Tag Archives: The Banff Centre

PRESS RELEASE :: ‘Undercurrents’ Debuts at The Whyte Museum, Banff, AB CANADA

'Undercurrents' © Janice Iniskimaki Tanton 2014. Oil on linen. 103"x133"

‘Undercurrents’ © Janice Iniskimaki Tanton 2014. Oil on linen. 103″x133″

‘Undercurrents’ is an oil on linen painting, 103″x133″ that will debut in the exhibition  “Water Eau 水 Mînî पानी Wasser מים Acqua پانی Tubig H2O”, curated by Anne Ewan and featuring the art of historical and contemporary Canadian artists from Tom Thomson to Ken Danby and David Thauberger.

“This exhibition includes visually stunning and timely orchestrated compilations of historic and contemporary painting, video and installations that examine the beauty and peculiarity of Earth’s greatest resource. Acclaimed throughout time for its unpredictability, tranquil qualities, ritual and hygienic uses, nourishment and abundance, the purity of water and its sources are under threat. Our existence is contingent on water.

Canada is bound by three oceans and strewn with multiple fresh lakes, rivers, waterfalls and aquifers. Historically, Canada’s waterways supported Indigenous communities, the fur trade and explorers whose travels contributed to the settlement, urbanization, economic development and transportation of the nation. Reflected in literature, music, poetry, theatre, dance and art, water continues to be synonymous with Canadian identity.

The exhibition presents works of art from private and public collections and features a range of styles from the early 19th century to the present. Through the works of art presented in “Water”, the viewer is invited to explore a diverse range of artistic approaches that include representational imagery of rivers and lakes in the landscape, to life affirming and threatening metaphorical associations. The exhibition encourages contemplation of alternative perspectives, grounded in our real-world fascination with and increasing recognition of the global challenges that arise in relation to this precious natural resource, in the face of changing climatic conditions.” – Anne Ewan, Senior Curator, Whyte Museum of The Canadian Rockies.

“As a living female contemporary artist, I am thrilled to see my work positioned in context with my early mentor, Ken Danby and Group of Seven members Franz Johnson and Tom Thomson.” – Janice Iniskimaki Tanton

‘Undercurrents’ is the first in a series of large-scale works by Tanton that explore our contemporary Canadian nationality and attachment to this great land. It was created at The Banff Centre as part of a Leighton Colony Residency.

Please join Janice Tanton at the debut of this major and important Canadian work at the Whyte Museum of the Canadian Rockies, Banff Alberta on Sunday, June 14 1 – 4 pm.

(Artist in attendance 3 – 4 pm.)

Sacred Space – The Artist’s Residency

Bull elk visiting the Leighton Studios at The Banff Centre.

Bull elk visiting the Leighton Studios at The Banff Centre.

Everyone gets in a rut. Having the opportunity to take a vacation, or a physical break from your regular work cycle enables you to have a new perspective on things. Yes, there is a sense of comfort to having ‘everything in it’s place’ in your own home studio, but there is something to be said for shaking it up, expanding your horizons and getting into a new space to create and imagine the possibilities previously unthought of.

For me, I literally “get outside” and paint when I can, taking the opportunity to explore the Rocky Mountains and Kananaskis Country – literally in my front and back yard. That’s an “elegant solution” to a one-day residency.  A great way to observe and appreciate nature and create something new.

For a more in-depth examination of the process or project, there is nothing like leaving my comfy home studio and driving a half an hour down the road to the Leighton Artist’s Colony at The Banff Centre. This January/February marks the fourth residency period I’ve been fortunate enough to enjoy in this cadillac of artist’s residencies. I feel very lucky.

Big Blank Canvas all prepped and ready to go in the Gerin-Lajoie Studio at The Banff Centre.

Big Blank Canvas all prepped and ready to go in the Gerin-Lajoie Studio at The Banff Centre.

Nestled in the woods, is my favourite visual arts studio – the “Gerin-Lajoie”. Complete with a kettle, toaster, small fridge and microwave, it’s my favourite place to imagine the “new” in my practice. It’s a quiet place, no distractions – but with all the amenities that you need for your own creature comfort a short walk away. Many artists choose to actually reside at The Banff Centre during their residency period, and for that, The Banff Centre offers wonderful accommodation, a pool and exercise facility, several places to dine and a library that you could get lost in for the rest of your life. To me – it’s heaven on earth, all located on the side of Buffalo Mountain, a sacred place to many First Nations – a place for vision quests for over 14,000 years. Fitting for artists to congregate and exchange on this natural place for creation in contemporary times. I travel back and forth from my home, as it’s important to me to be with my family every day.

