230 8th Street, South
Lethbridge, AB
T1J 5H2, Canada
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(403) 327-2272
Monday 9:00 am 10:00 pm
Tuesday 9:00 am 10:00 pm
Wednesday 9:00 am 10:00 pm
Thursday 9:00 am 10:00 pm
Friday 9:00 am 10:00 pm
Saturday 9:00 am 10:00 pm
Sunday 10:00 am 6:00 pm

Casa is closed Christmas Day, New Years Day and Good Friday.

All other holidays: 10:00am - 5:00pm.

Current Exhibitions

September 9 - October 21, 2017
Reception: Saturday, September 9, 7:00pm
Cash bar and refreshments

In the Main Gallery:

Bryan Wiebe

The Gallery at Casa is pleased to present Harbinger, an exhibition by self-taught, first-time, exhibitor Bryan Wiebe. Bryan's exacting works reference myth, secret histories and alternative theories to accepted knowledge. Harbinger is part Da Vinci code and part investigation into the structures of power that disseminate our cultural narratives. Wiebe's paintings take the viewer on a journey to Atlantis, through the degrees of Masonry, into the debate about the identity of Shakespeare, as well as, visiting all manner of strange theories that have currency at the fringes of our cultural discourse.
Wiebe's canvases are large, highly detailed and executed via an unusual method of paint application. Using a humble toothpick, Wiebe methodically builds up fields of colour and form. The result is a rich tapestry, both in colour and concept, where the imagination and intellect are given freedom to explore and play.
- The Gallery at Casa
Artist Statement:
The two questions I get asked the most are, "What made you start painting?" and "What do your paintings mean?"
The answer to the first is quite simple. A friend of mine asked me to design a tattoo for him based on the TV show, LOST. I didn't want to be responsible for a guy getting a tattoo and a couple of years later, him regretting it. So I decided to make a 16" x 20" painting for him instead. He absolutely loved it. Another friend saw it and asked if I could paint something for him. I decided on his families Coat of Arms. Others saw this painting and the requests snowballed from there.
The answer to the second question - I'm not going to tell. I prefer to hear other peoples thoughts on what they think the paintings mean. Some of the theories I've heard I think are amazing and some have inspired me to do other paintings.
I get a lot of my inspiration from theology, history, current events, architecture and yes, some conspiracy theories. I use toothpicks instead of brushes (I've never taken art lessons), which some people have a hard time believing, but it is true. The only medium I've attempted so far is acrylic, although I have bought some oils, to try at some time in the future. I hope my work provokes thought in others and hopefully inspires people to create something of their own, whatever that might be.
- Bryan Wiebe

In the Main Gallery:

Joseph Anderson

Artist Statement:
My practice as an artist draws from my interest in literature, illustration and childhood memories. My intent is to reveal connections between fairy tales, cautionary stories and religious parables. This also hints at the struggle children endure against adult authority figures. Ultimately, I try to be a story-teller by using subject matter, narrative elements and a medium that is reminiscent of the pictures in children’s books. The title of my exhibition, Every Good Boy Does Fine, alludes to my own childhood piano lessons and the thematic study of judging 'virtuous' vs 'sinful' behavior.

The goal for my new work in this exhibition was to produce a series of ghost stories, first inspired by my reading and research of gothic literature. Henry James’ 1898 novella, The Turn of the Screw, was my main inspiration. The painting He Watches, He Waits, He Waits recreates a shocking moment from, The Turn of the Screw,  when a menacing apparition peers through a window. The anxious boy and girl in Unnaturally Good reference Miles and Flora, two enigmatic characters who refuse to reveal their secrets. M.R. James’s 1904 short-story collection, Ghost Stories of an Antiquary, also inspired several vivid images for my paintings. His writings about the supernatural were rarely explicit, but the bold descriptions of ghosts and demonic creatures were both colourful and chilling.

