100 Canadian Visual Artists

100 Canadian Visual Artists Who Have Shaped Canada’s Cultural Landscape

Canada’s visual arts history is as vast and varied as the country itself. From the rugged landscapes of the early painters to today’s multidisciplinary artists working across painting, photography, sculpture, installation, and digital media, Canadian artists have helped define how we see ourselves and how the world sees Canada.

This list celebrates 100 influential Canadian visual artists whose work has contributed to the nation’s cultural identity. Some are household names, others are trailblazers whose impact continues to grow. Together, they tell the story of Canadian art.

The Red We Carry, c. 2026 Acrylic On Canvas 30 x 30 x 1.5 in – Brandy Saturley

Historical Masters & Early Influencers

Paul Kane
Cornelius Krieghoff
Emily Carr
Tom Thomson
Lawren Harris
A.Y. Jackson
J.E.H. MacDonald
Franklin Carmichael
Arthur Lismer
Frederick Varley
David Milne
Prudence Heward
Edwin Holgate
Jean Paul Lemieux
Clarence Gagnon
Marc-Aurèle Fortin
Anne Savage
Paraskeva Clark
Kathleen Munn
Bertram Brooker

Mid-Century Innovators

Jack Bush
Painters Eleven founder Oscar Cahén
Harold Town
William Ronald
Kazuo Nakamura
Jock Macdonald
Alex Colville
Christopher Pratt
Mary Pratt
Joyce Wieland
Michael Snow
Greg Curnoe
Guido Molinari
Jean McEwen
Rita Letendre
Gordon Smith
Takao Tanabe
Jack Shadbolt
E.J. Hughes
William Kurelek

Let Your Backbone Rise, c. 2016 Acrylic on canvas 36 x 36 x 1.5 in – Brandy Saturley

Indigenous Artists Who Changed Canadian Art

Norval Morrisseau
Daphne Odjig
Carl Beam
Alex Janvier
Bill Reid
Robert Davidson
Rande Cook
Kent Monkman
Rebecca Belmore
Brian Jungen
Christi Belcourt
Lawrence Paul Yuxweluptun
Beau Dick
Annie Pootoogook
Kenojuak Ashevak
Tim Pitsiulak
Shuvinai Ashoona
Kananginak Pootoogook
Nadia Myre
Meryl McMaster

100 Canadian Visual Artists – Contemporary Masters

Contemporary Canadian Painters

David Bierk
Ken Danby
Christopher Broadhurst
Robert Bateman
Kim Dorland
Wanda Koop
Steve Driscoll
Peter Doig
Tim Gardner
Attila Richard Lukacs
John Hartman
Edward Burtynsky
Charles Pachter
Douglas Coupland
Joanne Tod
Shary Boyle
David Blackwood
William Perehudoff
Robert Houle
Sandra Meigs

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

Contemporary Artists Expanding the Conversation

Stan Douglas
Rodney Graham
Jeff Wall
Ian Wallace
Geoffrey Farmer
Janet Cardiff
George Bures Miller
Vikky Alexander
Gathie Falk
Jin-me Yoon
Ken Lum
Liz Magor
Liz Howard
Sameer Farooq
Deanna Bowen
Kapwani Kiwanga
Rajni Perera
Vanessa Dion Fletcher
Marcel Dzama
Brandy Saturley

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

A Continuing Story

No list of Canadian artists can ever be complete. The story of Canadian art is still being written in studios, galleries, artist-run centres, and communities across the country. New voices continue to emerge, challenging conventions and expanding our understanding of what Canadian art can be.

What unites the artists on this list is their contribution to Canada’s visual culture. Through landscape, portraiture, abstraction, photography, sculpture, conceptual art, and contemporary practice, they have each helped shape the evolving narrative of Canada.

Who would you add to this list? The conversation about Canadian art is ongoing, and that’s exactly what keeps it vibrant.

June 3, 2026

Canadian Landscape Inspired Portrait

Art History, Canadian Art

Daughter of the Landscape – A Canadian Landscape Inspired Portrait

For several years I have returned to a recurring idea in my paintings: the self-portrait set against fragments of the Canadian landscape inspired by the work of Lawren Harris. These backgrounds are not copies of specific paintings, but visual echoes of the bold forms, glowing skies, and simplified mountains associated with the painters of the Group of Seven. In this painting, that landscape becomes something more personal.