Work In Progress - Gerin-Lajoie Studio at The Banff Centre.

Work In Progress – Gerin-Lajoie Studio at The Banff Centre.

I’ve been planning for this residency since May of last year, after receiving the news that I’d be one of three artists in residence for Gwaii Haanas National Park. Knowing full well that I’d need some incubation time over the summer, and follow it with some intensive creation time, my plans were to work on some very large scale paintings at the “Leightons”. News just days before Christmas that I was diagnosed with breast cancer changed that, and for several weeks, I felt as though my entire life was askew. Everyone was sad…and so was I. Hmmm…no residency, what did the future look like? Chemotherapy? Radiation? Surgery?  Painting might be a thing of the past for me for quite some time, and that was the second blackest thought I could imagine. I won’t entertain the first.

It took a couple of weeks to work through these issues emotionally, until finally I was able to meet with my surgeon and get some good ideas about what I might or might not be able to expect of life in the coming months (and years). The morning following the surgeon’s meeting, after deciding that a modified radical mastectomy to remove my right breast and lymph nodes was the way to go, I also realized that I needn’t put my life on hold because of this. Everything didn’t have to stop – but things had to change. It was a complete “AHA” moment. Although I had found out that I had a life-threatening disease and that the road to health may be long and difficult, I came to the total realization that cancer didn’t affect ME…my soul, my art or my outlook on life and that I was the only one who could adversely affect that, if I continued to dwell on the “what if’s” instead of dealing with the “Wow…what I’ve already gots”, so to speak.

Cancer can’t kill your spirit, your soul, your love of life and family. You’re in control of that one, entirely.

So, with some incredible encouragement from my dear friend Jen Houck, Program Coordinator at the Leighton Art Colony, I realized that I should continue with my work and give myself the goal of returning to my residency two weeks after surgery. The two weeks were up on Monday, and I didn’t quite make it. Drains are still in – there’s some weird nerve pain that’s holding me back, but that’s okay – I need to rest and take care of my spirit and my body. I’ll get there soon!

Work In Progress: Stage 2- Gerin-Lajoie Studio at The Banff Centre.

Work In Progress: Stage 2- Gerin-Lajoie Studio at The Banff Centre.

Family and Friends To The Rescue!

In the meantime, before the surgery, my family and friends pulled out all the stops to get my studio set up and help me to get as much large-scale work on the go as I possibly could. My youngest brother David who lives in Calgary drove in and gessoed over forty feet of canvas in a day! Three coats PLUS sanding! (We won’t talk about poor Dave getting locked out of the studio, though.) Kevin and the kids moved a mountain of prepped linens and paint into the studio, and unselfishly granted me the time and space to draw and get as much work done as I could before my surgery.

Friends and colleagues came to visit and lend support. I’ll never EVER forget your kindness, and you know who you are…Tab, Jen, Wanda, Sarah, Lisa, Donna et al.

With the type of surgery I have, there is a danger of not having full mobility in one’s arm, shoulder or muscles for some time. This was the biggest fear I had going into my surgery – that I would not be able to paint the way that I wanted. Nerves are delicate things, and taking care of how everything interconnects requires the genius and care of a great surgeon. Lucky for me, I have one, and he was totally on board with me…figuring out an “elegant solution” to try his best not only to save my life, but to ensure I could paint. I’m doing pretty well right now, almost three weeks post-surgery. Life isn’t without it’s ups and downs, and I’m not back in the studio painting quite yet….but I know I will be. Thank you, Dr. Austen, Edith, Dr. Quinlan, Pam, Canmore Home Care, Cathie, Julie, Sarah, and all the staff at the Breast Cancer Clinic and Rockyview Hospital. You have rocked my world.

Knowing that I have a sacred space to go to has given me a goal and a direction and helped me remember not only who I am, but what I can accomplish with my family and friends when we put our minds and hearts into it.

Work In Progress: Stage 3- Gerin-Lajoie Studio at The Banff Centre.

Work In Progress: Stage 3- Gerin-Lajoie Studio at The Banff Centre.

