
The Works Art and Design Festival returns for its 40th anniversary
For the next 11 days, more than 100 artists will transform indoor and outdoor spaces around Edmonton into galleries as a celebration of design and creativity.
Each artist will create vibrant, colourful and interactive art exhibits that will be on display at Churchill Square and surrounding areas.
'You're going to see a lot of tree sculptures, some flower sculptures, some garden pieces and a lot of very nature-influenced work,' said Amber Rooke, the festival's executive artistic director.
The festival has partnered with more than 18 galleries, venues and events including the Ortona Diaspora group exhibition, Co*Lab and SNAP.
This year features returning artwork and the addition of 13 new projects. Exhibits are intended to engage people's senses, including sight, sound and smell.
The festival will also host food and art venders, exhibitions of all sizes, interactive workshops and live music performances.
The event is free and it runs until Canada Day.
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CBC
an hour ago
- CBC
To capture the ups and downs of motherhood, this artist makes a self-portrait every day
Dartmouth, N.S., artist Alice Jennex made her most recent gallery show during her children's naptimes, and she says that wound up influencing the work. "I don't think the work would have been made or wouldn't be the same if I had made it pre-motherhood," she says. When Jennex began capturing daily self-portraits — busting out her watercolours during the lull after feeding her newborn or during her children's naptime — she wasn't planning on sharing the results. The intimate, emotionally resonant paintings of her face — what she calls "the most vulnerable work I've put into the world" — were part of her journal, next to daily entries chronicling the many sides of motherhood. So how did these private paintings and raw bits become the exhibition Chromatic States, on display now at Dartmouth's The Craig Gallery, where some are blown up to supersized dimensions? Jennex says as soon as she showed some of the paintings to fellow artist Meghan Macdonald, the small works on paper became something bigger, and the proverbial lock on her journal was blown off completely. "I think that something I have always admired about Alice is that she is really great at maintaining some kind of practice that feeds her art practice," says Macdonald. "When I first met Alice, she was really quite disciplined at keeping a journal every day, making these observations about herself and the world around her that I think was important to her work as an artist and as a painter." Macdonald adds that she liked the work so much that she encouraged Jennex to mount the work as an exhibition. What she found most interesting was how it explored the intersection of Jennex's art practice and her parenting, "and how at this stage," Macdonald says,"these two aspects of her identity are really bleeding together." But before they were hung on a gallery wall, these daily paintings had a more humble goal: to help Jennex balance being an artist and a mom. "I decided to kind of think about how could I just maintain that creative act in my life every day, amidst all the routines that come with caring for other people?" says Jennex. "Part of the process for this work was to sit down and give myself a bit of time to reflect and to write things down and just locate myself," amidst the changes of the postpartum period. "It involved an effort to express and locate these experiences and put them into something tangible and be like, 'This exists. It's real. It's a part of my experience,'" she says. The portraits are a departure for Jennex, whose previous works were more large-scale, figurative pieces (Macdonald referenced older Jennex paintings "connecting figures of the self to landscapes," while Jennex herself talked about an earlier series she did focusing on the poses swimmers made in action). But it isn't just new territory thematically. Part of what makes the exhibition Chromatic States so captivating is the way repetition and variation butt against each other. The same subject matter — Jennex's face — rendered in a limited palette of 18 colours, captures the variations and subtle changes that a person embodies from one day to the next. "I began to shift what I even believe is a self portrait," says Jennex. "There was one day I remember where it was just a really heavy day, and I sat down and I wrote, 'I'm a blob, like that's it.' And so the portrait really doesn't have my features. It's just a kind of abstract blob of colour… And I was like, 'That is the most accurate portrait that I could make today.'" Not all the self-portraits deal with the difficulties of motherhood, though, as Macdonald points out. "What she chose to share is this glimpse into that daily labor and the experiences that she's having in motherhood, which are at times very joyful, but there's also fears and there's sorrows too," she says. She adds that the works in Chromatic States feel, to her, like Jennex working out a way to both adapt to motherhood while also retaining important parts of her old self. "I don't know if this is how she feels," Macdonald says, "but I see it as a way to keep a strong hold on herself — who [Jennex] is, who she was before children — and bringing that self into her new life as a mother, while so many elements of herself and things around her are changing." While time and material constraints — using minimal supplies so they'd be in easy reach while managing her children's needs — created guardrails around Jennex's project, it's a classic case of constraints forcing creativity. "Motherhood is providing the structure for this work… I need a structure, and that structure is really metaphorical in resembling life as a parent," she says. "There's just not all the options available to me right now, and it makes me be very particular and specific and work within that routine." Though the point, initially, was for Jennex to keep track of herself and her life in the midst of the busy-ness of raising a family, the exhibition turns the personal into the universal. Jennex says that she wants to challenge the idea of mothers as "stoic and natural at nurturing" and instead depict the aspects of motherhood that moms are reluctant to talk about. "You're like, 'Whoa, where's like, the raw, real, gritty, moments?' that I think are really there but we feel like we're going to be judged, so we don't want to share them." She says that ultimately, she hopes people "can connect to that raw emotion," and that while she may be the portrait subject, the show is "not meant to just be about myself," but rather about the experience of motherhood broadly. "I hope it might just help someone else feel seen or acknowledge a struggle or something they've met and worked through," she says.

