The Do Good Residency 2019 – AIR program in PEI


Upstreet Craft Brewing and this town is small inc. partner for the second year of The Do Good Residency.

Launched in Summer 2018, The Do Good Residency is an artist-in-residence program located at Upstreet Craft Brewing’s warehouse in Charlottetown, PEI. The program is supported by Upstreet Craft Brewing’s Do Good Fund for Arts Initiatives and coordinated by this town is small inc., PEI’s Artist-Run Centre.

Deadline to Apply for the 2019 program is February 18 at midnight Atlantic Time.

This residency is a natural partnership for the brewing company and not-for-profit artist-run centre that share a deep love for their community in PEI, and believe in the power of collaboration, interactivity, and good-natured fun.

To help meet their mission of creating positive social and environmental impacts and supporting the community as a whole, Upstreet created the Do Good Fund – a fund dedicated to supporting artists and art initiatives throughout the year on Prince Edward Island. With every sale of their popular Do Gooder APA, a portion of the proceeds goes directly into this fund.

this town is small’s mission is to foster sustainability for contemporary arts practice on PEI, encouraging communication and collaboration among members of the artistic community and with the community at large.

Local, regional, national, or international professional contemporary artists with a strong interest in community engagement and collaboration are invited to apply. There are three 3-week slots available this year:

one in May reserved for an artist based in Atlantic Canada;

one in June and one in September, both open to all artists.

This is a self-directed residency that includes a collaboration with Upstreet: selected artists will work together with the Brewmaster and Head Chef at Upstreet to design a beer recipe and food menu. The artist will also create a design to be featured on the label of the custom beer. At the completion of the residency an artist talk and special event will be held to present the artist, as well as their beer collaboration and food menu.

Selected artists receive studio space, lodging, administrative support, community engagement & networking support, and a stipend. Travel costs and materials are not provided.

 Full application details can be found at

or email Monica Lacey at

with Do Good Residency in the subject line for more information.

Monica Lacey

Executive Director

this town is small inc.

PEI’s artist run centre

115 Richmond Street

Charlottetown, PEI

C1A 1H7

Nova Scotia Society of Polish Art Show and Sale

Nova Scotia Society of Polish Artists would like to extend an invitation to our Art Show & Sale Jan. 5, 2019 till Jan. 27, 2019.  It is first event in our annual series of fundraisers in support of The Canadian Centre to End Human Trafficking.

Opening ceremony will take place on Saturday, Jan. 5, 2019 at Chase Gallery, Public Archives of Nova Scotia, 6016 University Ave. Halifax, 1:00 pm – 4:00 pm.

Happy Holidays

“Winter Bay” by Prince Edward artist Karen Gallant
Acrylic on Wood panel, 2017
Together, we are making a difference.  Since 1958, we have been there for you, the professional artist. CARFAC Maritimes thanks you for your support and during this busy holiday season urges you to reflect on the power of the arts.  Whether supporting your own practice or as a collective, we will continue to work on your behalf.

Artist captures incredible images of people showing vulnerability and strength

Nancy Cole takes her journalism skills and applies them to art

SUMMERSIDE, P.E.I. –  Artist Nancy Cole was on a seven-week international residency in a remote and rural community dotted in the Serra da Estrela mountains of Portugal, when on her last night wildfires engulfed the area and killed more than 40 people.

“Sunday, the night before I was to leave I got caught in the wildfires and we literally had to run for our lives,” she remembered with a troubled look in her eyes as people paused over each one of her images hanging in the latest Eptek Art and Culture Centre exhibition called ‘Reveal to Conceal.’

Nancy Cole captured a local Summerside fisherman. She calls the image ‘Vanishing Point’ about corporate farming taking over from small-scale fishermen.
Nancy Cole captured a local Summerside fisherman. She calls the image ‘Vanishing Point’ about corporate farming taking over from small-scale fishermen.

“It made all of these pieces more important to me because it was no longer just a nostalgic look at rural Portugal, but now I don’t know if those people survived,” she motioned to a particular image of an elderly widow with a warmness attached to her eyes.

“This elderly widow was in a small village and was sitting on a dry stone wall wearing a traditional hat. She was lamenting that the village water at the top of the hill wasn’t good, but for her to carry the buckets back up to her home from the newer, better well was a weight too much for her to bear,” said Cole, who was in Portugal in Oct. 2017.

“I did a whole series where I put 44 red French knots on each of the portraits because 44 people died that one night when the wildfires broke out in that area where we were staying,” she noted.

“It made all of these pieces more important to me because it was no longer just a nostalgic look at rural Portugal, but now I don’t know if those people survived.” – Nancy Cole

Cole’s contemporary artwork is done on Tyvek, which is a brand of flash-spun high-density polyethylene fibers used to wrap homes in.

“My materials are part of the allegory for what I am creating. Tyvek is part of the art in that it’s an industrial housing product, but also artistically it gives the feeling of fragility because it looks like paper. All these moments that I am trying to capture are very fragile moments but also very tough.”

Every one of her pieces has a story behind the face that has been originally drawn by Bic pen while incorporating reflections of her journalism career, and then hand-quilted to the Tyvek.

“Journalism was a tough job, but I was always very drawn to the human interest story. As I grew older I began to realize that perhaps I could say better what I wanted through visual art.”

