Humans and other animals in the middle, and the underworld beings (the Horned Snake or Mishipeshu, the big lynx) at the inferior level. It has been showed that in painting sites, the arrangement of symbols corresponds to the ordering of the spiritual world in different levels: the Thunderbirds above, Aesthetic order is in accord with nature, and images are often integrated with the numerous hollows, crevices and seams of the rock itself. That there is no deliberate grouping of images. Here, there are no pictorial boundaries such as frames or groundlines, and it seems Is the most outstanding in all of Canada with its several hundred images of humans, animals and boats, all contained on a single rock outcrop of crystalline limestone. The Peterborough petroglyph site in southern Ontario (see Petroglyphs Provincial Park) The Canadian Shield, which extends from Rivière St-Maurice in Québec to northern Saskatchewan,Ĭounts more than 500 pictograph sites, while petroglyph sites are confined to the south. In addition to this traditional iconography, there are also images of European origin, such as firearms, churches and Christian designs as well as beautiful representation of sailboats. Ornamental designs that are also found on Mi’kmaq clothes. Images include animals, anthropomorphic figures, hunting and fishing scenes, footprints and fingerprints, and Some of them are found in Kejimkujik National Park,Īt Medway River and MacGowan Lake, and in southwest Nova Scotia. The Maritime provinces count many rock art sites that are usually attributed to the Mi'kmaq.Įssentially composed of petroglyphs, this art generally consists of fine incisions made on slate rocks along the shores of lakes and rivers. The Prairies, British Columbia and the Arctic. Several broad regions of rock art "style areas" have been distinguished, including the Maritimes, the Canadian Shield, Rock art in much of Canada is linked with the search for helping spirits and with shamanism - a widespread religious tradition in which the shaman’s major tasks are healing and prophesy,Īlong with the vision quest. The tradition of rock art was no doubt brought into Canada by its earliest occupants during the last ice age. No foolproof method for the precise dating of rock art has been discovered, other than speculative association with stratified, relatively datable archaeological It is part of a worldwide genre of rock art, which includes the cave paintings of SpainĪnd France as well as the rock art of Scandinavia, Finland, northeast Asia and Siberia. In fact, pictographs and petroglyphs may constitute Canada's oldest and most widespread artistic tradition. Rock art sites have been discovered throughout Canada. New York, NY 10002.Previous Next Pictographs and Petroglyphs in Canada Massey Klein Gallery is located at 124 Forsyth St. The artist’s paintings and curatorial work have been reviewed by and featured in Hyperallergic, Two Coats of Paint, Brooklyn Magazine, The New York Times, Maake Magazine, Art Maze Magazine, Art Spiel, Sound and Vision Podcast, among others. Haggarty has been a visiting artist and lecturer at SUNY Purchase, MFA Hunter MFA Denison University Brooklyn College MFA and in 2018 Haggarty was the Anderson Endowed Lecturer at Penn State University. Currently, Haggarty is an adjunct professor at The School of Visual Arts and also co-directs NYC Crit Club. The mysterious nature of the artist’s environments encourage the viewer to reflect on the human experience and timelessness of painting.Ĭatherine Haggarty earned her MFA from Mason Gross, Rutgers University in 2011. Haggarty incorporates a variation of footprints, patterns, and animal coats to portray themes of movement and migration as well as animal chatter and communication. Atmospheric and abstract layers build, organically shifting to reveal glimpses of an animal and its signifiers. Inspired by the atmosphere within the caves and the visceral experience of viewing the paintings, her work seeks to capture the essence of her subject matter, rather than present a clear, formal object. Haggarty’s newest body of work included in An Echo’s Glyph is informed by early cave paintings in France that she visited in 2019. Her artwork explores how images communicate how our automatic, subconscious and steadfast attention can collide to conjure new forms, new images and perhaps, new understandings of ourselves. She is interested in how lines can have both clear agency and wavering ambiguity while building an image - pushing blurry imagery and saturated forms together. Using air brush, oil stick and fluid acrylic, forms reference animal patterns, imprints, and ancient symbols that create a fictional space for viewers to navigate. Catherine Haggarty's practice explores the ambiguous relationship of language, time, context, and form.
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