Aurelia Goldsmith Bullion Broker, Regina, SK
SOLO EXHIBITIONS (selected)
2016 – Jane A. Evans: Land, Light, and Trees, Hues Art Supply, Saskatoon, SK
2015 – Artist of the Month for Saskatchewan Network for Art Collecting,
Cathedral Village Freehouse Restaurant, Regina, SK
2014 – Customer Showcase, Art Placement Supplies, Saskatoon, SK
2012 – Fresh Prospects, McIntyre Gallery, Regina, SK
2009 – Land and Light, McIntyre Gallery, Regina, SK
2002 – Land and Light, TextileContexT Studio, Granville Island, Vancouver, BC
1998 – Artist of the Month, Mendel Civic Art Gallery Shop, Saskatoon, SK
1995 – Peaceful Places, Saskatchewan Craft Council Gallery, Saskatoon, SK
1973 to 1994 – various solo exhibitions in SK and MI
GROUP EXHIBITIONS (selected)
2016 – Plein Air Painters’ Group Exhibition, Hues Art Supplies, Saskatoon, SK
2105 – Our Prairie in Fibre, Curated Exhibition , Affinity Gallery, Saskatchewan Craft Council, Saskatoon. SK
2014 – Birds and Their Environs, Invitational Exhibition, Corner Books, Minneapolis, MN
2013 – Trees and Leaves, Invitational Exhibition, Corner Books, Minneapolis, MN
– The Jury’s Out, Affinity Gallery, Saskatchewan Craft Council, Saskatoon, SK
2007-2012 – Represented by The McIntyre Gallery, Regina, SK (gallery closed when owners retired)
2011 – Root, Branch, Twig and Flower, Curated Exhibition, Affinity Gallery, Saskatchewan Craft Council, Saskatoon, SK
2009 – Unity and Diversity, Juried Exhibition, Canadian Craft Federation, Sixth International Craft Biennale, Cheongju, South Korea
1979, ’80, ’84, ’89, ’91, 1994-2000, 2002-2006, 2008, 2009 – Dimensions, Juried Exhibition, Saskatchewan Craft Council, Provincial/National Tours
2002 – The Fresh Connection, two-person exhibition, Saskatchewan Craft Gallery, Saskatchewan Craft Council, Saskatoon, SK
2001 – Small Expressions 2001, Handweavers Guild of America, St. Louis Artists’ Guild, St. Louis, MO
1999 – Uncommon Threads, Curated Exhibition, A Show of Hands Contemporary Craft Gallery, Toronto, ON
1997 – In Touch with Fibers, Canton Museum of Art, Canton, OH
1996 – Textile Traditions/New Dimensions, a 4-person show, Raindance Gallery, Portland, OR
1994-’95 – Small Expressions ’94, Handweavers Guild of America, International Tour of U.S.A. and Taiwan
1973 -’94 – Numerous exhibitions, including Instructors’ Exhibitions at weavers’ conferences across Canada and U.S.A.
2016 – studied painting with Albert Handell, Sedona, AZ
2014, 2013 – studied acrylic painting with Bonnie Cutts, Minneapolis, MN
2012 – studied acrylic painting with Cathy Carey, Escondido, CA
1972- ’73, 85-’88 – B.F.A. classes, University of Saskatchewan, Saskatoon
1985 – Master Weaver Certification, Guild of Canadian Weavers
1969 – B.Ed., University of Minnesota, Minneapolis
1968 – B.A., English Literature, University of Wisconsin, Madison
AWARDS AND HONOURS (selected)
1995-2009- seven Awards for Excellence, Dimensions, juried exhibition, Saskatchewan Craft Council
2008 – Honorary Diploma from The Cultural Foundation of the World Federation of Free Latvians, for writing the book A Joy Forever, Latvian Weaving; Traditional and Modified Uses
2006 – member of SOFA (Sculpture, Objects and Functional Art) Exposition Trade Mission, Canadian Consulate, Chicago, IL
2002, ’03, ’05 – Saskatchewan Arts Board Award for Innovation in Craft, Dimensions, juried exhibition, Saskatchewan Craft Council
1999 & 2003 – juried publication in Fiberarts Design Book series, Lark Books
1998 – Nominee, Jean A. Chalmers National Crafts Award
1996 – Nominee, Saidye Bronfman Award for Excellence in Canadian Crafts
1995 – three awards, including “Best of Show Award”, Embroiderers’ Association of Canada, Edmonton, Alberta
1992 – two Merit Awards for Book A Joy Forever, Latvian Weaving, Midwest Independent Publishers’ Association, U.S.A.
1991 – Premier’s Award (fabric component), Dimensions, juried exhibition, Saskatchewan Craft Council
1980-’91 – Awards at juried exhibitions in Canada and the U.S.A.
