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Views From The Rock

Newfoundland is Jagged and Visceral: Views from The Rock

Newfoundland is new for me, even though I’ve been here once before. It’s a place of extremes—rapidly shifting weather, rolling ocean swells, and landscapes that feel both ancient and alive. Everything here is big. They call it “The Rock” for good reason—there is a lot of rock, and it’s impossible to ignore. These are my views from The Rock.

Pouch Cove, Newfoundland, East Coast Trail beach

In the first ten days of this artist residency, I’ve spent much of my time walking the local neighbourhood of Pouch Cove, soaking in the views from the cove and along the East Coast Trail. The wind here is something else—biting, relentless, and utterly commanding. It both drains and invigorates you. At this time of year, being outside feels like being caught in a giant blender someone keeps switching on and off. There’s no point trying to do your hair—the wind has its own ideas.

Rock and lichen in Pouch Cove, Newfoundland

On this second visit, I’m reminded again why this place is called The Rock. The geology here is incredibly diverse. From cove to cove, the textures, colours, and cuts of stone shift and morph like a visual symphony. It’s a living canvas—raw, jagged, and rich with stories.

The Rock in Pouch Cove Newfoundland

The accent and local slang—affectionately known as “Newfinese”—keep me on my toes. At times, I feel like I’ve stepped out of Canada and into a magical land somewhere between Ireland and here. Locals greet me warmly on my walks, but half the time I haven’t a clue what they’re saying. Smiling and nodding works just fine—and a cheerful “Good Morning!” still carries weight in this place of extremes.

My interest in being here is rooted in my cross-Canada adventures over the past two decades. Newfoundland and Vancouver Island may be on opposite coasts, but they share more than you might think. Both are islands—separated by water and time. Both move at their own pace, and both have cultivated a strong sense of identity, shaped by weather, sea, and isolation. We’re islanders, and with that comes pride, resilience, and a deep connection to the land and sea. Fishermen on both coasts ride the same fierce tides in different waters.

I don’t yet know what this second visit—and this deeper look into Newfoundland’s culture—will bring to my work. But I know this: I’m grateful to be here. Grateful for the chance to listen, to look, and to let this wild, visceral place work its way into my art.

April 11, 2025

Newfoundland Impressions

Artist Residency

The East Coast Groove: Impressions on Returning to Newfoundland

On Monday, I set out on a red-eye flight from Canada’s west coast to its far east—Newfoundland. It’s a mere 7,486 km journey, or roughly 10 hours of travel if you’re flying, as I was. This marks my second time travelling to Newfoundland for an artist residency at the Pouch Cove Foundation—another chance to translate the rugged charm of this place to canvas. These are my first impressions on my return to Newfoundland.

Driving into the Cove, it felt like I was returning to an old friend. There’s a familiar comfort here—like slipping into your favourite sweater—and I’m grateful for that. I was greeted by the quintessential East Coast weather: rain, drizzle, and fog (or “RDF,” as the locals call it). But I was happy not to see snow. Having just left full-blown spring in Victoria—cherry blossoms in bloom and fields of daffodils waving in the breeze—it’s as if I’ve stepped back in time. Not just by season, but by pace and place.

The first couple of days were a blur of jet lag. With Newfoundland 4.5 hours ahead of Victoria, and having travelled through the night, it took a day to reset my internal clock. There was a jittery, underwater feeling at first—a nervous energy that had me rearranging furniture in my studio and hanging the prepped canvasses I brought with me. After a few naps and a solid night’s sleep, I’ve settled into my rhythm: painting during the day, punctuated by long walks and visual note-taking.

Newfoundland Impressions

My early walks began along the coastline, where the sea air is thick with salt and the waves slam against jagged rocks with a force that’s both energizing and humbling. The Atlantic here glows in deep jewel tones—Ultramarine, Payne’s Gray, even flashes of turquoise. It’s a ruggedly beautiful place, where the wind is always working and the soundtrack is nature in surround sound.

Wandering into the heart of Pouch Cove, I’m reminded that three things are always in ready supply here: graveyards, churches, and hockey nets. In one short hour-long walk, I passed three churches, four graveyards, and four hockey nets—tucked into driveways, backyards, and even beside the shoreline pond. In a town of just over 2,000 people, hockey is clearly part of the heartbeat. Pouch Cove is known for being the first place in Canada to see the sun rise—fitting, considering it’s a half-hour ahead of St. John’s, which is only a 30-minute drive away.

