Name: GALLERY OPENING - WAYNE BOUCHER
Start: 2025-04-13T18:00:00-03:00
Location: 209 St. George St., Annapolis Royal, NS, Canada, Nova Scotia B0S 1A0

Join us for a Gallery Opening to celebrate a show of work by WAYNE BOUCHER!
The Opening is on Sunday, April 13 from 5:30 – 6:30 pm. All welcome! There will be light refreshments and a cash bar.
The show will be up from April 8 – May 6, 2025.
Works are for sale, with proceeds supporting both the artists and King’s Theatre.
Wayne Boucher Bio
Wayne was the recipient of the 2006 Nova Scotia Portia White Award for excellence, innovation, and expression in the arts. Key professional successes include winning the 2004 juried competition to execute the mural entitled Réveil for the new Interpretation Centre at Grand-Pré National Historic Site. Boucher became a member of the Royal Canadian Academy in 2002. In 2012, “Drowning in Colour” http://vimeo.com/71404777 was directed by Alan Collins. In 2014, three of his painted designs were selected for meeting room carpets in the redecorated Canada House, London, UK

The book “Beyond The Surface: The Art of Wayne Boucher” was published by Xeno-Optic Publishing, Saint Thomas University, Fredericton NB in May 2021.
About the Red Pony and Friends:
“The Red Pony” had its debut in 1988, 53” x 72”, acrylic on canvas, and is in the collection of Susan and the late Nat Tileston. The use of “The Red Pony” saw its return in small paintings for Paint The Town in 2002/2003, and again in 2024 with its reuse in current paintings.
The use of expressionistic animals in the work began in 1986 with the Deity Series (dog as god series), as an outcome of having to walk by a derelict house with 6 to 10 ferocious chained barking dogs in the winter time in order to get to our house. This evolved into “The Nine Lives Of Pepper Boucher”, a favourite cat that seemed to have more than nine lives. Around the same time our young family visited a The Metropolitan Toronto Zoo. I brought home a catalogue of zoo animals and started cutting out the animals and used them in precarious encounters with abstracted shapes and gestures in 1987. In 1988 the Red Pony was used for the first time and I still have no idea why it was Red. Perhaps I saw a cover of John Steinbeck’s Novella “The Red Pony”, but its’ later influence has affected recent works after listening to the late Frank Muller’s beautiful reading in the audiobook edition of “The Red Pony”.