Dochka Rising, c. 2023 acrylic and gouache 36 x 30 x 1.5 in (91.44 x 76.2 x 3.81 cm) – Brandy Saturley

At the centre stands a strong Ukrainian Canadian woman, her face lifted toward the sky as if absorbing the light of the world around her. Her expression carries both quiet determination and reflection. She is rooted, grounded, and present. The rising sun behind the figure suggests renewal, endurance, and hope. A reminder that cultural identity, like the landscape itself, continues to endure through time.

detail – Dochka Rising, c. 2023 acrylic and gouache 36 x 30 x 1.5 in (91.44 x 76.2 x 3.81 cm) – Brandy Saturley

Across her face and body move a series of patterned lines inspired by traditional Ukrainian embroidery. Historically these motifs were stitched into clothing not only for beauty but for protection and identity. Each pattern carried meaning, marking lineage, place, and cultural memory. Here those symbols flow across the figure like threads woven through time. Behind her, the luminous geometry of mountains, water, and sun recall the northern dreamscapes often painted by Lawren Harris. These forms suggest the Canadian landscape as both physical place and psychological space. A place where cultures meet, histories overlap, and identities take root.

side view – Dochka Rising, c. 2023 acrylic and gouache 36 x 30 x 1.5 in (91.44 x 76.2 x 3.81 cm) – Brandy Saturley

Canada has long been shaped by the arrival of people carrying traditions from distant lands. Ukrainian Canadians have been part of that story for more than a century, bringing with them language, craft, and cultural symbolism that continues to live within communities across the country. In this painting those histories converge. The figure becomes both portrait and symbol. A daughter of heritage and landscape. A presence that stands between memory and place.

side view – Dochka Rising, acrylic and gouache 36 x 30 x 1.5 in (91.44 x 76.2 x 3.81 cm) – Brandy Saturley

Canadian Landscape Inspired Portrait – Dochka Rising

For collectors of my work, this painting sits within an ongoing exploration of Canadian identity that runs through much of my practice. Through portraiture, colour, and symbolic landscape, I am continually asking how culture, geography, and personal history shape the stories we tell about this country. This piece carries that conversation forward.

It is a portrait of strength, heritage, and belonging. A moment where embroidery, landscape, and identity meet in paint. For those drawn to narrative painting and the evolving visual language of contemporary Canadian art, this work represents a distinctive addition to the story.

Dochka Rising, acrylic and gouache 36 x 30 x 1.5 in (91.44 x 76.2 x 3.81 cm) – Brandy Saturley

This painting continues my exploration of portraiture, cultural symbolism, and the Canadian landscape. Works from this series are held in private collections across Canada and internationally.

If you are interested in adding this piece to your collection, please contact me directly or inquire through my website.

Original paintings are one of a kind and available on a first-come basis.

March 10, 2026

Mountain Paintings in Canada

Art History, Canadian Art

Painting Mountains is a Tradition in Canada – From Historical to Contemporary

There is something about a mountain in Canada that refuses to sit quietly. It insists on being painted. These are Mountain Paintings in Canada.

Mountain Forms – Lawren Harris – 1926

The First Cathedral Painters: The Group of Seven

In the early 20th century, a small band of painters ventured into the northern wilderness with sketchbooks, oil paints, and a kind of devotional intensity. The Group of Seven believed that Canada’s identity could be found not in parlours or portraits, but in granite, snow, and wind-bent pine.

Mountains became their cathedrals.

In places like the Rockies and Algoma, they painted peaks not as postcards, but as presences. Vast. Spiritual. Uncompromising. The land was not background. It was protagonist. Among them, Lawren Harris took mountain painting into rarefied air. His canvases distilled peaks into sculptural forms, stripped of anecdote, reduced to luminous geometry. Snow glowed. Skies vibrated. Mountains stood in monastic stillness, hovering somewhere between landscape and revelation. Harris was not simply painting terrain. He was painting transcendence.

The early mountain paintings in Canada helped shape a national myth: that the land itself was our defining character. Rugged. Expansive. Sublime. And that myth has had a long afterlife.

Enter Brandy Saturley: Mountains in Pop Key

Fast forward a century. The mountains remain, but the voice shifts.

Cascade Mountain, 2011, Brandy Saturley

Where Harris sought spiritual ascension, Brandy Saturley approaches the peaks with a contemporary pulse. Her mountains are not hushed altars. They are bold declarations. Graphic. Immediate. Alive with colour that hums against the canvas.

If the Group of Seven carved mountains from ice and silence, Saturley paints them with rhythm. Her practice is rooted in travel across Canada, absorbing not only landscape but culture. The mountains in her work are often framed through a distinctly modern lens, one that acknowledges history while refusing to be bound by it. She engages with Canadian iconography, popular culture, and lived experience, folding the landscape into a broader narrative of national identity.

Temple Mountain, 2011 – Brandy Saturley

In Saturley’s paintings, mountains can feel cinematic. They coexist with symbols, with human traces, with the energy of the present day. The wilderness is no longer an untouched frontier. It is inhabited, interpreted, reimagined.

Where Harris reduced the mountain to a spiritual emblem, Saturley reclaims it as a cultural one.

Mountain Paintings in Canada: Then and Now

Three Sisters, 2024 – Brandy Saturley

The early mountain painters sought to define Canada through awe. Their canvases speak of isolation, purity, and the power of nature untouched.

Saturley’s mountains speak of engagement.

They acknowledge that Canada is not only wilderness but story. Not only silence but conversation. Her bold palette and pop modernist approach transform the mountain from distant monument into something immediate and accessible. The peaks feel less like distant gods and more like companions in the shared narrative of being Canadian.

Minnewanka Muse (detail), 2024 – Brandy Saturley

Both approaches are acts of love.

