2020 Exhibits

January 18 to March 15, 2020

Opening Reception: Thursday January 23 at 7:00 pm

In this exhibition, artists Dave Kemp, Thelma Rosner, Mark Stebbins, and Shaheer Zazai examine how pixels are used as aesthetic material and metaphors for meaning. Pixels are small squares of colour that form the building blocks of digital images. When combined in a pattern with other pixels, they produce a complete picture. Despite its origins in digital screens, the word pixel now applies to non-digital imagery as well, and can be found in commercial advertising, interior design, fashion, architecture, and visual art. Working primarily in photography, painting, craft, and digital media, the artists in this exhibition approach pixels as visual devices to question our lived reality and experience of the world. While digital technology creeps toward higher forms of resolution, for instance 4k and 5k screen displays, these artists do otherwise—they break down pixilation to its essence, as a series of blocks, grids, or patterns, and employ these to create new works that appear like other media. In doing so, they bridge the divide between abstract painting and HD digital imagery, analog photography and digital photography, rug hooking and digital painting, and mass-produced objects and handicraft. Their work proposes different methods of how images structure memory, time, and place—they articulate the importance of what we look at and how we look at it in a society deeply consumed by pictures.

About the Artists
Dave Kemp is an artist whose practice looks at the intersections and interactions between art, science, and technology. His artworks have been exhibited widely at venues such as at the Agnes Etherington Art Centre, Art Gallery of Mississauga, Ontario Science Centre. They are also included in the permanent collections of the Agnes Etherington Art Centre and the Canada Council Art Bank. He currently works as an Assistant Professor in the Image Arts program at Ryerson University.

Thelma Rosner has been a professional visual artist for over forty years. She was educated at Smith College and Western University, where she was mentored by Paterson Ewan. Her work has been exhibited in Canada, the United States, and England. She has received grants from the Canada Council and the Ontario Arts Council. Her work is included in numerous public and private collections including the Canada Council Art Bank, McMaster University, McIntosh Gallery, and Museum London.

Mark Stebbins is an artist who works in painting, drawing and digital media to create images that connect craft, digital imaging and art history. Specific interests include abstraction, memory, quilting and pixilation. His work has been exhibited across Canada and internationally. He was awarded Honourable Mention in the RBC Canadian Painting Competition in 2010 and has received grants by the Canada Council for the Arts and the Ontario Arts Council. His work resides in the collections of the Canada Council Art Bank and the Royal Bank of Canada, as well as numerous private collections worldwide.

Shaheer Zazai is an artist working in painting and digital media. His practice focuses on investigating the development of cultural identity in non-Western diasporas. He received a BFA from OCAD University in 2011 and was the OCAD University Digital Painting Atelier Artist-in-Residence in 2015. A recipient of a Canadian Ontario Arts Council grant, he has since had solo and group exhibitions at galleries including the Art Gallery of Mississauga, Trinity Square Video, John B. Aird Gallery, and Project Gallery.

Flora & Fauna: Works from Glenhyrst’s Permanent Collection

in collaboration with Brantford Potters’ Guild

August 1st – September 27th, 2020

Glenhyrst Art Gallery is pleased to announce our annual permanent collection exhibition in collaboration with Brantford Potters’ Guild. Glenhyrst’s Curator & Head of Collections Matthew Ryan Smith and Permanent Collection Chair David Leng pair works from the Gallery’s collection of more than 600 artworks with selected pottery by Guild members. Based on the theme of flora and fauna, the exhibition creates a meaningful conversation between the Glenhyrst’s historical collection and new pottery. The Brantford Potters’ Guild was formed in 1975 and incorporated as a not for profit organization in 1978. Membership has grown from the initial 15 to the current membership level of over 90.

Image (detail): Robert R. Whale, Deer in Forest Glen, oil on canvas (n.d.)

Paul Kneale: Recycling

October 3rd to November 29th, 2020

 Image: Freebase Serotonin Antagonist, inkjet on canvas, 198cm × 147cm (2020)



In this exhibition Brantford artist Paul Kneale examines the physical dimensions of digital imagery. Influenced by the histories of scanography and xerography, Kneale uses inexpensive flatbed scanners to produce large scale scanner paintings. His approach simultaneously breaks from the canon of Modernist abstraction while leading contemporary painting in new directions.

Using an unpredictable and laborious process, Kneale builds layers of low and high-resolution scans with the machine’s lid open and nothing resting in the copy bed. What is captured by the scanner are traces of ambient light contained in the ether of the artist’s studio that, when gathered together, forge a complete image.

These “impressions,” as he describes them, have found their way into previous works and will again be utilized in the future, signaling a recycling of visual archetypes into new compositions. Moreover, Kneale’s scanner paintings stretch the expanses of space-time by overlaying quick low-res scans over slow high-res scans so that particular moments and atmospheres are documented. Not only does this allow viewers to read Kneale’s work as paintings, scans, or photography, but it also opens their interpretation to a form of experimental cinema.

Kneale questions how the Information Age and cyberspace have undermined and dehumanized intimate and collective relationships. To counteract this, his impressions are approached as layers of flesh that reintroduce human elements into the cold frame of the digital image.

About the Artist

Paul Kneale was born in Brantford, Ontario in 1986. He received a BA in Visual Studies and Art History from the University of Toronto and an MFA from the Slade School of Fine Art (London, UK) in 2011. His work has been shown at galleries and museums across Canada, the United States, and Europe, including the Art Gallery of Ontario, Boca Raton Museum, Centre Pompidou Metz, and the Thetis Gardens in Venice, Italy. He has taught art studio at the Zurich University of Arts and has contributed theoretical articles to Frieze and Spike magazines. In 2019, Kneale unveiled Flat Earth Visa, a site-specific installation for the hillscape surrounding the Fondazione Sandretto Re Rebaudengo in Torino, Italy. His work resides in several public and private art collections globally. Kneale lives and works in Brantford, Ontario.


Glenhyrst Art Gallery acknowledges that we are on the traditional territory of the Neutral, Anishnaabeg and Haudenosaunee Peoples. The City of Brantford is situated on the Haldimand Tract, land originally promised to the Haudenosaunee Six Nations, which includes six miles on each side of the Grand River.

Paul Kneale acknowledges the support of the Canada Council for the Arts, ARTUNER, and Paul & Margot Kneale.