Artalogue

• Things Left Unsaid: Bria Fernandes

  Bria Fernandes' unique visual language speaks volumes about the things left unsaid. The Ottawa-born-Winnipeg-based figurative painter creates work that explores the nuanced experiences of Black womanhood, identity formation, and the minutia of everyday life.  Just hours before the opening of her first hometown solo exhibition at Gallery 1CO3, Bria sits down to share the creative journey behind her new show "Things Left Unsaid."Bria reveals how her artistic practice has evolved from her earliest memories painting children's bedrooms to exhibiting internationally. The conversation uncovers a methodical creator who meticulously plans both her figures and backgrounds, refusing to treat any element of her composition as an afterthought. What emerges most vividly is Bria's current artistic evolution, like the recent fusion of her elements in her mural work with her fine art practice. Where these two creative expressions once remained separate worlds, she now deliberately incorporates the graphic, illustrative elements from her public art into her oil paintings. The result is a vibrant new direction represented by "Step Aside Slash," the exhibition's centrepiece that Bria describes as something that pushed her towards a new artistic direction. The discussion provides a deep and meaningful meditation on the realities of being a living artist beyond technique, to explore supporting oneself, periods of instability and the inevitable comparison with peers.  Her advice for emerging artists rings with practicality: say yes to opportunities, build connections despite introversion, and avoid alienating jargon.Join us for this intimate conversation with an artist whose work invites us into moments of introspection, capturing the human experience. Follow Bria's journey as she continues to develop her distinctive visual language, one that speaks volumes about what often remains unsaid. Connect with the Artalogue: Madison Beale, HostBe a guest on The Artalogue Podcast

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• Jacob Trouba: Hockey, Art and Making His Mark

  Jacob Trouba's artistic practice couldn't be more connected to his day job as an NHL defenseman. When the Anaheim Ducks player (and former New York Ranger and Winnipeg Jet) starts painting, he's not leaving hockey behind. He's channelling his skills into a unique visual language. "I think it's kind of a unique way of mark making that's special to me and ties into hockey," Trouba explains, describing how his approach clicked when he began viewing painting as mark-making rather than trying to create a representational image. Inspired by artists like Yves Klein, Trouba uses his body as the primary tool, incorporating the physical movements of hockey into his artistic process. The result is dynamic and apstract, capturing the energy and movement of the sport.Trouba's artistic journey began unexpectedly during summers in New York while his wife completed her medical residency. What started as curiosity about what makes art "good or bad" evolved into a genuine passion. Now, he visits museums and galleries in cities across North America on the road during the NHL season, constantly expanding his artistic education. This dual identity as professional athlete and emerging artist culminated in his first gallery show at Harper's in New York .Beyond his personal practice, Trouba and his wife founded the Trouba Creative Expressions Art Program, working with adults with epilepsy to experience the therapeutic benefits of painting. "To see the excitement that they all had about the pieces they made and just how proud they were... I think that struck both of us as pretty special," he shares. Trouba exemplifies how seemingly different worlds can meaningfully intersect. Maybe art and sport aren't so different after all.  Connect with the Artalogue: Madison Beale, HostBe a guest on The Artalogue Podcast

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• Every Monument Will Fall: A Conversation with Dan Hicks

  What determines who gets memorialized in our public spaces? Why do some histories endure while others are erased? Dan Hicks, professor of contemporary archaeology at Oxford University and curator at the Pitt Rivers Museum, answer these questions today on the Artalogue. In today's episode, we talk about Hicks' new book, Every Monument Will Fall, his research and how he navigates complex histories of colonialism and cultural heritage from within the institution. Every Monument Will Fall examines our memory culture: who we choose to remember through monuments and museum collections, and whose stories remain untold. Hicks challenges the notion that removing colonial monuments constitutes "erasing history," arguing instead that it creates space for different memories to emerge. "To shift a memory culture isn't to cancel history," he notes. "It's actually to decide that we want, as a society, to remember somebody else."Particularly eye-opening is Hicks' critique of major museums' lack of transparency about their collections. We chat about some museums poor record keeping, some with millions of objects (including human remains) hidden away in storage and undocumented. On the politics surrounding restitution, he asks of museums, "how can you be looking after something if you don't even have a list of what you've got?" This powerful conversation forces us to confront the uncomfortable truths about whose heritage we preserve and whose we neglect.Whether you're interested in museums, public history, or how societies remember and forget, this episode offers profound insights into how we might reimagine our memory culture for the 21st century. It packs a lot in just 25 minutes - prepare to learn! Follow Dan Hicks on social media @ProfDanHicks and discover his books "The Brutish Museums" and the forthcoming "Every Monument Will Fall." Connect with the Artalogue: Madison Beale, HostBe a guest on The Artalogue Podcast