It’s been nearly two years since I was last here, and not much has changed—except the small convenience store is now closed, which makes the place feel even more remote. But while it may lack some conveniences, it more than makes up for it in natural beauty. And really, that’s the better trade.

This morning, I woke to snow spiralling in the wind. We’re expecting four days of accumulation, and I’m glad I packed my Canada Goose coat, toque, and gloves. My daily walk is on hold for now—waiting for a break in the snowfall when I can bring my camera out. It’s surreal to be back in this monochromatic world after leaving spring behind—cherry blossoms, double-digit temps, and emerald green lawns.

Inside the studio, though, it’s all vivid colour. The contrast between the snowy landscape outside and the saturated pigments on my canvas couldn’t be sharper—and I like it that way. Time to crank the music and dip my brush into some Naphthol Red. The East Coast groove is setting in.

Brandy Saturley Studio I at Pouch Cove Foundation

April 4, 2025

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

First Paintings of 2025

New Paintings

Off With a Bang: The First Paintings of 2025

This year launched with a bang as new paintings flowed from brush to canvas and wood panel, fueled by recent travels to Boston, Massachusetts. With these first works of 2025, I found myself reflecting on the current political climate, continuing my beloved Polar Bear King series, and revisiting the rugged beauty of Waterton Lakes, Alberta. Here are the first paintings of 2025 that capture the pulse of the times.

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

Politics on Canvas: Flags and Trade Wars

Feeling the ripple effects of shifting Canada-US relations and the looming trade tariffs, I was drawn to the powerful symbolism of flags. Patriotism is running high, and with tensions in the air, I leaned into my Canadian voice. Two new paintings feature bold interpretations of the Canadian and American flags, exploring the complex connection between neighboring nations. These works stand as visual commentaries on the push and pull of economic alliances and cultural identity.

Pride Between The Lions, Acrylic On Canvas, 18 x 24 x 1.5 in, Brandy Saturley

The Polar Bear King: New Adventures

The Polar Bear King continues his reign, now 27 paintings strong. Fresh from an art trip to Boston, I found myself inspired by one of the city’s most iconic cultural landmarks—the first-ever Dunkin’ Donuts location. In this playful piece, a polar bear lounges next to a towering stack of donuts, a whimsical nod to indulgence and Americana.

Drunk on Dunkin’, Acrylic on wood panel,18 x 24 x 2 in, Brandy Saturley

In contrast, another painting tunnels deep into the Arctic snow, where twin polar bear cubs are nestled in the warmth of their den, surrounded by a vibrant red Hudson’s Bay Blanket. The scene evokes both tenderness and resilience, highlighting the vulnerability of these majestic animals amid changing climates.

Heartbeats Hum, Oil and Acrylic on Wood Panel, 36 x 36 x 1 in, Brandy Saturley

Rounding out this series, I turned to the nostalgic test card colors once seen at the end of television broadcasts. This familiar grid of hues becomes a metaphor for the polar bear’s fight against disappearing landscapes—a fading signal in a world of environmental flux.

Please Stand By, 2025, Acrylic On Canvas, 30 x 40 x 1.5 in, Brandy Saturley

Waterton Landscapes: Vivid and Bold

In 2020, during the pandemic, I traveled through Waterton Lakes, Alberta, where the soaring peaks and serene waters left an indelible mark. Now, with four new landscape paintings, I’m bringing those memories to life with bold, pop-art-inspired palettes and crisp, hard-edged forms. The collection captures the park’s striking scenery in a style that blends realism with vibrant modernism.

Four landscape paintings inspired by Waterton Lakes, Alberta

Adding to this series is a still life of Alberta wild roses—an ode to the resilient beauty of the province. These paintings are now available through Gust Gallery in Waterton Lakes, marking a new partnership with this fantastic Canadian art dealer.

Wild Rose Country, Acrylic On Canvas, 24 x 12 x 1.5 in , Brandy Saturley

First Paintings of 2025: Explore and Collect These New Works

These 10 new paintings reflect the pulse of 2025—a fusion of political commentary, cultural icons, and Canadian landscapes. Each piece tells a unique story, inviting viewers to see the world through my lens.