The Group of Seven helped invent the visual language of Canadian landscape painting. Lawren Harris purified the mountain into a spiritual symbol. Brandy Saturley carries that lineage forward, but with a contemporary voice that reflects a layered, media-saturated, culturally complex Canada.

The mountain remains. But the story we tell about it continues to evolve. And perhaps that is the true tradition of mountain painting in Canada, not imitation, but reinterpretation.

Paradise (top) Temple Top (bottom), 2024 – Brandy Saturley

February 23, 2026

Contemporary Canadian Genre Art

Art History

Genre Art and the Canadian Story: Everyday Life on Canvas

Genre art has long played a quiet but powerful role in the history of painting. Traditionally defined as scenes of everyday life, people at work, at leisure, or gathered in shared rituals, genre painting has always been about observation, empathy, and cultural record. In Canada, genre art carries a particular weight. Ours is a country often described through landscape, yet it is the people moving through those landscapes, skating, hiking, gathering, playing, that complete the story.

William Kurelek, King of the Castle, 1958–59 Gouache and watercolour on Masonite 53.9 x 45.7 cm

Contemporary Canadian genre art reflects how we live rather than how we mythologize ourselves. It captures moments that feel instantly familiar: winter breath hanging in the air at a frozen pond, families walking forest trails, friends gathered around a campfire, or skiers cutting across fresh snow. These are not grand historical events, but they are deeply shared experiences. Together, they form a collective portrait of Canadian life.

Contemporary Voices in Canadian Genre Painting

Brandy Saturley’s work exists within a wider resurgence of genre painting in Canada, where many contemporary artists are turning their attention to lived experience, community, and the everyday. Across the country, painters are documenting moments of ordinary life that speak quietly but powerfully to Canadian identity.

Embarkation 1994 Acrylic polymer emulsion on hardboard 43.2 x 69.9 cm Beaverbrook Art Gallery – Alex Colville

Artists such as Colville-inspired realist Alex Colville helped establish the groundwork for this tradition, but today’s genre painters have expanded it into more personal, regional, and socially attuned territory. Kim Dorland, while often associated with landscape, frequently incorporates figures whose activities speak to youth culture, suburban life, and the tension between humans and the natural environment. David Blackwood’s narrative-driven scenes of Newfoundland life continue to influence contemporary approaches to storytelling through everyday labour and ritual.

Painters like Shary Boyle explore genre through a more symbolic and psychological lens, drawing from folklore and domestic life to reflect collective and personal narratives. Kent Monkman, though often working on a monumental scale, incorporates scenes of daily activity and social interaction to challenge historical narratives and reframe Indigenous presence within contemporary Canadian life. Meanwhile, Christopher Pratt’s quiet, restrained depictions of domestic and industrial spaces remain touchstones for artists interested in the poetry of the ordinary.

Together, these artists demonstrate the breadth of genre painting in Canada today, ranging from realism to symbolism, narrative to critique. Saturley’s paintings contribute to this lineage by focusing on shared recreational and social moments, offering a contemporary portrait of Canadians in motion, in nature, and in community.

kîwêtin acâhkos (The North Star) 2025 Acrylic on canvas 80 × 120 in – Kent Monkman

Genre Art in Canada – Brandy Saturley

Brandy Saturley’s paintings explore this tradition through a distinctly modern lens. Her work focuses on everyday Canadian culture, often depicting people engaged in outdoor activities that are woven into the national psyche. Pond hockey scenes, figures enjoying nature together, and moments of sport and recreation become more than casual snapshots. They are visual touchstones, reminding viewers of the rhythms and rituals that quietly define life in this country.

Pond Hockey Days, c. 2021 Acrylic On Canvas 36 x 48 x 1.5 in (91.44 x 121.92 x 3.81 cm) – Brandy Saturley

Rather than romanticizing the landscape alone, Saturley places people at the centre of it. Her figures are active participants in their environments, skating, hiking, skiing, or simply standing together against vast backdrops. This approach shifts the conversation from land as spectacle to land as lived space. The paintings become about connection: between people, between communities, and between Canadians and the places they inhabit.

There is also a subtle social dimension to this work. Group activities suggest cooperation, shared effort, and collective joy. In a time when much of life feels fragmented or digital, these painted scenes of togetherness feel grounding. They recall the simple, physical experiences that continue to shape Canadian identity across regions and generations.

A Punch Line and An Unknown, c. 2013 Acrylic 36 x 24 x 1.5 in – Colart Collection, Quebec – Brandy Saturley

Genre art in Canada today is not nostalgic for its own sake. It is reflective, inclusive, and evolving. Through paintings of everyday moments and familiar activities, artists like Brandy Saturley contribute to an ongoing visual archive of who we are and how we live now. These works invite viewers to see their own experiences mirrored on the canvas and to recognize that the ordinary moments of Canadian life are, in fact, worth preserving.

In capturing people at play, at rest, and in relationship with the land, contemporary Canadian genre painting affirms a powerful idea: culture is not only built through monuments or milestones, but through shared moments that quietly repeat themselves, season after season, across the country.