In 1954, English composer Benjamin Britten premiered his opera based on The Turn of the Screw. Listening to recordings of this work helped me connect the foreboding tension of the original story with the ethereal quality of a ghost story set to music. I titled five of my paintings, Secrets and Half-Formed Desires; Unnaturally Good; Despised Betrayed Unwanted; He Watches He Waits He Waits; and What has Happened Here in this House? with quotes taken from the opera’s libretto.

An urban legend, from my hometown, was the inspiration for Thomas the Ghost Searches Barnwell for a New Home. Some people claim that a young boy named Thomas haunted the old brick school in Barnwell, Alberta. During the recent renovation/demolition of the school, I was concerned that Thomas would be homeless. The large-scale watercolour Playtime in the Garden of Earthly Delights is a direct reference to artist Hieronymus Bosch's masterwork The Garden of Earthly Delights (c. 1495-1505) and my largest watercolour painting to date. Many of the figures and creatures are copies from Bosch’s painting. I also hope to emulate the artist’s themes of temptation, sensuality and the absurd. Misfits depict children interacting with ambiguous, fleshy creatures which appear to be human, animal or vegetable hybrids. Their relationships fluctuate between friendly and uncomfortable. These drawings relate to my own interest in toys, dolls and other playthings and how kids often anthropomorphize their object of play. The scale of the drawings mimic illustrations in a book for children. While these child/creature encounters are somewhat inexplicable, the viewer is encouraged to create their own explanation and narrative.

Exhibited for the first time, Ten Haunted Objects, were created while I was a student at the University of Saskatchewan. My original intention was to craft decorative objects that resembled forgotten family heirlooms. Upon closer inspection, they show a perplexing series of hauntings and unexplained rituals. Regardless, I hope to honour the tradition of ceramic arts which have been so prevalent in southern Alberta and in Lethbridge specifically.

-Joseph Anderson

Joseph Anderson was born in Edmonton, raised in southern Alberta and lives in Saskatoon. He received his MFA at the University of Saskatchewan in 2008, following a BFA at the University of Lethbridge and a Visual Communications diploma at Medicine Hat College. He has exhibited his work in numerous group and solo exhibitions, including shows at the University of Lethbridge; the Mendel Art Gallery; and the Dunlop Art Gallery. His work is included in the collections of the Gordon Snelgrove Gallery (University of Saskatchewan), the Saskatchewan Arts Board, the Mendel Art Gallery (Remai Modern), Medicine Hat College, and the University of Lethbridge.


Throughout Casa: 

Opokaa’sin Early Intervention Society and uLethbridge’s Institute for Child & Youth Studies

Join us for the Exhibition Reception Saturday, September 9 at 7:00pm. At 8:15, in the ATB Financial Community Room, there will be a Blessing, Acknowledgement Speech and Dancers.

Elders of the Future has been created and curated by a multi-generational and multi-cultural team, including Blackfoot community members, who have participated in a community-driven research project between Opokaa’sin Early Intervention Society and the uLethbridge's Institute for Child & Youth Studies (I-CYS). The exhibition provides a space to learn about local Blackfoot culture, history and language through art and photography. Elders of the Future celebrates the incredible resiliency of local Blackfoot communities through their family and child-rearing practices. 

Elders of the Future showcases the work of Blackfoot youth and adults who have and continue to participate in an on-going community-driven research project.  The youth researched local Blackfoot values surrounding family and child rearing and are now articulating these values and how they reflect healthy, resilient families. This project has made connections within communities across southern Alberta, including Lethbridge, Kainai (Blood Reserve) and Piikani (Peigan Reserve).  

This exhibit engages the wider population in traditional Blackfoot territory through song, dance, art, photos and stories. This exhibition celebrates local Blackfoot communities as well as their family and child-rearing practices. Elders of the Future intends to help build connections and understanding between the diverse communities of Lethbridge, and illustrate the importance of the Blackfoot people and how their history and culture shape our communities.

- uLethbridge’s Institute for Child & Youth Studies


Gallery Hours:

M-F: 9-9
Saturday: 9-5
Sunday: 10-5

The programming at The Gallery at Casa is made possible with the generous support of the Alberta Foundation for the Arts.

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