👉 Browse the collection and bring home a piece of 2025. View and Purchase Available Paintings

March 24, 2025

Iconic Canadian Brands

Canadian Art, Opinion

Five Favourites; Iconic Canadian Brands

With the looming trade war between Canada and the USA, my fellow Canadians and I find ourselves looking inward, reflecting on the iconic brands that define our national identity. While many brands are uniquely Canadian, a select few have become synonymous with Canada, earning admiration both at home and around the world. Spanning food, alcohol, and clothing, these brands are cherished for their quality, originality, and distinctly Canadian spirit. These are five favourite iconic Canadian brands.

Hudson’s Bay Point Blankets: A Hudson’s Bay point blanket is a type of wool blanket traded by the Hudson’s Bay Company (HBC) in British North America, now Canada and the United States, from 1779 to present. The blankets were typically traded to First Nations in exchange for beaver pelts as an important part of the North American fur trade. The blankets continue to be sold by Canada’s Hudson’s Bay department stores and have come to hold iconic status in the country.

Westcoast Solitudes, 48×36, acrylic on canvas, 202, Brandy Saturley

Canada Goose Parka: In 1957, Polish-Jewish immigrant Sam Tick founded Metro Sportswear, the company that would later become Canada Goose. The company’s first products were wool vests, raincoats, and snowsuits. Tick’s son-in-law David Reiss joined Metro Sportswear in 1972 and introduced a down-filling machine that allowed the company to more efficiently produce winter jackets. By the late 1970s, the company was supplying parkas to police, corrections officers, park rangers, and other public sector workers under the Snow Goose brand name. It also sold designs to larger apparel manufacturers such as L.L. Bean and Eddie Bauer. Their fur-trimmed parkas with Canada Goose Arctic Program trademark became a sought after piece of clothing worldwide giving rise to their luxury brand status and birthing many knock-off brands.

Somewhere Under the Rainbow, acrylic on canvas, 36×36, 2015, Brandy Saturley

Lululemon Yoga Apparel: Lululemon Athletica Inc. was founded in 1998 as a retailer of yoga pants and other yoga wear, and has expanded to also sell athletic wear, lifestyle apparel, and accessories. Some of the company’s best known product lines include the High Rise Align Fit Mini flare leggings, Dance Studio pants, Hottie Hot shorts, Scuba hoodies, and the Define sports jacket. Lululemon has trademarked several proprietary fabrics, including Luon, Luxtreme, Nulu, Nulux, Everlux, and more. Lululemon Athletica became a Nasdaq-100 company on December 24, 2018.

LuLu View, acrylic on canvas, 24×24 by 2, 2016, Brandy Saturley

Crown Royal Whiskey: Crown Royal, originally known as Seagram’s Crown Royal, is a blended Canadian whisky brand created by Seagram and owned by Diageo since 2000. Production of Crown Royal is done at Gimli, Manitoba, while the blending and bottling of the whisky are done in a facility in Amherstburg, Ontario. The whisky was introduced in 1939 by Samuel Bronfman for the 1939 royal tour of Canada by King Geroge VI and his wife, Queen Elizabeth. The whisky was sold exclusively in Canada until the 1960s, when it was first introduced to international markets. It is the top-selling brand of Canadian whisky in the United States. Crown Royal comes in a now iconic purple felt-like bag with a gold tasseled drawstring. As children of parents who were fans of this whiskey we came to use the purple bag as a place to keep our marbles.

Crown Royal in it’s iconic purple bag with gold details.

Hawkins Cheezies: Cheezies are a brand of cheese puff snack food made and sold in Canada by W. T. Hawkins Ltd. The snack is made from extruded cornmeal covered in powdered cheddar cheese, and sold in distinctive red-and-white bags. The snack was invented after the Second World War by James Marker of Dayton, Ohio, and W. T. Hawkins. The pair were living in Chicago when they discovered a method, by trial and error, of extruding cornmeal, casting it into fingerling shapes, then deep frying it in vegetable shortening and sprinkling it with cheddar cheese. For many Canadians the only puffed cheese snack is Hawkins Cheezies, while there have been many US brands making cheesies, Hawkins come with a distinct hard crunch, aged cheddar flavour and each one a unique shape and size that you may often see for sale on EBay as perhaps resembling Jesus or many other things. Cheezies are like clouds and no 2 are alike.