Stare Time at Lake Louise, c. 2018 Acrylic 30 x 48 x 1.5 in – Brandy Saturley

January 26, 2026

Hudson’s Bay Iconic Stripes

Art History, Canadian Art

Part of Canada’s History – The Iconic Hudson’s Bay Stripes Blanket

One of my fondest childhood memories is visiting the top-floor restaurant at the Hudson’s Bay Company department store in my hometown of Victoria, British Columbia. On occasional Sundays, my dad and I would head downtown to browse the aisles at The Bay. Our ritual would end with a stop at the soda shop on the top floor, where we’d sit at the bar, sipping frosty chocolate malts. From our perch, we’d watch shoppers weave through the displays of housewares and neatly stacked Hudson’s Bay Point blankets. That was my first encounter with the Hudson’s Bay Iconic Stripes—a symbol of Canadian heritage that has remained etched in my memory.

Floating Downstream, acrylic on canvas, 2018, Brandy Saturley

Years later, through history classes, I came to understand the deeper significance of those colourful stripes. More than just a cozy household item, the Hudson’s Bay Point Blanket carries with it a complex and layered history, entwined with trade, colonialism, and the shaping of Canada.

Feather’s Over Blanket, acrylic on canvas, 2016, Brandy Saturley

The History of the Point Blanket

First produced for the Hudson’s Bay Company (HBC) in 1779, the Hudson’s Bay Point Blanket is a wool blanket marked by a series of distinctive stripes—green, red, yellow, and indigo—set against a white background. These colours are now emblematic of the HBC brand. Interestingly, the HBC did not invent the point blanket but rather popularized it in Canada. The original point blankets were woven by French artisans in the 17th century, who developed the “point system” to indicate the blanket’s size. The term point comes from the French word empointer, meaning “to make threaded stitches on cloth.” The black lines stitched into the corner of the blanket signified its size—one point for smaller blankets, and up to four points for larger ones.

West Coast Solitudes, 2022, Acrylic on Canvas, 48 × 36 × 1 1/2 in, Brandy Saturley

During the fur trade, point blankets became a key commodity, often traded for beaver pelts and other goods. By the 1700s, they made up over 60% of the merchandise exchanged by the HBC. The blankets were adopted by both Indigenous and settler communities for practical purposes: bedding, clothing, and even as room dividers. For many Indigenous nations, blankets held deep cultural significance, serving as symbols of status and used in ceremonies. Prior to the introduction of European wool blankets, Indigenous peoples crafted their own from animal hides and furs.

All Wrapped Up, 2024, Oil and Acrylic on canvas, 12 x 12 x 1.5 in, Brandy Saturley

A Symbol of Canadian Identity

By 1929, the Hudson’s Bay Company expanded its colour range and began promoting the blankets as home décor essentials, cementing them as a staple of Canadian households. The blankets were also produced for special occasions, such as the coronation of Queen Elizabeth II, which saw the release of a royal purple blanket with white stripes. Over time, the colours and stripe patterns were standardized, giving the blanket its iconic, recognizable design.

Today, the Hudson’s Bay stripes have transcended their original purpose, becoming a symbol of Canadian heritage and style. The classic design has been applied to everything from umbrellas to phone cases, making it a recognizable emblem of Canadiana. It frequently appears in home décor magazines and lifestyle blogs, celebrated for its vintage charm and nostalgic appeal.

INDOM, 2023, Oil and Acrylic on Wood Panel, 24 x 18 x 2 in, Brandy Saturley

Hudson’s Bay Iconic Stripes – An Icon in My Art

For me, as a Canadian artist who paints symbols of this country, the Hudson’s Bay stripes have become a recurring motif in my work. The blanket’s bold palette and distinctive pattern evoke a sense of nostalgia and national pride. Over the years, it has featured in many of my paintings—sometimes as a backdrop, other times as the focal point—representing themes of home, heritage, and identity.

Ride My Wake, 2014, Acrylic on canvas, 36 x 48 x 1.5 in, Brandy Saturley

Most recently, the news of the Hudson’s Bay Company filing for creditor protection and liquidating all but six of its stores marks the end of an era. Though the company may be coming to an end, the legacy of the striped blanket endures—a timeless symbol of Canada’s history, stitched into the fabric of our culture.

Explore more of my original paintings inspired by Canadian heritage and symbols. Click here to view the collection.

March 26, 2025

Discovering Indigenous Canada

Art History, Canadian Art

Discovering Indigenous Canada – A Journey Through the University of Alberta Course

Recently, I had the privilege of diving deep into Indigenous culture in Canada through a fascinating and eye-opening course: Indigenous Canada, a Massive Open Online Course (MOOC) offered by the Faculty of Native Studies at the University of Alberta. This 12-lesson program explores the histories, contemporary realities, and diverse perspectives of Indigenous peoples, discovering Indigenous Canada.

