Heather Benning
The Death of the Dollhouse: Fire #2, 2013
Kodak Endura digital C-print

The Dollhouse was created in 2007, during a Saskatchewan Arts Board artist-in-residence program at Redvers. Heather renovated the wooden house into a life-sized dollhouse, complete with vintage furnishings and a transparent wall on one side, so you could see the interior. In October 2012, the house began to show its age; the foundation was compromised. The house was meant to stand as long as it remained safe. In March 2013, The Dollhouse met its death with fire.


Bob Boyer
A Smallpox Issue, 1983
blanket, oil, rawhide

Bob Boyer grew up in Prince Albert and earned a bachelor of education degree from the Regina Campus of the University of Saskatchewan in 1971. He worked in a number of education, art and community positions, including doing community programming at the MacKenzie Art Gallery until the mid-70s. He then became a fine arts professor at the Saskatchewan Indian Federated College, where he also acted as the head of the Department of Indian Fine Arts. 
Boyer began his visual arts career painting portraits and landscapes, but he is best known for his painted blankets, completed between 1983 and 1995. Using flannel blankets as the painting surface, he combined elements of Northern Plains geometric design with personal symbols and contemporary references to colonialism, environmental destruction and Indigenous culture. He referred to these pieces as “blanket statements.” In October 1983, Boyer painted A Smallpox Issue, his first blanket. It was heralded as an important new direction that was political, narrative, abstract and traditional, and is considered one of the Saskatchewan Arts Board Permanent Collection’s treasured art works. Boyer passed away in 2004.

Wally Dion
Starblanket, 2006
printed circuit board, brass wire, acrylic paint, copper tubing

Wally Dion’s Starblanket is a First Nations star blanket fashioned from computer circuit boards. Dion recycles first world waste, using an iconic star pattern that references traditional Plains First Nations quilts and blankets. Playing with the concept of time and tradition, the piece stimulates discussion of how traditions are valued and interpreted within modern society. Its use of material and symbolism alludes to systems of connections and communication. The modern circuitry offers an updated representation of longstanding social networks, while also speaking to empowerment through technology within First Nations communities. 


Ann Harbuz
Richard Town, 1976
acrylic, ink on Masonite

Ann Harbuz spent much of her adult life in North Battleford. She did not start painting until she was in her 60s, but in a flurry of activity spanning 23 years, she produced more than 1,000 landscapes, still lifes and portraits. She was a self-taught artist; her works show little regard for formal or technical considerations and have been described as having a “child-like simplicity.” Instead, they focus on content and subject matter, such as home, family and nature. She used all kinds of media: canvas, paper, velvet, glass and plastic, as well as watercolour, oil, acrylic, pen, ink and even coffee and latex.

Her goal was to supplement her family’s photographic archive, and her work related to what she observed in her local environment, as well as to her childhood memories and Ukrainian heritage. Scenes of everyday life, chores, farms and celebrations feature prominently in her paintings, which represent a form of visual diary and function as “social landscapes.” The stories she tells celebrate the strength and ingenuity of pioneer women. Harbuz passed away in 1989.