Hawkins Cheezies – the only choice for Canadians

These are just five iconic Canadian brands that happen to be our favourites. Here are 10 picks for Canada’s greatest brands by Global News.

March 13, 2025

Painting Waterton Lakes Alberta

New Paintings

Summer Art Trip – Painting Waterton Lakes, Alberta

It was August 2020, a summer of cautious optimism as travel opened up after pandemic shutdowns and quarantines. I seized the chance for a road trip from Manitoba to British Columbia, a journey that promised both adventure and inspiration. One of the most memorable stops along the way was Waterton Lakes, Alberta — a hidden gem cradled by the Canadian Rocky Mountains, bordered by a serene lake, and sharing its southern edge with the United States.

View from Prince of Wales Hotel, Waterton Lakes, Alberta – photo Brandy Saturley 2020

Now, in 2025, I find myself returning to the photos and sketches from that trip, unlocking memories and moments that have quietly matured in the corners of my mind. Art has its own sense of time — ideas often take root long before they bloom on canvas. Five years after my first encounter with Waterton’s striking landscapes, the timing feels right to transform these impressions into paint. With the exciting news of joining the artist roster at Gust Gallery in Waterton Lakes, I’ve been immersed in creating a series of small paintings for my 2025 debut with the gallery.

View from Bear’s Hump – Waterton Lakes, Albera – photo Brandy Saturley 2020

Waterton Lakes is where the prairies of Alberta dramatically collide with the towering peaks of the Rockies. It’s a place of bold contrasts — clear lakes reflecting cloud-dappled skies, thundering waterfalls carving through ancient rock, rainbow-colored streams winding over vivid red stone, and fields of wildflowers dancing in the summer breeze. Despite its compact size, Waterton packs a powerful punch, drawing hikers, sightseers, geologists, and filmmakers who come to study and capture its unique and ever-changing geology.

Brandy Saturley with necklace of Black Eyed Susan’s – 2020 Waterton Lakes

During my summer visit, the landscape was alive — wildflowers painted the meadows in bright hues, and deer wandered close enough to feel like quiet companions on the trails. I hiked Bear’s Hump, where layers of sedimentary rock led to a panoramic view of the entire park. The trek to Red Rock Canyon revealed a world where glacial teal waters tumbled over iron oxide-stained rocks — a striking clash of color and texture. A boat ride across the lake brought another perspective, momentarily crossing into U.S. waters and offering a fresh view of the limestone cliffs and rugged mountains that frame the lake.

Colourful lake rocks in Waterton Lakes, Alberta – photo Brandy Saturley 2020

Beyond its daytime splendor, Waterton Lakes holds another distinction — it is an International Dark Sky Park, protecting the natural nightscape from light pollution. Designated in 2017 as part of the world’s first trans-boundary Dark Sky Park with Glacier National Park in Montana, Waterton offers a mesmerizing canvas of stars, unspoiled and boundless. Programs and thoughtful initiatives ensure that the night sky remains as breathtaking as the mountains beneath it.

Before sunrise at Red Rocks in Waterton Lakes – photo Brandy Saturley, 2020

Painting Waterton Lakes Alberta

For my debut collection at Gust Gallery, I’ve created five paintings — each capturing a distinct facet of Waterton’s charm. From the rocky lakeshore, where water meets stone in a quiet conversation, to the wildflower-strewn fields near Red Rock Canyon, each piece is a visual poem. One painting delves into the dramatic vibrancy of the red rocks, while another takes us back to the heart of Waterton town, where the human presence subtly mingles with nature’s grandeur. And the final painting celebrates the provincial flower of Alberta, the fragrant Wild Rose.

Four paintings about Waterton Lakes, Alberta by Brandy Saturley, 2025

These paintings are more than landscapes — they are cinematic snapshots of a place that left a deep imprint on my artist’s soul. Each brushstroke is a reflection of what I saw, felt, and carried home from Waterton Lakes. I am thrilled to share these works with the community and visitors through Gust Gallery, hoping they inspire others to seek their own stories within the wild and wondrous beauty of this corner of Alberta.

