HOLD FAST is an exhibition for times of turbulence, when the earth at our feet trembles, and we look for something to hold onto, when undercurrents of anxiety seep into our lives and we look for answers.  The works in the group show mirror life's mysteries, they present coexisting opposites, embrace accepting the unknown and look both forward and backward into time - to find that harmony is a state of mind.

The show opens with Shelley Adler’s watercolour Venus In Furs, a saucy portrait of a young woman in washes of rich indigo blue.  She exudes a confident knowing of the world, in all its murkiness, from her coy glance to her deeply rimmed eyes, she firmly occupies her space and being.

Following alongside is Didsbury artist Esther Suzanne Scott’s frantic painting entitled The Three Three.  A deeply honest self-portrait, Esther explores her vivid fantasies, her agonized confusion, and turbulent creative energy, creating a work that erupts in painful pleasure.

Esther Suzanne Scott’s brilliant text-based piece I AM JUST LOST greets the viewer in the inner part of the gallery.  Her sparkling sequin pendant surrounded by pretty, white pom-pom trim and fringe, frames her epiphany that not having life’s answers – is perfectly fine.

Hanging on the same wall, just to the right of Esther’s pendant is Woman with Mask, a black and white photograph from 1974 by American artist Jo Ann Callis.  Her haunting dreamlike photo of a young, masked woman standing naked with arms swaying, surrendering to that which came before, and to that which lies ahead.

Sometimes Rainbows are Black an installation by Dana Holst is on the wall directly across from Esther and Jo Ann’s pieces. Made from seven vintage wedding dresses that Dana painted black and cut into strips, this large textural rainbow and two guardian angels hover in sombre greeting of fate.  Of how sometimes good luck can be bad luck and sometimes bad luck can be good luck.

Directly to the right of the rainbow stands a magnificent tribute to nature.  Matthew Brandt’s mirrored silver gelatin photograph of giant trees humbles us with the strength of the earth.  It’s magic draws the viewer down the path leading to fresh forest air and a calm state of being.

We now turn to Wanda Koop’s Spill painting, the central energy of the show.  Born from a fusion of the colours of technology, from TV to the digital age and wrapped up in the allusions of fluttering curtains. The more we look at this painting, with its wobbly hand touched bands of vibrant colour, the more we are drawn into and behind the canvas, transforming our perspective in life.  Like finding an alcove behind a waterfall. Unifying, harmonious and protective.

As we emerge from Koop’s painting we breathe a sigh of relief and realize that all is as is should be.  Before us on the ground we discover Jon Pylypchuk’s bronze sock puppet sculpture, an ode to love and another dimension, a piece that brings us to feel humble and to enlightenment.