shortlist

For any artist, there are a handful of works that become milestones. They mark a moment in the evolution of a career. Looking back more than a decade later, I can see that Goalie’s Mask: Red, White & Dryden became one of those paintings.

It represents an important chapter in my exploration of Canadian iconography, a journey that has now spanned more than fifteen years and resulted in hundreds of paintings inspired by the people, places, symbols, and stories of this country. Long before the publication of my book Painting Canada, before international exhibitions and residencies, before many of the opportunities that followed, this painting helped define the direction of my practice.

Artists often speak about “signature works.” These are the pieces that audiences remember, the works that appear repeatedly in interviews and publications, and the paintings that seem to gather stories wherever they go. While every painting is important to me, Goalie’s Mask: Red, White & Dryden has become one of those rare works.

For that reason, I have held onto it for many years.

Goalie’s Mask: red, white & Dryden at Canada’s Sports Hall of Fame, Calgary, AB

Iconic Artwork: An Acquisition Opportunity

The painting has remained part of my personal collection while other works found homes across Canada and around the world. It has accompanied me through different studios, exhibitions, and chapters of my career. In many ways, it has become a witness to the evolution of my practice.

There comes a moment, however, when an artist must decide whether an important work should continue its journey.

After much consideration, I have made the decision to offer Goalie’s Mask: Red, White & Dryden for acquisition.

This is not simply the sale of a painting. It is an opportunity for a collector, institution, or organization to become the next steward of a work that has played a significant role in my artistic journey and has earned recognition both nationally and internationally.

Some paintings remain memorable because of their subject matter. Others because of where they have travelled. A select few become part of a larger story.

For me, Goalie’s Mask: Red, White & Dryden is one of those paintings.

Its story is still being written.

If you would like to learn more about the painting, its history, provenance, and acquisition details, I invite you to visit the dedicated acquisition page.

View the Acquisition Opportunity for Goalie’s Mask: Red, White & Dryden →

July 22, 2026

Portraits of Canada

Art For Sale

Figurative Paintings: Portraits of Canada

I am best known for painting stories of Canada. While many people recognize my work for its landscapes and iconic Canadian imagery, my paintings have always been deeply narrative and figurative. My landscapes are populated with symbols, wildlife, and people, each contributing to a larger story about this country and our connection to it.

Over the years I have painted many self-portraits, but I have also been drawn to the unique characters who have crossed my path. Faces fascinate me. They carry history, resilience, vulnerability, and hope. I enjoy looking beyond a likeness, searching for the humanity that exists beneath the surface and bringing that emotional depth into paint.

One of my favourite Canadian artists is Prudence Heward. Heward was one of Canada’s most significant modernist painters, celebrated for her powerful portrayals of women at a time when Canadian art was largely defined by landscapes and idealized female subjects. While the Group of Seven were shaping the visual identity of Canada’s wilderness, Heward was exploring the emotional and psychological landscape of modern women. I have always admired the way she placed her subjects within the landscape, allowing the environment to become an extension of their inner lives.

Like Heward, I often paint people within the Canadian landscape. Over the years, however, I have realized that I am drawn far more often to the female experience than the male. My women are contemplative, curious, resilient, and hopeful. They are not simply portraits. They are storytellers, standing within the places that have shaped them.

I am interested in what it means to belong to the landscape, to be immersed in it rather than simply observing it. The figures in my paintings are connected to the land, the weather, the wildlife, and the symbols of Canada. Together they tell stories about identity, place, and our shared relationship with this remarkable country.

Portraits of Canada

Here are ten portrait paintings that explore the relationship between the figure and the Canadian landscape. Each portrait represents a different chapter in my ongoing exploration of Canada. Some are inspired by real people, others by memory or imagination, but all are rooted in a sense of place.

