Canadian Art's Winter Issue Magazine is a Special Issue dedicated to painting. It features an article on the work of Lawrence Paul Yuxweluptun's work written by Christina Ritchie.  We highly recommend picking up a copy. Here is an excerpt from the article:

Both Haida design elements and Surrealist imagery are transformed, via their route through pop culture, to become Yuxweluptun's "neo-native" style. He likens these dual streams of reference to simultaneous translation between one culture and another.  - Christina Ritchie

This notion of dual streams of reference to simultaneous translation between one culture and another can also be discovered in the new series of paintings that Fiona Ackerman will premiere at Winsor Gallery in February.

Fiona's exhibition It's not you, It's me is a continuation of the exploration of Foucault's notion of Heterotopia. Fiona's first exhibition of this series played with the notion of the artist's studio as a Heterotopic space. The second exhibition expands outwards from Fiona's studio space and into the studio worlds of several other artists, including Lawrence Paul's studio. Whilst Lawrence Paul explores Haida and Surrealist components integrating them into compositions that speak to the past, present and future, Fiona's work explores the lexicon of the studio space, canvases finished/unfinished, supplies, materials, oddities of things that accumulate in the studio, and even the very structure of the space itself.

Fiona directly implicates an artist's presence or absence through her new work, yet what is ultimately reflected back is a signature Fiona interpretation. So much so that Fiona revealed to us the other day that one of the artists whose studio Fiona had visited and eventually painted, upon viewing the work, said "This is so strange, I never saw my work like this."  Aptly titled, It's Not You, It's Me, will open on the 20th of February and run until the 29th of March at Winsor Gallery.

...and, so, the continuous referential dialogue between painting, artists and history continues...
The Formal Fugitive, 2012, Fiona Ackerman, oil on canvas, 60 x 75"