From the fur trade to political activism, land claims to artistic expression, the course offers an in-depth, critical lens on Indigenous-settler relations, both past and present. It also examines how Indigenous voices continue to shape Canada’s cultural and political landscape today. Whether you’re an artist, educator, or simply a curious learner, this course offers a rich and necessary perspective that fills in the glaring gaps left by traditional Canadian history education.

A Transformative Learning Experience

Throughout the course, I was immersed in a wide range of topics, including:

✅ The fur trade and early exchange relationships
✅ Land claims and their environmental impacts
✅ Indigenous legal systems and rights
✅ Political conflicts, alliances, and activism
✅ The vibrancy of contemporary Indigenous art and pop culture

With 12 modules and an exam at the end of each, the course takes approximately 12 weeks to complete if you dedicate around 3 hours per week. The lessons are clear, accessible, and packed with insightful video lectures, readings, and interviews with Indigenous scholars and artists.

Discovering Indigenous Canada – The Power of Storytelling and Art

Two modules, in particular, resonated deeply with me.

1. The Significance of Storytelling
The first module introduced the vital role of oral traditions and storytelling in Indigenous societies. Stories are not simply narratives—they are powerful vessels for history, identity, and cultural knowledge. This module offered a profound reminder of the importance of preserving and honouring these voices, which carry the wisdom of generations.

2. Indigenous Art and Pop Culture
The final module was a highlight, exploring the dynamic landscape of contemporary Indigenous Canadian art. It celebrated the diversity of Indigenous creativity—from quillwork and beadwork to painting, sculpture, and digital media. The course revealed how contemporary Indigenous artists are reshaping mainstream narratives and reclaiming their stories through decolonial expression.

Spotlight on Indigenous Artists

The course introduces us to several remarkable Indigenous artists whose works have transformed the Canadian art landscape:

🎨 Daphne Odjig – Often referred to as the “grandmother of Indigenous art,” Odjig’s work pushed artistic boundaries, blending cubism, surrealism, and Indigenous symbolism. Her paintings shed light on colonialism, Indigenous women’s struggles, and broader political issues.

🪶 Christi Belcourt – Known for her intricate, nature-inspired beadwork paintings, Belcourt’s work celebrates Indigenous spirituality and environmental activism. She made waves in the fashion world by collaborating with Valentino to create haute couture collections featuring Indigenous designs.

🧱 Rebecca Belmore – A powerful voice in contemporary Indigenous art, Belmore’s work often speaks to colonialism, displacement, and resilience. Her large-scale installation Trace at the Canadian Museum of Human Rights involved over 10,000 clay beads, shaped by the public, symbolizing the enduring presence of Indigenous people in Canada.

Water Song by Christi Belcourt

Discovering Indigenous Canada – Why You Should Take This Course

The Indigenous Canada course offers much more than historical facts—it offers a deeper, more honest understanding of Canada’s complex and often painful history through the eyes of Indigenous people. It’s a course that should be mandatory in Canadian schools, as it addresses the missing pieces of our collective knowledge.

For me, it was both an educational and creative journey. As an artist, the course expanded my perspective, inspiring me to think more critically about the representation of Indigenous stories and symbolism in contemporary art.

If you’re interested in learning, unlearning, and broadening your understanding of Canada, I highly recommend enrolling in this course. It’s not just about history—it’s about listening, reflecting, and acknowledging the voices that have long been silenced.

👉 Learn more and enroll here: University of Alberta – Indigenous Canada

Rage On, 24×18, acrylic and oil on canvas, 2023, Brandy Saturley

March 20, 2025

Elected to the SCA

Art Career, Art History

Elected to the Society of Canadian Artists

In June this year, the Society of Canadian Artists will celebrate new Elected Members at their Annual General Meeting at the Arts & Letters Club in Toronto, Ontario. As a professional Canadian Artist with nearly twenty years in the Canadian Art business, Brandy Saturley is honoured to be elected to the SCA a talented and dedicated group of Canadian Arts professionals. The Arts & Letters Club of Toronto is a vibrant private members’ club that brings together creative and performing artists, writers, architects, musicians, painters, graphic artists, and more. Established in 1908, it champions the arts in English Canada. The St George’s Hall at 14 Elm Street is a Toronto landmark — a building with a lively history of remarkable colour and vivacity in a convenient downtown location. It has been designated a building of National Historic Significance by the Government of Canada. The focus of Club life and activity is the Great Hall, a splendid room with a cathedral ceiling, and wonderfully tongue-in-cheek banners by J.E.H. MacDonald celebrating the names of illustrious early Members. Celebrated club members include; A.Y. Jackson, Vincent Massey and J.E.H MacDonald.

What is the SCA? (Society of Canadian Artists)

The Society of Canadian Artists (SCA) is a national, non-profit artists’ organization dedicated to expanding the visibility and stature of the visual arts in Canada. In a country so creatively diverse, art is an anthem. Officially founded in 1972 (although germinating since 1957), the SCA is the young, national, non-profit artists’ organization born to foster and celebrate the visual arts and artists in Canada. They are a collection of some of the country’s most committed traditional and new media artists welcoming the new, the up-and-coming and the established.