The Beach, acrylic on wood panel, 18×24 inches, 2025, Brandy Saturley

Summer Glow, acrylic on wood panel, 18×24 inches, 2025, Brandy Saturley

Pat’s Place, acrylic on wood panel, 18×24 inches, 2025, Brandy Saturley

Red Rocks, acrylic on wood panel, 18×24 inches, 2025, Brandy Saturley

Wild Rose Country, 24×12, acrylic on canvas, 2025, Brandy Saturley

See more paintings from this road trip across Western Canada.

Brandy Saturley in her Victoria, BC studio March 2025

March 5, 2025

Tariffs And Canadian Art

Buy Canadian, Buying Art

How Will Tariffs Affect the Buying and Selling of Canadian Art?

The impact of new tariffs imposed by both the U.S. and Canada on the contemporary Canadian art market remains uncertain. Traditionally, trade barriers like tariffs do not apply to art—in U.S. law, artwork is duty-free. However, during his first administration, Trump introduced a 25% tariff on all Chinese goods, including art, signaling that art is not always immune to economic protectionism.

While art has not yet been listed among goods subject to the new U.S. tariffs, Canada’s retaliatory tariffs already include art on its list. This raises questions about how these economic changes might influence cross-border art sales.

How Might Tariffs Affect Art Sales?

Higher prices for everyday goods often lead to reduced disposable income, potentially causing some would-be art buyers to pause their purchasing plans. This could be more pronounced in Canada, where the Canadian dollar has been declining relative to the U.S. dollar. Despite these economic pressures, it is unlikely that tariffs will greatly affect the willingness of serious collectors to buy art. Many high-net-worth individuals remain confident in their financial standing and continue to invest in art.

Simon Bentley, a Toronto-based dealer and ADAC board member, sees a silver lining in the situation: “We need Canadians to buy Canadian art and not just look to buy art by artists in the United States.” This sense of national support for homegrown talent could bolster the domestic market. Rob Cowley, president of Cowley Abbott auction house, echoes this sentiment, highlighting a growth in interest in post-war Canadian art and the company’s expanding international art department.

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

The Artist’s Bottom Line

For artists, the bigger concern may be the rising cost of art materials. Tariffs on supplies could force artists to absorb additional costs or adjust their selling prices to compensate. This creates a tricky balance: keeping prices competitive while maintaining the value of their work.

Who Pays the Cost of Tariffs on Art?

In most cases, the U.S. importer pays tariffs, passing the extra cost onto consumers through higher prices. However, when it comes to artwork, the collector or buyer often acts as the importer, meaning they would shoulder the 25% tariff directly.

Let’s break this down:

An original painting priced at $7,500 CAD currently converts to approximately $5,167 USD.
If purchased by a U.S. client, a 25% tariff would push the total cost to $6,458.75 USD.

While artists or galleries may offer small discounts (typically 5-10%) for multiple purchases or to attract new collectors, significant markdowns are rare. Art holds its value, and both artists and galleries work hard to maintain pricing integrity.

Art Shipping Crate for Brandy Saturley

What Can Artists and Galleries Do?

Given the uncertainty surrounding tariffs, Canadian artists and galleries may consider a few strategies:

Strengthening the domestic market by encouraging Canadian collectors to invest in homegrown talent.
Building relationships with international buyers by offering small incentives like complimentary shipping.
Highlighting the lasting value of art, reassuring collectors that investing in original works remains a wise and meaningful decision.

Canadian Artist, Brandy Saturley, on her art shipping crates

The Time to Buy Art is Now

With the potential for rising costs on the horizon, now is the time to invest in Canadian art. Whether you are a seasoned collector or a first-time buyer, purchasing art today not only supports the artists creating meaningful work but also helps to safeguard your investment against future price hikes.

Explore the vibrant world of contemporary Canadian art. Let your collection grow and your walls tell a story—one brushstroke at a time.

Canadian Art by Brandy Saturley

Don’t wait for tariffs to dictate the price of art. Invest in a piece you love today.