The Show Must Go On :: When Health and a Busy Art Career Collide

Works in Janice Tanton's studio waiting to be delivered to OAG for CAMP

Works in my studio to be delivered to OAG for CAMP

This has been a wild and wooly month. After being diagnosed with breast cancer just before Christmas, we’ve had a roller coaster of emotion and action in the household, combining doctor’s visits, show openings, Leighton Colony residencies, tests and surgery. On Monday, January 21st, just a week ago – I had a modified radical mastectomy to remove my right breast and the Level 1 and 2 lymph nodes under my right arm, which also showed metastatic breast cancer. In a few weeks, I’ll have treatments to get on with, to heal and make myself well again. My goal is to return to my studio at The Banff Centre by February 4th, which is ambitious but attainable.

The same time I found out that I had breast cancer, I was also scheduled for a two month heavenly residency at the Leighton Artist’s Colony at The Banff Centre, in my favourite studio – the Gerin-Lajoie. The project of this residency was to develop some major works out of my residency and time in Haida Gwaii. Time is a pinch point for me now…I also had my first solo public gallery exhibition opening at Okotoks Art Gallery!….and another in Haida Gwaii at the end of February.

As the saying goes, “Something’s gotta give.” Blog updates have been the first thing to go through this crazy month…but today I’m back at the computer writing, and playing “catchup” with all the news….between healthy sleeps, healing and pain medication.


Kevin Nuxoll Setting up "ABUNDANCE" at the OAG for the CAMP exhibition

Setting up “ABUNDANCE” at the OAG for the CAMP exhibition

Kevin straps the tipi installation to the truck on a cold December morning.

Kevin straps the tipi installation to the truck on a cold December morning.

My first priority of course, was my health, followed by a quick decision to get all of the work for the CAMP show down to Okotoks. The staff at the gallery did an incredible job curating and hanging the work, and none of it would have happened without the support of Kevin and our family. It was an exhilarating experience to see two year’s of research and work leave the studio in Canmore and take a different form in Okotoks.

What first appeared to me to be a mish-mash of thought and style emerged as a wondrous and elegant exhibition in the hands of the curatorial staff at the OAG. I’m very grateful for their care and understanding of the work and the difficult time we were going through.  We were blessed that my adopted father, Elder Tom Crane Bear, opened the exhibition with a smudge and prayer. I felt very loved and cared for in the midst of all the emotional and health turmoil invading my body. My family, friends and colleagues are amazing and deserve full credit for the success of this work. I’m so grateful to have such a supportive community. Sookapi!

The exhibition hangs at the Okotoks Art Gallery until February 23rd, so be sure to make a visit to see this culmination of works, so relevant to our current times as we all struggle with the use of resources, temporary claim to land and space and culture. Our Canadian identity is becoming more defined as each day passes with the Idle No More Movement, and I’m so proud of my family in both cultures.

The show must go on, and we must dialogue, work together with respect and find common ground for success.


Bo Bartlett Talks About Art, Life and How To Be – Dowling Walsh Gallery 2010

American artist Bo Bartlett is a human being I admire greatly for his vision and skill at equal levels with his beautiful perception of life. I had planned to attend a Master Class this fall with him at Pennsylvania Academy of Fine Art, but a busy residency at The Banff Centre kept me from it…..(this time!) I’m hoping that the opportunity will be there again soon.



Bo Bartlett Artist Talk 2010 from Dowling Walsh Gallery on Vimeo.

Prolific? Perfection? :: What does that mean for artists?

Janice Tanton's studio with works in progress at The Banff Centre.

Studio with works in progress at The Banff Centre.

How Much and How Good?

From September 10th – October 26th, 2012, I was a BAIR (Banff Artist In Residence) at The Banff Centre. During that time, I had access to incredible facilities, perfect studio space and the valuable interaction with other artists from all over the world.

Detail - Sketch - Bag Harbour, Gwaii Haanas National Park, Haida Gwaii.

Detail – Sketch – Bag Harbour, Gwaii Haanas National Park, Haida Gwaii.

I was focussed on starting to work through my research Gwaii Haanas National Park & Haida Heritage Site Artist in Residence. Things don’t always go as smoothly as one would wish. Delayed by a week getting into the residency because of an encounter with a deer earlier in the summer, our vehicles weren’t available. It was frustrating to want to “get at it”.