1986, 1987 – Canada Council grants
1976 – Saskatchwan Arts Board Grant
Permanent Collections of Saskatchewan Arts Board; Saskatchewan Craft Council; City of Regina, SK; City of North Battleford, SK; numerous private and business collections in North America, Europe, and Australia
PUBLICATIONS BY THE ARTIST
Book – A Joy Forever: Latvian Weaving, Traditional and Modified Uses (1991, Dos Tejedoras Publishing, St. Paul, MN)
Weaving articles – over 50 articles appearing since 1974 in over a dozen publications on art and/or weaving
PUBLICATIONS ABOUT THE ARTIST (selected)
Herstory, 2005-The Canadian Women’s Calendar; Shuttle, Spindle & Dyepot 1/00, 7/86; Handwoven, 3/96; Western People, 7/93; Ontario Handweavers and Spinners Bulletin, 6/92; Craft Factor, SK. Craft Council, Fall/02; Winter/92, Fall/91, Summer/86; Star-Phoenix Newspaper, Saskatoon, SK, 12/02, 9/95, 7/93, 10/92, 5/86
PUBLICATIONS INCLUDING ARTIST’S WORK
The Country Register, Manitoba and Saskatchewan, Kipling, SK, cover image, April/May, 2017; The Best of Weavers’ – Summer and Winter Plus, XRX Pub., 2010; Herstory, 2005-The Canadian Women’s Calendar; Fiberarts Design Book Seven, Lark Books, 2003; The Best of Weavers’ – Twill Thrills, XRX Pub., 2004; The Best of Weaver’s – Thick ‘n Thin, XRX Pub., 2001; Fiberarts Design Book Six, Lark Books, 1999; Weaving Contemporary Rag Rugs, Heather Allen, 1998; 8, 12, 20 – An Introduction to Multi-shaft Weaving, Kathryn Wertenberger, 1988; Embroidery Canada, 9/95; Geometric Design in Weaving, Else Regensteiner, 1986
ITINERANT TEACHING ACTIVITIES (1972-2003)
Role: Keynote Speaker, Workshop Instructor, Seminar Leader, Lecturer at Conferences, Guilds, Schools & Galleries across Canada and the U.S.A.
Major Conferences (selected): Convergence (attendance from 20+ countries); Complex Weavers Seminars; Florida Tropical Weavers’ Guild; Intermountain Weavers’ Conference; Michigan League of Weavers; Mid-Atlantic Fiber Association; Midwest Weavers’; NW Assoc. of Weavers’ Guilds; Ontario Handweavers and Spinners
PROFESSIONAL ASSOCIATIONS (selected past and current)
Artists in Canada; CAR/FAC (Canadian Artists Representation); Canadian Crafts Council (Provincial Representative, 1980); Complex Weavers; Handweavers Guild of America (Canadian Regional Representative, 1983-90); Guild of Canadian Weavers(President, 1996); Saskatchewan Craft Council (Chairman, 1980); Shoestring Gallery Artists’ Cooperative (later AKA), Saskatoon, SK (1972-1978)
Regional and international weaving exhibitions, Canadian Master Weaver program, Saskatchewan Arts Board Awards
Jane A. Evans is a landscape artist living among acres of trees and meadows near Saskatoon, Saskatchewan, Canada. Her intimate landscapes are distinctive whether in threads or paints, the serenity of each site evocative and inviting.
About 1971 Jane Evans began making fiber art, including a 20-year series of over 100 landscapes called “Places of Peace.”
In 2012 she transitioned from fiber art (which incorporated paints) to painting with acrylic paints. Recent paintings are often multi-media with perceptible surfaces and textures, incorporating acrylic gels, pastes, and/or oriental papers collaged under the acrylic paints.
Jane Evans has training in fine arts from the University of Saskatchewan, holds degrees in literature and education, and is a Master Weaver. She has been nominated for Canada’s two most prestigious awards in craft, the Saidye Bronfman Award for Excellence and the Jean A. Chalmers National Crafts Award. Her woven and painted artworks are in magazines, books, and collections around the world and have won many awards in exhibitions in the United States and Canada. She has taught weaving throughout North America, written a well-received book and numerous articles, and developed unique image-making techniques in fiber art with threads and paints.
My paintings are not as much traditional “landscapes” as they are “land-escapes.” While I occasionally portray a panorama, usually I seek out smaller, intimate, natural sites. I want to explore the serenity of natural, enveloping places. I try to make pieces that are calm, evocative, and inviting, somewhere a person could sit and think, or just sit. I often do “tree portraits” because the anecdotal character of individual trees can be fascinating. My pictures include no people, human artifacts, or anything with eyes. For me these generate stories and conflict with my purpose in painting.
My art works invite viewing from both near and far. Up close they offer colourful, textured surfaces with interplays of shadows, while at a distance there is cohesion to the imagery which creates depth and breaks the picture plane. They are three-dimensional, tactile invitations for eye, hand, and emotions.
I often include collaged oriental papers as the ground on which to paint, and I add sculptural acrylic gels and pastes for textures. Some of my pieces have a fine, spider-web-like fabric embedded in the acrylic ground covering a panel, to create an overall random play of shadows.
From 1971 until 2012 my public medium was fibre art. The most recent 20 years of that time I primarily made woven landscape pictures. These merged weaving, painting, and embroidery for their imagery. As with most pictorial work, drawings and rough paintings were part of the preparatory steps.
In 2012 I transitioned from fibre art, which had incorporated textile paints, to painting with acrylic paints and mixed media. This met a growing need to be able to express particular effects in a picture, effects that would have been inconsistent with and forced upon a textile basis.
My woven landscapes often have been described as painterly. Now my paintings are said to include a textile sensibility. That is a satisfying style for me and a good base for portraying my view of the world.