March 4, 2025

Preparing An Art Shipment

Art Shipping, Art Show

How Do We Ship Art to A Gallery? Preparing An Art Shipment

Over the past two decades The Art of Brandy Saturley has been shipped to numerous galleries and collectors across North America, using wooden crate. While there are many options when it comes to art shipping, our favourite way to ship is inside a sturdy plywood crate that is impervious to weather, bangs, bumps and even boots. Once again we are preparing an art shipment to a gallery for a solo exhibition.

Crate made by Denbigh Fine Arts, Vancouver Canada for Brandy Saturley

Over the years I have partnered with some of the best crater makers in Western Canada, who have built crates for one painting to several paintings being shipped at once. From Vevex crates in Vancouver to crates made by Presentation Framing in Victoria. My crate makers supply the crate and I paint the exterior for branding but also for exhibition. When it comes to shipping 20 paintings to one destination for exhibition, Denbigh Fine Arts in Vancouver is my trusted choice for crate and shipping services. While I don’t paint my Denbigh made crates, they are by far the premium fine art packer in Western Canada. Museum worthy crates that protect some of the most valuable artworks during shipment.

Custom art crate for Brandy Saturley by Denbigh

As we are preparing for an upcoming solo exhibition in Newfoundland, once again we have employed Denbigh to construct, pack and ship 20 paintings to destination at James Baird Gallery in Pouch Cove. Packing 20 paintings in one crate is like a game of Tetris, where multiple layers of paintings, foam and plastic come together to provide the ideal environment for these artworks to rest during their journey.

Custom fine art shipping crate for Brandy Saturley – Denbigh Fine Arts

Denbigh has grown to become part of a larger family-owned group that represents the gold standard of international art handling. They have expanded into Montreal, Quebec with a new office and team to support clients in Western Canada. Their offering has expanded to a full suite of in-house services from shipping and logistics to crating and collections management. Combined with an international network of collaborators around the world, Denbigh brings their skills to a global stage.

inside Denbigh – image courtesy DenbighFAS.com

As we are located on Vancouver Island we begin with soft packing and wrapping the Art in my studio here, then we pack the car and take a ferry to the mainland, landing in Vancouver where we unload twenty paintings at Denbigh. The crate is built around the Art and packed by Denbigh, then their partners in shipping take the crate and deliver to destination, from the Western-most point in Canada to the easternmost, it is quite the journey for art.

Victoria, BC to Pouch Cove, Newfoundland

As I continue to prepare for my solo show and a one month residency in Newfoundland at the Pouch Cove Foundation, I too will take the journey from west to east. All in all a very large endeavour. It is going to be a great show!

Brandy Saturley with Newfoundland paintings 2025

March 3, 2025

International Polar Bear Day 2025

New Paintings

A New Polar Bear King Painting for International Polar Bear Day 2025

Looking back at the polar bear paintings I’ve created, the journey began in 2012 with a striking image of a young blonde girl facing off, nose to nose, with a polar bear. Since then, this majestic creature has drifted in and out of my work, appearing like a ghost of the North, a symbol of both strength and vulnerability. It wasn’t until 2021, emerging from the quiet isolation of the pandemic, that the polar bear took a deeper hold on my heart. As I contemplated global warming and the rapidly shifting climate, I found myself wondering—how does this magnificent beast adapt? How does it survive a changing world?

Face Off, 36×48, acrylic on canvas, 2012, Brandy Saturley

Like the polar bear, I am on a journey of exploration and adventure. As I seek out new homes for my paintings, new markets for my work, and fresh stories to paint, I feel a kinship with this creature—both of us navigating uncertain terrain with resilience and grace. This year, for International Polar Bear Day 2025, I celebrate the journey of the Polar Bear King in my art—now spanning over 25 paintings.

The Conversation, 48×48, acrylic on canvas, 2023, Brandy Saturley

In 2021, I painted my first polar bear wearing a crown and began referring to this regal figure simply as “King.” It was a natural progression, a way to honor the bear’s commanding presence. Since then, a series of paintings has followed—polar bears posed in landscapes I’ve explored, sometimes appearing in almost yoga-like stretches or playful rolls across icy tundras. The crown has become a recurring motif: at times subtly hidden in the background, other times floating above the bear’s head, glistening in gold leaf.