Just a few days after moving into the studio in Banff, due to extenuating circumstances, the Artists In Gwaii Haanas exhibition was going to be moved to late February. Originally, it was to open November 9th. Needless to say, this also caused a bit of stress and mental panic, as my well-laid plans were to work on Haida Museum exhibition first, and then move along to polish works for the CAMP show at OAG in early January, 2013, also hoping to include some of the work for Haida Gwaii in the CAMP show. Ey yi yi……now, while it looked on the outside as easier with more time, in fact, I had less time and more pieces to create! I also had to cancel plans I was making to attend a Master Class with the incredible Bo Bartlett at the incomparable Philadelphia Academy of Fine Arts that would land in the last quarter of the Banff residency. Dang it – well, I’ll catch up with Bo another time. Priorities! Yes, I was disappointed in myself and the circumstances, but there’s only so much that’s physically possible.

“Downed Tree” – Sketch Detail: Bag Harbour, Gwaii Haanas National Park, Haida Gwaii.

Mentally, I think that was the button that put me into high gear, but sideswiped “plans” for works I wanted to create. This has an upside in that with shorter time, I didn’t have as much time to THINK too much and let that get in the way of the painting. After all, what I had really hoped for was some incredible time to experiment and explore as a painter. In the end, that happened anyhow. I did the largest, most expressive piece I’ve ever painted, now powerfully throwing out it’s energy in our living/dining room, waiting the final work on the figure.

Throw in two studio tours in that short period of time, and you have either an experimental recipe for disaster, divorce, high creativity or all the above.

I’ll let you off the hook and say that it was the high creativity that ended up working for me. Thank goodness – Kevin and the kids really were great at supporting the long nights, early mornings, laundry and household chores, although there was a lot of Subway meals going on. The only disaster that happened was the earthquake over the weekend in Haida Gwaii. Yikes.

I was a bit oblivious to what I was doing, I have to admit. Shutting pretty much everyone and everything out, I think I just became a painting, sketching machine. I didn’t realize it until several people that I really respect as artists and critics, on different occasions remarked at how incredibly prolific I was.

I still don’t see it – I admit hoping for more. 

While not everything is fully finished, here is the “count” which doesn’t fully quantify the intrinsic value of the residency for me, but sure does point to some kind of weird prolific production tendencies and desires, given the time and space of only 33 days. I think it’s good to step back and analyze your ability to produce work in some form. Maybe I need to give myself a break! Taking ten days now to totally rest and visit family and friends in Ontario….if I can get in through Hurricane Sandy.



Production Graph for BAIR Residency, Fall, The Banff Centre with Janice Tanton Total Number of Actual Working Days In The Residency: 33

Sketches : 129

Square Feet of 22K Gold Applied : 20

Embellished Giclee Works: 18

Yards of Belgian Linen Used: 17

24×36 Oil Paintings on Canvas : 3

Days Occupied In Studio Tours: 3

40×72 Oil Paintings on Linen : 2

40×60 Oil Paintings on linen: 2

72×96 Oil Paintings on canvas: 1



Time and Space : Priceless!




What does “prolific” mean to you?


Related Posts:

How Do We Measure? – 10 Meaningful Ways and 10 Stupid Ways to Measure our work as artists.

Artist Kate Smith: How do you measure success as an artist?

“Masters of Chicken Scratch” Blog by artist Dwayne Vance – “Measure Your Success”


Happy International Artist Day To You!…And a big fat Happy Birthday to Picasso & Me! Let’s Do Cake.

International Artist DayWho knew it? Today has been declared International Artist Day. A big thanks to Alyson Stanfield for posting on this and letting me know – I’ve been so busy painting at The Banff Centre in a residency, I didn’t even know it! There is something to be said about creative time…and something to be said about keeping your radar ears on. Today is the day we move all these fresh new paintings out of my studio in Banff and back into the Canmore studio for finishing touches. Boy, am I celebrating on so many levels!

"Foothills" ©Janice Tanton 2008. Oil on board. 8"x8"

“Foothills” ©Janice Tanton 2008. Oil on board. 8″x8″

Given that October 25th is Picasso‘s birthday….and also MY birthday, I’m sure next year, I’ll be a lot more prepared to party!

Guernica - Pablo Picasso

“Guernica” – Pablo Picasso. I remember the first time I saw this. It moved me and made me think.