Let Your Backbone Rise, 36×36, acrylic on canvas, 2016, Brandy Saturley

Elected to the SCA: What Does it Mean to be an elected member of the Society of Canadian Artists?

Being an Elected Member of the Society of Canadian Artists (SCA) is a prestigious recognition for professional artists who have undergone a rigorous adjudication process. Being an Elected Member of the SCA signifies recognition, commitment, and active participation in the vibrant world of Canadian visual arts. Carrying the SCA designation signifies recognition, commitment, and active participation in the world of Canadian Visual Arts.

Brandy Saturley Studio, North Saanich, BC, Canada – 2020

Who are some notable current and past elected Canadian member artists of the SCA?

The Society of Canadian Artists (SCA) boasts a roster of talented artists who have made significant contributions to the Canadian art scene.

While we don’t have an exhaustive list, here are a few notable members:

Ray Phelps: Served as President of the SCA.
Tom Chatfield: Another past President who left his mark on the organization.
Pat Fairhead: An accomplished artist associated with the SCA.
D. Bellerby: Contributed to the SCA’s vibrant community.
Ina Gilbert: Known for her artistic endeavors within the SCA.
Ron Bolt: A respected member who has enriched the SCA’s legacy.
Claire Kerwin: Her work has been influential in the Canadian art world.
Tibor Kovalik: An artist whose creativity resonates with many.
A. Meredith Barry: Contributed to the SCA’s growth and vibrancy.
Kazuo Hamasaki: His artistic journey has left an indelible mark.
Janet Newcome Basmadjian: An artist who embodies the spirit of the SCA.

Contributions to the Artistic Community

In nearly two decades as a professional full-time Canadian artist, 17 of those years self-representing, my contributions have been numerous and oftentimes undocumented I believe an important part of my responsibility as a professional Canadian Visual Artist is to be an educator. As artists in this Canadian Art community I believe our role is to educate every person we encounter about Art and the Arts in Canada.

Brandy Saturley in her Vancouver Island Studio, 2022

In 2018, Saturley was honoured to be juried into the 50th Annual International Exhibition and her painting, Balance, appeared on the catalogue cover for the exhibition, held at Papermill Gallery in Toronto.

May 21, 2024

The Multiverse of Art

Art History, Opinion

Talking Historical Canadian Art – The Multiverse of Art

I had a conversation with an art dealer the other day, it was about contemporary Canadian Art versus Historical Canadian Art. Myself being a Canadian artist, and a contemporary Canadian Artist at that, I have a unique perspective, particularly in today’s world, about the importance and significance of contemporary Canadian Art. I also believe we are in a period of revolution in The Arts, perhaps we are entering the Multiverse of Art period?

Let Your Backbone Rise, 2016, Brandy Saturley – Private Collection Quebec

Can contemporary art also be considered historical?

Yes, contemporary art can indeed be considered historical. While contemporary art refers to art created in the present time or within recent decades, it eventually becomes a part of history as time passes. Art reflects the social, cultural, and political contexts in which it was created, and as such, it serves as a historical record of the era in which it was produced. Furthermore, contemporary art often responds to and engages with historical events, ideologies, and artistic movements. Artists may draw inspiration from past historical periods, reinterpret them in contemporary contexts, or directly address historical narratives and themes in their work. As contemporary art ages, it becomes increasingly significant as a reflection of the time in which it was made, offering insights into the concerns, values, and perspectives of that period. Therefore, contemporary art not only contributes to our understanding of the present but also becomes an essential part of the historical record for future generations.

Sold Out, 2023, Brandy Saturley – Private Collection Alberta

Could this be considered the multiverse of art?

The idea of contemporary art as a “multiverse” is an interesting metaphorical concept. In a way, the term “multiverse” suggests the coexistence of multiple parallel universes or realities. Similarly, in the realm of art, contemporary art encompasses a diverse range of styles, movements, and perspectives, all existing simultaneously.

Just as in a multiverse, where each universe may have its own set of rules and characteristics, contemporary art reflects a multitude of artistic expressions, influenced by various cultural, social, and individual factors. These diverse artistic realities intersect and interact, creating a complex and dynamic landscape of creative exploration. Like the concept of branching timelines in a multiverse, contemporary art often diverges from traditional norms and conventions, offering alternative narratives, perspectives, and approaches to artistic expression. This multiplicity allows for the exploration of different ideas, identities, and experiences within the artistic realm.

So, while contemporary art may not adhere to a singular, unified narrative or style, its richness and diversity can indeed be likened to a multiverse, where myriad artistic possibilities coexist and intersect, shaping the ever-evolving landscape of art history.

With Hearts on Our Sleeves, 2017, Brandy Saturley – Private Collection Ontario

What can contemporary artists bring to your exhibit or gallery?

Contemporary artists can bring a fresh perspective, innovative interpretations, and provocative dialogues to a historical exhibit. Here are some ways in which they can enrich such an exhibition:

Reinterpretation of History: Contemporary artists can reinterpret historical events, figures, and narratives through their unique lens. Their perspectives may challenge conventional interpretations and offer new insights into familiar historical themes.