Daria Ross, from the left, and Meike Brown her mother Becka Viau’s artwork.
Daria Ross, from the left, and Meike Brown her mother Becka Viau’s artwork.

Cole took with her to Portugal at a Bic pen and a sketchbook, capturing moments that will forever be treasured.

“It’s being journalistic, but trying to do it visually,” she said as her eyes lit-up.

As people weaved their way through the creative pieces, some stopped to speculate on Becka Viau’s creative display.

“It’s called postpartum,” she motioned. “I did the series the year after my second child was born, but I tend to work in the abstract. There are real elements in my drawing you can notice like mountains, teardrops, and birds, but for me, it was a release of energy that leads to these drawing.”

The exhibition that opened on Sunday afternoon will continue until mid-February.

Nikki Gallant, the site director, said the exhibition would not be possible without the support of Innovation P.E.I. Culture Action Plan.

“Before the Fires” exhibit by Nancy Cole

this town is small presents an exhibition of new work by Nancy Cole consisting of hand quilted textiles and BIC pen drawings. On view at Receiver Coffee Co.’s Victoria Row location from May 17 through June 20.

This exhibition series is generously supported by Innovation PEI through the PEI Culture Action Plan.

Nancy says about the work:
“I arrived at the international residency in rural Portugal, October 2, 2017. The first two weeks were filled with exploring, interacting and drawing the beautiful people of the area. We travelled the narrow, winding roads up into the high mountains discovering tiny villages with few inhabitants. Experiencing the culture of an area virtually unchanged was cathartic and had already supplied me with a wealth of material.

Sunday, October 15, was an eerie day with restless farm animals, a red sun and ash showers from distant fires fell like flakes of snow. It hadn’t rained since June. We joked about Armageddon. We could hear the wailing of distant fire sirens and the undulating mountain horizon glowed red.

I settled into a restless sleep. Fires broke out at 2:00 am in the village. I awoke to the screams of the villagers. When I looked out the window of my room, the smoke was as thick as a Nova Scotia fundy fog. I could see sparks skipping through the murk. The wind was ferocious. My fellow artists were scrambling. I grabbed tea towels and tablecloths and soaked them in water to wrap around our heads. As I waited for the others in the courtyard, I saw the flames and live embers bouncing along the narrow, cobblestone lane. I couldn’t wait any longer and ran. My plan was to head to the church. Embers brushed my legs and burdened with my sketchbook and laptop, I told myself, quite frankly, that I was going to die.

I made it to the village square. A steady stream of cars was leaving the area. My instinct was to flee but none of the cars would stop. I hooked up with my fellow artists and we huddled together with our heads wrapped in the wet cloths. Londoner Liam, 22, kept asking if we were going to die. I said I didn’t know. I found a house with a large, in-ground swimming pool and we settled near the pool. The fires raged all around us. Houses burst into flames as the incendiary gas bottles exploded. The villagers were all stunned into silence. We waited for hours. No fire trucks arrived, no alarms, no emergency measures, just a few of us huddled, waiting and wondering. I sent an SOS to Global Canada so at least I could be found.

The 500+ wildfires destroyed 1/10th of western Europe’s forests. The mountains around Coimbra were a scorched badland. Forty-four people died that night. Three people perished when they fled by car and got caught between two uncontrolled fires. Countless others lost their homes, livestock and crops. This area is populated with poor, subsistence farmers and the lack of a comprehensive census means Portugal may have lost so many more than officially recorded. I am tormented knowing that perhaps the lovely, old mountain couple that welcomed us into their home and offered us bread, wine and cheese, may not have survived. The images I took of the people and the bric-brac inside abandoned houses is perhaps the only and last record of what was once. “

Invitation to the 2018 CARFAC Maritimes AGM

The 2018 CARFAC Maritimes Annual General Meeting will take place on Sunday June 3rd at the Fundy Geological Museum, 162 Two Islands Road in Parrsboro from 12:30 to 2 pm.

From 3:30 to 4:45 an information session will be offered on Artists’ Copyright, Tax issues, Artists Resale Rights, etc. Guest speakers are Susan Tooke (NS), past National and Maritimes president as well as Duncan MacDonald (NB), Treasurer and accountant.

From 5 pm to 6 pm, all artists are invited to a Meet and Greet at the Black Rock Bistro, 151 Main Street, Parrsboro.

Admission is free to all events, however, kindly register here.

Barbara Safran de Niverville exhibit at UNB

You are cordially invited to the opening of my exhibition “Rencontre primordiale / Primordial Encounter” at the University of New Brunswick Art Centre, West Gallery, on April 13 from 5 to 7 PM. This series was inspired by my artist residency in Reykjavik, Iceland in 2015.

Please drop in to see the show between April 13 and May 18 if you are not able to come to the opening!

Here is an excellent introduction to the show:

I have added three new works to the series shown last spring at Gallery 12 in Moncton.

In addition, as a finalist for a Prix Éloize (artiste visuelle de l’année), I will participate in the Éloize exhibition at the Arts Centre in Edmundston, NB from May 02 – May 06.  This nomination is in recognition of the same “Rencontre” series. I will be showing “Fonte glacière” from the original series as well as “Chutes glaciaires” a recent, large format diptych created for the occasion.

Have a great day,


Barbara Safran de Niverville

(506) 387 – 5911