Ericka Wolf

Blush: Abstract Painting, Oil on Wood, 2010s, New, 12x12

2025

Glow by Ericka Wolf is an abstract oil painting on wood that features a soft, blended gradient, moving from cool blue-gray tones at the top into warm peach hues at the bottom. It fee...

August Light by Ericka Wolf is an abstract oil painting on wood with a soft, minimal look, featuring a gentle gradient that fades from cool blue-gray at the top to pale light tones a...

Turbulence by Ericka Wolf is an abstract oil painting on wood that shows a soft, layered gradient, shifting from cool blue-gray at the top to gentle peach tones at the bottom. It fee...

Lavender Sky by Erika Wolf is an abstract oil painting on canvas with a soft, muted gradient, transitioning from cool blue-gray at the top to pale cream and earthy beige tones below....

pink Landscape is an original oil painting on canvas created in 2026. Soft transitions between deep and warm luminous tones evoke a quiet horizon suspended between sea, sky, and memo...

Blush Horizon - Small Square Abstract Landscape Canvas Art Study by Contemporary Artist, Angela Wakefield Art measures 6 x 6 inches Frame measures 11 x 11 inches Title: Blush Horiz...

Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception. Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated. The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scraping and gouging acrylic pa...