The Importance of NOT Being In Earnest – The Underpainting

Things are coming along well in my residency at The Banff Centre. With three  large paintings on the go at the moment, I’m well on the way to getting what I’d hoped for. The work you see below represents about four days of painting for me, also allowing drying time. This time period encompasses the original thumbnail sketching and all work to bring it to this point. Friends often remark that I’m very prolific, it doesn’t often seem nearly fast enough for me. There are more paintings in my head than I will ever be able to complete in my lifetime…and that does create a feeling of being in earnest. When I’m creating like this, it’s hard to sleep and maintain a regular family schedule – another source of anxiety!

Underpainting Detail - Stage One.

Underpainting Detail – Stage One. Terre verte allows for a luminous skin tone in the final layers. Setting the stage is crucial for success in this technique.

Getting an idea out of my heart and head is not always easy. Sometimes it comes together, and sometimes it doesn’t. I wanted to try a different approach to my work and underpaintings on this group, which are slated for exhibition from my Gwaii Haanas Artist In Residence experience. The colours on the underpainting are different from how I generally combine the subject and technique. I’ve taken an approach to combine the quick onsite plein-air experience with the more academic figurative approach. So far, it’s coming along, and I anticipate that it will provide the results that I’m looking for.

The underpainting can set the tone (literally) for the work, allow you to plan out in paint what you may have already done in the sketch, alter the scale, define the values and tighten the composition. I’ve never worked this large (40×60 and 40×72) with this particular underpainting approach. I’m very pleased with how it’s coming together.

Underpainting - 40x72 - Janice Tanton. Oil on linen

Stage 1 – Underpainting – 40×72 – Janice Tanton. Oil on linen

Working with terre verte, I’ve blocked in the underpainting for the figure within the landscape. Terre verte, raw umber or burnt umber are my preferred first value underpainting pigments.

Stage 1 - Underpainting - 40x72 - Janice Tanton. Oil on linen

Stage 2 – Underpainting – 40×72 – Janice Tanton. Oil on linen

In the second stage, I’m considering the seascape as quite a different situation than the figure, and have decided to work with a transparent red ochre as the underpainting colour. With regard to the temperature of the painting, I think of this as the “negative” phase in that as I work the painting, areas that are warm will ultimately be cool. That transparent red ochre will provide a beautiful visual foil to the cool greys and blues of the sea water and landscape yet to come. Conversely, the warm tones of the skin, underpainting with the ghostly terre verte always provide a rich and interesting flesh tone for me, when applied in a proven glazing technique.

"Mid Life Crisis" ©2012 Janice Tanton. Oil on linen panel.

My onsite reference painting from Gwaii Haanas – “Mid Life Crisis” ©2012 Janice Tanton. Oil on linen panel.

Have a look at the four images below. This piece is at the next stage. I am establishing the darks in the landscape. As the trees are very strong compositional elements, I want to have a good idea visually, of how they are going to affect the work. This section of the painting is based upon an plein-air piece that I did onsite in Gwaii Haanas in the area of Murcheson Lagoon.

Second Level Underpainting - Step 1

Second Level Underpainting – Step 1

(If anyone had told me 8 months ago that I’d be painting purple trees, I’d have thought them mad.) However – onsite, that’s exactly the colour that they appeared to be. Quite a magical place.

Second Level Underpainting - Step 2

Second Level Underpainting – Step 2

Here, I’ve started to block in the areas of the mossy ground. I’m looking for “what it’s doing”…how it flows and the motion that I remember seeing. Everything has life to it. Paint that life – paint what it is “doing” and your works will have a vibrance to them.

Second Level Underpainting - Step 3

Second Level Underpainting – Step 3

I want to show the earth as echoing the musculature of my model. It’s important to me in this painting, that we consider our relationship to the landscape so I’m working that feel in in on the middle ground area of the underpainting.

Second Level Underpainting - Step 4

Second Level Underpainting – Step 4

Here, I’ve gone a bit further with the detailing in the motion of the trees. There is a big tug upwards and downwards on many of these branches. When I was there, I recall a synergy of existance between the land, the sea and the earth. I’m looking to emulate that with the composition, and one of the ways to do that is with the web of branches. I’m conscious also that much of this branch work will be covered in dappled light and leaves in a later stage. Knowing what’s “under” it all is part of the planning and pouring of yourself into the work.

Underpaintings are like the bones on which to drape the muscles, organs and flesh of a painting. Considering what underpins the work, both in philosophy and physical structure is an important part of the process and ultimate feeling of the work.

