Filiations features new work by Nadia Myre (Kitigan Zibi), and Nico Williams (Aamjiwnaang), both acclaimed artists who are linked by their former teacher-student relationship (Myre supervised Williams’ MFA work at Concordia University). This exhibition will draw out lines of affiliation and commitment in their practices providing an unparalleled opportunity to see two generations of artists staking out common ground – pedagogically, aesthetically, and politically.

Nadia Myre and Nico Williams in conversation

Untitled is a varied collection of images presented by the fall 2022 graduates of Dawson’s AEC Commercial Photography Program.

Seven students, including Fiona Campanelli, Valeria Cori-Manocchio, Surah Field-Green, Nicholas Gagnon, Molière Solon, Nadim Zakkour and Atena Zare, showcase their work in portraiture, fashion, product, sports photography and more. Their adventure at Dawson began in an unusual way–on a computer instead of in a classroom. Pursuing photography during a global pandemic wasn’t always easy, but they learned to hone their craft, and present their achievements with pride here.

Pareidolia is the ability to see or make pictures out of randomness. Seeing beyond what the average person sees and expressing that vision in an image is a large part of training to be a photographer. This collection of work by Dawson’s third-year photography students embodies how they see people, places or objects in their world.

Twenty two students are showing their work, including: Ayah Alatrash, Yisségnon-Chris Avosse, Sophie Becquet, Samuel Bermudez Fernandez, Lemuel Campbell, Mark Cedeno Moreno, Emma Cloghesy, Emma Diz-Giguère, Jilliane Flores, Jade Franco-Ehrmann, Alexe Grignard, Elizabeth Huppé, Sandra Kucko, Desireen Layne, Bramanda Mahaputra, Nour Naggar-Osama, Maya Naidu, Thibault Quach, Damon Roloff, Bianca Tedeschi, Mateo Vega Cantu, and Daphné Voisine.

Biennial 15 marks 30 years of Dawson Fine Arts Faculty members exhibiting their current art works at the Warren G. Flowers Art Gallery. It continues this long tradition of investigating the relationship between art making and learning, as well as reflects on the history of the biennial.

All faculty—past and present—of the Fine Arts department will have images and texts in the catalogue which accompanies the exhibition. There will also be a sound component containing faculty’s responses to the question of how the biennial has played a role in the pedagogical innovations of Dawson’s reputed Fine Arts Department.

The Warren G. Flowers Art Gallery is pleased to present the work of Ottawa-based artist Anna Williams. This is the first Montreal exhibition of Williams, who has created technically and conceptually complex prints and bronze sculptures which reinterpret female roles, gender conformity, and attitudes towards nature in classical Greek myths.

Born in Ottawa, Anna Williams studied sculpture and printmaking at Mount Allison University (Sackville, New Brunswick), before returning to Ottawa, where she continues to work, garden, and live with her wife, children, dogs and an excessive number of houseplants.

Departing from The Grove, the title of the 2022 exhibition of Visual Arts graduates from Dawson College, a meadow holds many life-forms presents a selection of strong and innovative work by nine upcoming artists from that cohort: Alicia Ferguson, Jade, Victoria Petrecca-Berthelet, Sabrina Schmidt, Boning Tao, Phan Chau Anh Thai, Kathy Mai Truong, and Kessem Vaknin.

Like any ecosystem, a healthy meadow displays diversity and sustains that divergence and difference over time.

Exhibit website: resistanceresilience.dawsoncollege.qc.ca

Twelve artists from first or second generation migrant/immigrant racialized communities of colour present work exploring  the  racism and systemic oppression they have experienced.   At times poetic, at times harrowing, their work in video, sculpture, installation and textiles seeks to open up dialogue and complexify discussions surrounding migration and narratives of nationalism, benevolence, and fear.

Initially proposed by Diana Rice of the Dawson College Centre for Peace, the exhibition was also conceived to include student, or emerging artists, who were selected by a jury following an open call for submissions.   

Dawson College and the Warren G. Flowers Art Gallery are pleased to present an in-person exhibition of the Visual Arts program graduates entitled, The Grove. These students have spent two years rising to the challenges of both online and in person activities to develop their skills and create the work presented in the gallery and surrounding hallways.

Graduating artists include: Alicia Ferguson, Boning Tao, Finn Ouellet, Janelle Molina-Hernandez, Joanna Triantafillou, Kathy Mai Truong, Kessem Vaknin, Sabrina Schmidt, Samantha Williamson, Tzu-Hsin Yang, Victoria Bonici, Xinyi Song, Zhicheng Xu, Gemma Serreqi, Jade Lafontant, Jazmine Floyd, Katerina Douzepis, Kelsey Yoo Kyung Park, Lennart Rui Yi-Dalman, Phan Chau Anh Thai, Sophie Diaferia, Suan Oh, Victoria Petrecca-Berthelet, Winnie Thermogène, Yingqi Zhang.

In partnership with Dawson’s Department of Fine Arts, the Warren G. Flowers Art Gallery is offering an innovative pedagogical experience for students enrolled in Art Now, the third and final art history course offered in the Visual Art program, currently taught by Gwen Baddeley. Students will be guided and supported in the work of curating an exhibition to be installed by them, and opened to the public from May 2, to May 11, 2022.

The in-class component will consist of research on the work of artists Emily Comeau and Louise Campion, conceptualizing a curatorial vision and writing an exhibition proposal, as well as interpretive labels for the artworks.

Sharp Tools for Unripe Fruit underscores the awkwardness of monumentality and its precarious taste for nostalgia. The unfinished business of commemoration takes the form of hand-embroidered text, choosing the anti-spectacular visual elements of watermarks and default fonts.

Inspired by traditional printmaking processes, the PROOF series attempts to hold the desire for archival presence with the problems of its structure. In these interrupted photographs, the various subjects are unable (or unwilling) to be claimed.