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• Nina Orm is Funding the Future

  What happens when you combine a background in government policy, financial expertise, and a deep passion for creativity? You get Nina Orm.Nina's journey from feeling "spiritually bankrupt" in finance to founding Orm Muse Collective and the Agora Fund is inspiring. Her story illuminates the critical moment we're facing in creative industries where traditional structures are crumbling, but from this breakdown emerges an opportunity for reimagining what the future of the art world could look like. "We do things for money to survive, but art and creativity are the reasons we live," Nina shares, explaining why she's dedicated to constructing financial, educational, and emotional support systems for creators. Through Orm Muse Collective, she's created a business school specifically designed for artistic minds, addressing the reality that even the most talented artists struggle without entrepreneurial knowledge.The Agora Fund is Orm's bold attempt to redirect capital toward underrepresented voices in art, film, and fashion. Rather than waiting for traditional investors to recognize diverse talent, she's actively creating these opportunities herself, focusing on creators traditionally excluded from investment opportunities.Orm offers practical wisdom throughout our conversation, from establishing a weekly "financial date" to review your finances, to recognizing that hard work beats talent when talent doesn't work. Her candid advice for creative entrepreneurs ("keep your day job while building gradually") reflects both her financial expertise and her lived experience navigating entrepreneurial challenges.Whether you're a creator seeking financial literacy, an arts professional wondering about the future of creative industries, or simply curious about how astrology might influence career decisions (yes, we discuss Saturn returns!), Nina's insights offer a refreshing perspective on building sustainable creative careers in uncertain times.Ready to reimagine how we fund, value, and sustain art in a world that desperately needs it? Listen now and discover why Nina Orm believes we're on the cusp of a cultural renaissance. Connect with the Artalogue: Madison Beale, HostBe a guest on The Artalogue Podcast

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• Simon Hughes: Manitoba to MFA

  Today on the Artalogue, Canadian artist Simon Hughes chats with Madison Beale from his Winnipeg studio about his creative beginnings, Canadian art and his career. This episode is all about finding your artistic voice in unexpected places.Hughes reveals how he developed his unique approach that treats watercolors, drawings and canvas paintings as equal  expressions, not relegating drawings to mere preparatory sketches. His technique of building translucent layers of color, inspired by Paul Klee, creates a distinctive visual depth that characterizes his work. From his early fascination with Hieronymus Bosch and Surrealism to his later dialogue with Canadian art history, Hughes traces the evolution of his artistic vision with refreshing candor.The conversation takes a fascinating turn when Hughes discusses his unexpected path from graduating from the University of Manitoba to working in film production between art projects, waiting eleven years before pursuing his MFA in California, and discovering surprising similarities between Winnipeg's and Southern California's art scenes. His recent exhibition "Fire, Flood and All the Feelings" at Blouin Division showcases his ability to blend contemporary suburban landscapes with spiritual elements, creating a modern counterpoint to Lawren Harris's iconic Canadian wilderness paintings.What makes this discussion particularly valuable is Hughes' practical wisdom about navigating an art career. Rather than waiting for institutional recognition, he emphasizes creating your own opportunities through community engagement and persistent creation. "Wherever you are, that's the place to be," he advises, offering a refreshing perspective on building an authentic artistic life regardless of location or circumstances.Follow Simon's work at his studio gallery space Fire Door in Winnipeg or on Instagram @simonmhughes to discover more about his artistic journey. Connect with the Artalogue: Madison Beale, HostBe a guest on The Artalogue Podcast

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