…so much art to create….so little time….

The Blessings :: Today I Exhale

Tom Cranebear in my studio at The Banff Centre

My Blackfoot Dad – Elder Tom Cranebear in my studio

The flutter of moving into my studio for the fall residency at The Banff Centre has mostly settled. I’m still stiff and tired from hauling gear, paints, and a pile of large canvasses up three flights of stairs. I’m thankful to all of my family who carried a load or two. (Kevin mostly! What a trooper.)

I love my studio at home. It’s comfortable – but perhaps it’s been too comfortable for the work I’m about to do, and this is why I’m here – time, space, away from the regular and back to the irregular. Shake it up and also unclutter so I can start fresh.

France Trepanier, Tom Cranebear and Margaret Froh

France Trepanier, Tom Cranebear and Margaret Froh chatting it up and helping me to focus on the tasks ahead.

It has been a weird few days. While moving in, many old friends and colleagues were also on campus to attend a large symposium – one that I’d been involved in helping to set up a few years ago when I served as Program Manager for Aboriginal Leadership at The Banff Centre. Almost two years after retiring, it was wonderful and yet strange to see so many folks that I’d worked with over the years – and here I am, in a totally different mind and body space, back to work as an artist. In many ways, still continuing to do the work that I did here, but from an artist’s perspective – specifically…mine.

What a blessing to see folks that have been participants and co-workers in both arts and administrative capacities, from all corners of the world. It was a flurry of activity, and also quite strange – almost like being transported back into a space that I’d long ago left.


Jake contemplates the work ahead. I’m so happy he came to visit today. My best critic.

Waiting To Exhale

I feel that today is my day to sing “Shoo shoo shoo shoo …be dooo”

Everyone falls
in love sometime
Sometimes it’s wrong
Sometimes it’s right.

For every win
Someone must fail
But there comes a point
When we exhale

Sometimes you’ll laugh
Sometimes you’ll cry
Life never tells us
The when’s or why’s

When you’ve got friends to wish you well
You’ll find a point when
You will exhale

Hearts are often broken
When there are words unspoken
In your soul there’s
Answers to your prayers
If you’re searching for
A place you know
A familiar face
Somewhere to go
You should look inside yourself
You’re halfway there.

The Three Musketeers

My Three Musketeers! – Best cheerleaders a gal could ever ask for.

 I’ve been so blessed to have these friends and family nearby, in my home or my new studio space this week. That is really something special, and I thank you all for wishing me so well in my new work. 

I feel I’m “home” again….whenever you are there with me. I admire you all so much and am so grateful for your special support, love and care of me in the work we all do together – no matter what corner of the world we are in or how many years it is between visits.

May you all find that point in your lives to exhale.

Jacob reviews the route we took in Gwaii Haanas

Jacob reviews the route I took in Gwaii Haanas

Inside Out/Outside In :: The Banff Centre – Midsummer Ball Fundraiser

Undercurrents Series - Red Canoe #11 ©2011 Janice Tanton.

"Undercurrents Series - Red Canoe #11" oil on belgian linen, 48x60. ©2011 Janice Tanton.

It’s that time of year again when Canada’s arts and culture philanthropists gather to support the arts and wonderful programming at The Banff Centre by attending the Midsummer Ball.

Having spent over five years as Program Manager for Aboriginal Leadership, I had a front-row view of the inner workings of the Centre and the advantage and impact that the programs have on artists, leaders and the arts. The Banff Centre’s quality programming reaches worldwide and invites the best of the best to discover, develop and create new works, new ways of thinking and safe space to develop.

I’ve been lucky to have been of service to the Aboriginal Leadership programs, but twice in a Leighton Artist Colony residency. This amazing facility provided me with time and space to develop and create works with social impact, meaning and substance. This fall, I will have that experience once again as I embark on a four week residency for the CAMP project, sponsored by the Canada Council for the Arts. I’m excited to see what will come out of the focussed time and space there.

Facilities and programming like this don’t appear out of nowhere. Substantial sponsorship, philanthropy and donations contributed from many sources allow for the support and continuance of world-class experiences in the arts. As such, I’ve donated one of my works again this year (listed above) for the Midsummer Ball Auction at The Banff Centre. You can participate and see all the wonderful auction art, luxury vacations and amazing donations at The Midsummer Ball Auction Brochure.