Hearts On Our Sleeves, 2017 Acrylic On Canvas 40 x 30 x 1.5 in – Brandy Saturley

Saint Kanata, c. 2011 Acrylic on canvas 48 x 36 x 1.5 in – Brandy Saturley

Welcome All Souls 2014, 36×36, acrylic on canvas – Brandy Saturley

Dreaming Under Northern Lights, c. 2024 Acrylic 36 x 36 x 1.5 in – Brandy Saturley

Spirit of Ukraine, c. 2023 Acrylic On Canvas 36 x 36 x 1.5 in – Brandy Saturley

Ahead by Centuries, c. 2023 acrylic and gouache 60 x 48 x 1.5 in – Brandy Saturley

Dochka Rising, c. 2023 acrylic and gouache 36 x 30 x 1.5 in – Brandy Saturley

Love on The Rock, c. 2024 Acrylic On Canvas 18 x 36 x 1.5 in – Brandy Saturley

Blind Love, c. 2026 Acrylic On Canvas 30 x 30 x 1.5 in – Brandy Saturley

The Prodigy, 2021 Acrylic On Canvas 36 x 48 x 1.5 in – Brandy Saturley

July 13, 2026

World Oceans Day 2026

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Observing Our Most Precious Resource: World Oceans Day

World Oceans Day is observed annually on June 8, raising awareness about the importance of our oceans and the need for their sustainable management. The day highlights the critical role oceans play in sustaining life on Earth. They produce at least 50% of the planet’s oxygen, provide food and medicine, support the livelihoods of millions of people worldwide, and absorb approximately 30% of human-produced carbon dioxide, helping to mitigate the impacts of climate change.

Guardians of The Salish Sea, c. 2026 Acrylic On Canvas 30 x 60 x 1.5 in – Brandy Saturley

Most of us understand, on some level, how deeply connected we are to the ocean. As an artist, themes surrounding the ocean, the environment, and climate change regularly find their way into my work and my thoughts. Living on Vancouver Island keeps these subjects close at hand. The ocean is not an abstract idea here; it is part of daily life.

When I Go to SEE, c. 2025 Acrylic On Canvas 30 x 60 x 1.5 in – Brandy Saturley

My regular walks take me along the shoreline, where I witness the rhythms and stories of the coast unfolding each day. I observe the changing tides, discarded crab shells, and scattered seashells left behind after a feast by seabirds. I watch the movement and patterns of marine life, from orca whales and sea lions to ravens, bald eagles, and even the prehistoric silhouettes of great blue herons. The shoreline is a constantly changing gallery of life, reminding me of both the beauty and fragility of our coastal ecosystems.

Sealions Song, c. 2026 Acrylic On Canvas 30 x 60 x 1.5 in – Brandy Saturley

The ocean offers more than inspiration. It provides solace, rejuvenation, and a place to pause, breathe deeply, and reconnect with the natural world. It is a source of perspective and wonder, qualities that are increasingly important in our fast-paced lives. While I have spent many years travelling across Canada, documenting and painting stories from the Alberta Rockies to the Prairies and the rugged shores of the Atlantic coast, this year I find myself spending more time closer to home on Canada’s west coast. The familiar landscapes of Vancouver Island have offered a renewed appreciation for the waters that surround us and the wildlife that depends upon them.

Gateway to The World, c. 2026 Acrylic On Canvas 18 x 48 x 1.5 in – Brandy Saturley

Observations: World Oceans Day 2026

World Oceans Day serves as a reminder that the health of our oceans is inseparable from our own well-being. Whether through conservation efforts, sustainable practices, education, or simply taking the time to observe and appreciate the natural world around us, we each have a role to play in protecting this precious resource for future generations.

As an artist, I will continue to observe, document, and celebrate these coastal stories through paint, sharing the beauty of the ocean and its inhabitants in the hope that greater awareness leads to deeper appreciation, and ultimately, stewardship.

Surfing Rainbows 30×48, acrylic on canvas, 2020 – Brandy Saturley

June 8, 2026

10 Paintings Available on Artsy

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10 Atlantic Canadian Paintings Available on Artsy

Stories from the Edge of Canada Through Paint

Newfoundland has become one of the most influential landscapes in my painting practice. Through artist residencies, road trips, ferry crossings, and long drives through outport communities, the province has slowly entered my work through colour, atmosphere, symbolism, and storytelling.

The paintings below are inspired by the geography and emotional landscape of Newfoundland, from fog-covered coastlines and roadside architecture to ferries, landscape, iconic symbols, weather, isolation, music, and memory.

These works are currently available through my profile on Artsy.

Little Red Saltbox

Little Red Saltbox, 2024 Acrylic on Wood 18 × 24 in – Brandy Saturley

A little red saltbox house at Tors Cove, Newfoundland.

Quidi On The Vidi

Quidi on the Vidi, 2024 Acrylic on Wood 24 × 18 in – Brandy Saturley

Boats in the famous Quidi Vidi harbour.