Globe and Mail
an hour ago
- Globe and Mail
Splitsville will bust your guts, split your sides and make you fall in love with Adria Arjona
Splitsville Directed by Michael Angelo Covino Written by Michael Angelo Covino and Kyle Marvin Starring Kyle Marvin, Michael Angelo Covino, Dakota Johnson and Adria Arjona Classification 14A; 100 minutes Opens in theatres Aug. 22 Critic's Pick As much as we (ie: critics) like to bemoan the current state of big-screen comedy, the past eight months have delivered a relative bounty of larger-than-life laughs. The multiplex might be far removed from the days when Judd Apatow and his acolytes ruled every other weekend – today, Seth Rogen and Jason Segel are too busy in the halls of Apple TV+ – but I've been finding seriously silly solace with the likes of Friendship, The Naked Gun and the forthcoming Canadian epic Nirvanna the Band the Show the Movie. Now we can add Splitsville to the collection of contemporary cut-ups, with the new comedy so relentlessly funny that you'll swear we're back in 2007. The latest collaboration from Michael Angelo Covino and Kyle Marvin – whose 2018 buddy comedy The Climb was a sleeper on the festival circuit – Splitsville follows two deeply unhappy couples who find themselves with a new perspective on life and love after experimenting with, for lack of a better term, inadvertent polyamory. On one side is the meek grade-school teacher Carey (Marvin) and his more sexually adventurous wife Ashley (Adria Arjona), a couple who in the film's opening sequence – a genuinely outrageous set piece that culminates in one of the greatest visual gags in ages – are on the verge of divorce. The two break up just as they are on the way to visit real-estate developer Paul (Covino) and his wife Julie (Dakota Johnson), who are both far wealthier and seemingly far happier, having opened up their marriage some time ago. But as these things go, no one in the quartet is truly satisfied, and soon Carey is sleeping with Julie, and Paul is trying to convince Ashley to go to bed with him in an act of half-cocked revenge. But there is so much more complexity and elasticity to the characters and their up-and-down dynamics, including Ashley's revolving door of would-be lovers, each of whom Carey quickly befriends as soon as they fall out of his ex-wife's favour. Not content to simply let scenes live or die on the strength of dialogue, Covino (who directs) and Marvin (who writes) together ensure that every sequence has some kind of visual or narrative trick up its sleeve. At one point, the camera constantly swerves around Carey's small but jam-packed-with-people loft. At another, it ducks in and out of Paul's expansive beach house. There is a relentless energy to the pair's gags – including a riotous fight between Carey and Paul that rivals the stunt work of a John Wick movie – that anchors the film somewhere between relatable and absurd. Meanwhile, Johnson and Arjona – the actresses possessing more familiar faces than their on-screen husbands – are immensely captivating as women who might not know what they want in life, but definitely know more than their clueless partners. While Johnson goes far above her typically muted charm (this is The Materialists' star's more beguiling romcom of 2025), Arjona is even better as the frustrated Ashley. The actress not only leapfrogs over the third-degree-burn sex appeal of her femme fatale in last year's Hit Man but also adds layers of emotional vulnerability that make every one of her character's punchlines hit that much harder. By the time that the four performers are crammed together in a dizzying sequence involving impromptu sex, a children's birthday party and the antics of a professional mentalist (played by Succession's superbly stammering Nicholas Braun), Splitsville lives up to its title and then some. Guts will be busted, and sides will be split. Heck, moviegoers might even learn to kiss and make up with comedies for good.


CTV News
an hour ago
- CTV News
Police target Nickelback fans in B.C., nab 18 alleged drunk drivers
Chad Kroeger of Nickelback performs alongside Ryan Peake as the band performs during the Toronto International Film Festival on Friday, Sept. 8, 2023. THE CANADIAN PRESS/Cole Burston LAKE COWICHAN — Police on Vancouver Island say roadside checks set up for a Nickelback concert this month resulted in 142 breath demands and netted 18 alleged drunk drivers. The BC Highway Patrol says 54 other types of violation tickets were handed out after the checks were conducted in Lake Cowichan, B.C., for the concert by the rock band on Aug. 9. The alcohol screenings resulted in 13 drivers being issued immediate 90-day driving prohibitions, four receiving three-day prohibitions and one 24-hour ban. The Nickelback concert at the Laketown Amphitheatre was billed by ticket retailers as the band's first performance on Vancouver Island in 20 years. BC Highway Patrol says it also made 220 roadside breath demands during the previous weekend around Lake Cowichan for the four-day Sunfest concert festival. These resulted in 11 driving prohibitions and 172 other violation tickets. This report by The Canadian Press was first published Aug. 19, 2025.