Canuck 1, 12×12, acrylic and gold leaf on canvas, 2023, Brandy Saturley

A visit to Churchill, Manitoba—the polar bear capital of the world—is on my horizon. I long to observe these bears in their natural habitat, to witness the blend of fierceness and playfulness that defines them. It’s a striking contradiction: the world’s largest land predator who, when unthreatened, tumbles and skates across the ice like a carefree adolescent.

Polar Bear King paintings, 2023, Brandy Saturley at Willock & Sax Gallery in Banff, Canada

Now, with my 27th polar bear painting, I am telling a tender story—of family, warmth, and connection. The piece depicts two cubs nestled deeply in their den beneath the snow, a stark contrast between the freezing winter outside and the cozy world they’ve created within. Wrapped in a red eight-point Hudson’s Bay blanket, the cubs press into one another, their furry white bodies forming the shape of a heart. A King and his sister, bound by love and survival. Together, they are one beating heart.

Heartbeats Hum, 36×36, acrylic, oil and gold leaf on canvas, 2025, Brandy Saturley

This painting is titled Heartbeat’s Hum—a quiet rhythm, a shared pulse, a symbol of life enduring against the cold.

Heartbeats Hum – polar bear king painting installed on wall

As I continue this journey with the Polar Bear King, each painting becomes not only an exploration of the bear’s world but a reflection of my own path—wandering, discovering, and finding warmth even in the frostiest of places.

Monarch of the Arctic Realms, 48×48, acrylic on canvas, 2025, Brandy Saturley

See more Polar Bear King paintings here.

February 25, 2025

Solo Show in Newfoundland

Art Show, Artist Residency

A Solo Show and A Residency in Newfoundland

In the fall of 2023, the wilds of Newfoundland were calling my name. It was October, and I was preparing for a month in Pouch Cove, a rugged, breathtaking place on the Eastern tip of Canada. That time in Newfoundland filled my artist’s vessel with the sights, sounds, and culture of a uniquely Canadian province, one with a swagger all its own. Now, as 2025 unfolds, I am preparing for a solo show in Newfoundland and another month at the Pouch Cove Foundation residency. The paintings for this upcoming exhibition were created both during my time in Newfoundland and upon my return home to my Vancouver Island studio.

Pouch Cove, Newfoundland 2023 – Brandy Saturley

Preparing for a solo exhibition is no small feat — it takes years of experiences where ideas are born, months of painting to produce enough work to command a gallery space, and a great deal of planning. Once the art is ready, there’s the task of packing and shipping everything for installation. To add another layer, I decided to create an art book to accompany the show — a celebration not only of this body of work but of the art I’ve made over the past 15 years. In less than two years, I painted the paintings, published the book, and now I’m preparing to exhibit this collection in Newfoundland.

Brandy Saturley in her Victoria, BC studio with Newfoundland paintings

Balancing the creative and business sides of being a full-time professional artist is always a juggling act. The work doesn’t stop simply because a solo show is on the horizon. Between October 2023 and now, I’ve had countless adventures and created numerous paintings beyond the Newfoundland series. I’ve traveled for art to Santa Fe, New Mexico, and Boston, Massachusetts. I’ve produced over 30 new paintings, with a particular flurry of interest in my Polar Bear King series — now more than 25 paintings strong. Alongside these, I’ve worked on brand collaborations, commissions, and kept my art flowing to galleries, including partnering with a new dealer in Alberta.

Brandy Saturley studio – January 2024

There have been charity auctions, interviews, and steady sales — all while keeping my artistic lens firmly focused on Canada, a perspective I’ve maintained for nearly two decades. This focus feels more timely than ever, as the current political climate has heightened the importance of supporting Canadian artists and local industries.

Brandy Saturley with her art book, Painting Canada, 2025

Now, I’m readying my work for shipment to James Baird Gallery in Newfoundland and booking my flight for another stay at the edge of the Atlantic. I’m eager for this next adventure on The Rock — to see how the landscape, culture, and community will once again influence my art. What will emerge from my second residency at the Pouch Cove Foundation? I can’t wait to find out.

Brandy Saturley in her studio at Pouch Cove Foundation, Newfoundland

A preview of the solo show is now available on ARTSY — a glimpse into the journey so far and what’s to come.

February 24, 2025