Engagement with Current Issues: Many contemporary artists engage with pressing social, political, and cultural issues. By addressing these concerns within a historical context, they can highlight the relevance and continuity of certain themes throughout history.

Dialogue with Tradition: Contemporary artists often engage in dialogues with art history and tradition. They may reference, critique, or reinterpret works from the past, creating a dynamic interplay between historical and contemporary artistic practices.

Exploration of Identity and Memory: Contemporary artists frequently explore themes of identity, memory, and heritage. Their works can shed light on marginalized histories, amplify diverse voices, and challenge dominant narratives within historical exhibitions.

On Guard, 2013, Brandy Saturley – Colart Collection Quebec

Experimentation with Mediums and Technologies: Contemporary art embraces a wide range of mediums and technologies, from traditional painting and sculpture to digital art and multimedia installations. Integrating these innovative approaches into historical exhibits can enhance audience engagement and offer new ways of experiencing history.

Reflection on Time and Continuity: Through their artwork, contemporary artists often reflect on the passage of time and the continuity of human experiences across different historical periods. Their contributions can add layers of complexity and nuance to our understanding of history as a living, evolving narrative.

To The See, 2017, Brandy Saturley – Collection of The Artist

By inviting contemporary artists to participate in historical exhibits, curators can create dynamic and multifaceted experiences that bridge the past and present, encouraging viewers to reconsider familiar narratives and explore new perspectives on history.

So, Can contemporary art also be considered historical? the short answer is YES.

April 9, 2024

Lawren Harris and Rockwell Kent

Art History, Opinion

Natural Affinities: Lawren Harris and Rockwell Kent

As a Canadian artist deeply connected to the rugged beauty of my homeland, I find myself inexorably drawn to the works of Lawren Harris and Rockwell Kent. The artistry of these two painters has had a profound influence on my own creative journey, inspiring and shaping my unique painting style. Harris’s ability to distill the essence of Canadian landscapes into mystical abstractions resonates with my soul, while Kent’s romantic realism kindles a sense of longing for untouched wilderness. While they may have worked in different styles and contexts, their works share striking similarities, revealing natural affinities between the two painters. In this blog post, we will delve into the artistic journeys of Harris and Kent, examining their contrasting styles and analyzing the common threads that bind their masterpieces.

Art has the extraordinary power to capture the essence of the world and transport viewers to different realms. In the realm of landscape painting, Lawren Harris and Rockwell Kent stand as giants, each leaving an indelible mark on the art world.

Lawren Harris: Mystical Abstractions

Lawren Harris, a prominent member of the Group of Seven, was renowned for his abstract and spiritual interpretations of the Canadian landscape. His paintings often depicted rugged mountains, icy glaciers, and vast stretches of untouched wilderness. Harris possessed an uncanny ability to distill nature’s raw power and transform it into something ethereal.

Harris’s works, such as “North Shore, Lake Superior” and “Mount Lefroy,” showcased his affinity for simplicity and abstraction. He employed bold lines, geometric shapes, and a restricted color palette to capture the essence of the subject matter. The resulting images exuded a sense of serenity and mysticism, evoking a profound emotional response from viewers.

North Shore, Lake Superior – Lawren Harris 1926

Rockwell Kent: Realism with a Romantic Touch

Rockwell Kent, on the other hand, was an American artist whose paintings encompassed both realistic and romantic elements. His artistic journey led him to various locales, including Alaska, Greenland, and Newfoundland, which greatly influenced his subject matter. Kent’s works portrayed expansive landscapes, seascapes, and the human figure against majestic natural backdrops.

Kent’s paintings, such as “Moonlight, Winter” and “Monhegan Night,” captivated audiences with their meticulous attention to detail. His command over light and shadow, combined with a rich color palette, brought his scenes to life. Kent’s romantic sensibilities infused his work with a touch of nostalgia, inviting viewers to contemplate the vastness and beauty of the natural world.

Moonlight Winter – Rockwell Kent 1940

Natural Affinities and Common Threads

Despite the differences in their styles and geographical influences, Lawren Harris and Rockwell Kent’s works reveal surprising commonalities, suggesting a natural affinity between the two painters.

Both artists shared a deep reverence for nature and sought to capture its sublime qualities. Harris and Kent depicted landscapes that inspired awe and contemplation, inviting viewers to connect with the grandeur of the natural world. Their paintings transported viewers to remote and untouched locations, offering a respite from the modern world’s hustle and bustle. They both also embraced a sense of spirituality in their work. Harris’s abstract compositions and Kent’s romanticized scenes transcended the physical realm, hinting at something greater and more profound. Whether through Harris’s simplified shapes or Kent’s ethereal lighting, both artists infused their works with a spiritual dimension, elevating the ordinary to the extraordinary.

Harris and Kent possessed a keen eye for composition. Harris’s bold lines and geometric forms provided structure and harmony to his landscapes, while Kent’s meticulous attention to detail created balanced and visually captivating scenes. Both artists had an innate ability to arrange elements within the frame, leading the viewer’s eye and creating a sense of visual poetry.