A Dory for You and One For Me

A Dory For You and One For Me, 2024 Acrylic on wood panel 24 × 18 in – Brandy Saturley

Two yellow dory boats parked for the night.

I Lost My Souwester In Pouch Cove

I Lost My Souwester in Pouch Cove, 2023 Acrylic on Canvas 28 × 64 in – Brandy Saturley

The view is a long angle curve of Pouch Cove, Newfoundland with it’s rugged and lichen covered rocks and cliffs. A red dory in the distance, perhaps the girl lost her hat when she swam ashore.

The Rock and Roll

The Rock and Roll, 2023 Acrylic on Canvas 53 × 36 in – Brandy Saturley

The iconic Cape Bonavista lighthouse, a floating rock encircled by seagulls and flying a Canadian flag. Two yellow Muskoka chairs offer rest for the weary, with the storm dwarfed trees of green.

10 Paintings Available on Artsy, continued

Whiskey, Jigs and Floating Floors

Whiskey, Jigs and Floating Floors, 2024 Acrylic on Canvas 48 × 36 in – Brandy Saturley

Three fishing stands floating above a lively yet calm ocean with streams of sunlight piping through.

Kitchen Party

Kitchen Party, 2025 Acrylic on canvas 27 × 19 × 1 in – Brandy Saturley

Remnants of a true Newfoundland Kitchen Party.

Saturday

Saturday, 2025 Acrylic on canvas 26 × 52 – Brandy Saturley

Dory boats of all colours all in a row.

Come On Just Let’s Go

Come On Just Let’s Go, 2024 Acrylic on Canvas 48 × 30 in – Brandy Saturley

Painting of red and blue flannel shirts hanging on white wood panel wall, arms entwined. Symbolic sky, clouds and sun making the realism of this piece take a surreal detour. White heart on sleeve of red plaid shirt. Forever and for always, wherever you go, we go.

Say A Little Prayer

Say a Little Prayer, 2024 Acrylic and Oil on Canvas 18 × 24 in – Brandy Saturley

Painting of a red Remembrance Day poppy pin, along with peace, love and Canada pins on a jean jacket.
A denim jacket, the uniform of the everyman – and we are all together in remembrance saying a little prayer for our fellow humans.

Read more about my journey making art in Newfoundland.

May 11, 2026

Painting Newfoundland on ARTSY

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At the Edge of the Country: Painting Newfoundland on ARTSY

There are places in Canada where the land feels like a backdrop, and then there are places where it steps forward and begins to speak. Newfoundland is one of those places.

When I arrived, I wasn’t looking for paintings. I was looking to experience something I didn’t yet understand.

Brandy Saturley in her Victoria BC studio with paintings from Newfoundland

Newfoundland is not quiet, even in stillness. The wind carries stories. The architecture leans into the weather. The colour of the houses feels both practical and poetic, standing against fog, rock, and sea like signals. Everything feels shaped by endurance, by presence, and by time.

In this body of work, I am not trying to document Newfoundland. I am trying to translate the feeling of being there.

Detail View, Love On The Rock, Acrylic on Canvas, 18 × 36 in, Brandy Saturley

The paintings are built from fragments: the angle of a roofline, the rhythm of clapboard siding, the particular blue of the Atlantic under a low sky. These elements become a kind of visual language, one that sits somewhere between memory and observation. I return to them, repeat them, shift them slightly, allowing the work to echo the way a place settles into you over time.

There is also a tension I keep coming back to. Newfoundland feels both distant and deeply connected. It exists on the edge of the country, yet it holds a strong sense of identity that resonates far beyond its geography. That tension interests me. It mirrors something broader in my work about Canadian identity, about how place shapes who we are and how we see ourselves.

Newfoundland Paintings by Brandy Saturley, available on ARTSY

Painting Newfoundland on ARTSY

These paintings are part of an ongoing exploration of that idea. They are not conclusions. They are entries into a conversation.

In the studio, far from the coast, I find myself returning to Newfoundland again and again. Not to recreate it, but to understand what stayed with me. What insisted.

This body of work is a response to that pull.

Brandy Saturley Newfoundland Paintings at James Baird Gallery – see on ARTSY

A selection of these works is now available through my dealer, James Baird on Artsy. If you have been following this thread in my work, or feel a connection to these places and their stories, I invite you to explore them further there.

Learn more about Canadian artist, Brandy Saturley here.

May 5, 2026