Where Icebergs Roam Free – Brandy Saturley 2016

Lawren Harris and Rockwell Kent, despite their unique styles and influences, shared a remarkable bond through their artistic explorations of the natural world. Harris’s mystical abstractions and Kent’s romantic realism offer distinct but complementary perspectives on the power and beauty of nature. Their works elevate the landscape to a spiritual experience, where nature becomes a source of awe and contemplation. Through their mastery of composition, use of color, and ability to capture the sublime, Harris and Kent have left an indelible mark on the art world. Their legacies continue to inspire artists, like myself, to seek the inherent beauty and spirituality in the natural world and share it with audiences worldwide.

June 10, 2023

Five Significant Paintings

Art History

A Journey through Five Significant Paintings by Brandy Saturley.

Art has the incredible power to captivate and inspire us, evoking emotions, and deep contemplation. Brandy Saturley, a contemporary Canadian artist, has created a series of thought-provoking paintings that invite us into her world. In this blog post, we will explore the significance and impact of five remarkable works by Saturley: “Let Your Backbone Rise,” “With Hearts on Our Sleeves,” “Goalie’s Mask: red, white & Dryden,” “Ukraine Strong,” and “Canadiens Gothic.” Each painting conveys a unique narrative, inviting viewers to reflect on themes of identity, resilience, passion, and cultural pride. Here are Five Significant Paintings, by Brandy Saturley.

“Let Your Backbone Rise” is a mesmerizing piece that symbolizes strength, courage, and determination. Saturley’s use of bold colors and dynamic brushstrokes creates a powerful visual impact, reflecting the unwavering spirit within us all. The painting reminds us to embrace our inner resilience, to stand tall even in the face of adversity. Saturley’s portrayal of the human figure with an upright backbone serves as a metaphor for personal growth and self-belief. “Let Your Backbone Rise” encourages viewers to tap into their own inner strength and conquer the challenges that life presents.

In “With Hearts on Our Sleeves,” Saturley delves into the complexities of human emotion and vulnerability. The painting captures a sense of raw honesty and authenticity, depicting figures with exposed hearts on their sleeves. This evocative imagery serves as a reminder of the power and beauty found in embracing our emotions fully. Saturley’s work prompts us to appreciate the courage it takes to be vulnerable and encourages us to connect with our own emotions and those of others. “With Hearts on Our Sleeves” speaks to the universal desire for genuine connections and the importance of empathy in our daily lives.

Five Significant Paintings: The Goalie’s Mask Painting

“Goalie’s Mask: red, white & Dryden” pays tribute to the iconic goaltender Ken Dryden, immortalizing him in art. The painting captures the intensity and focus of a goalie, with vibrant red and white hues symbolizing the national pride associated with the sport. Through this piece, Saturley celebrates not only Dryden’s athletic prowess but also the cultural significance of hockey in Canadian identity. By combining elements of portraiture and sports imagery, “Goalie’s Mask” underscores the passion and dedication that unite communities across Canada, reminding us of the shared love and pride associated with our national sport.

“Ukraine Strong” is a visually stunning work that explores the strength and resilience of the Ukrainian people. Saturley’s use of vibrant blue and yellow hues, the colors of the Ukrainian flag, symbolizes unity and national pride. The painting serves as a homage to the struggles and triumphs of the Ukrainian community, acknowledging their resilience in the face of adversity. Saturley’s representation of a traditional Ukrainian headdress, known as a “vinok,” further emphasizes the connection to Ukrainian culture and heritage. “Ukraine Strong” invites viewers to reflect on the power of cultural identity and the enduring spirit of a nation.

Painting draws inspiration from Grant Wood’s famous “American Gothic”

In “Canadiens Gothic,” Saturley merges the worlds of art and hockey once again, paying homage to the Montreal Canadiens, an iconic team in the National Hockey League. The painting draws inspiration from Grant Wood’s famous “American Gothic,” replacing the stoic farmers with hockey enthusiasts, proudly donning hockey jersey and bunny hug. The painting is a hockey heritage homage to the rich history and cultural significance of the Montreal Canadiens hockey team. This artwork symbolizes the deep-rooted connection between the team and its passionate fans, highlighting the role of hockey as a unifying force in Canadian culture. The Montreal Canadiens hold a storied legacy, boasting a record 24 Stanley Cup championships, making them one of the most successful franchises in NHL history. By merging art and sports, Saturley captures the essence of the Canadiens’ enduring popularity and the unwavering loyalty of their fanbase. The painting invites viewers to reflect on the historical significance of the team and its impact on the collective identity of Montreal and the broader hockey community. “Canadiens Gothic” stands as a testament to the power of sports in bringing people together, fostering a sense of belonging, and celebrating the heritage that intertwines the love of the game with a deep-rooted sense of pride and camaraderie.

Saturley recently spoke to Canadian Art Today about the significance of her paintings about Canada created over the past decade.

May 17, 2023