Thursday, 1 December 2016


Aftermath, oil on board, 20" x 24", Steven Rhude

Fool: "But what kind of society would do this to itself? Were not these the very things which forged their identity in the first place?"

Jester: Yes, true enough - but now they are condemned to a figurative journey without destination. Find them Fool, for this is where you can now haunt them." [1]

Later on...

Jester: "so did you find them?"

Fool: No, but I'm still looking. I'm told haunting has become something of an obsolete occupation for a fool. However, then I recall what that film maker once said - you know the guy... 'sometimes when I'm dreaming I think - I'll remember this... I'll make a film of it.' I wonder if he didn't have a good point there..."  

Jester: " Indeed, he makes a good point. It may sound like an occupational disease to all those that haunt - including you."

Fool: " Well, yes true enough, and good on ya - but sometimes I think the haunter has now become the haunted. Is there not a distinction to be made between the literal world and the representation of dreams?"

Jester: Perhaps it's that "in-betweeness" that should be the distinction now... for their conception of time has been forfeited to an artificial world of their own making. Space too for that matter. You must provide the in-between in order to find them"

Fool: So, how can one trust this in-between world anymore than the tangible one my task was once to haunt?"

Jester: "I've told you before I'm tired, which is why you must continue the task - yet I do recall when I started out on my own hauntings as a fool some four hundred years ago, my Jester told me this" :

"In this dream play, the author has, as in his former dream play, To Damascus, attempted to imitate the inconsequent yet transparently logical shape of a dream. Everything can happen, everything is possible and probable. Time and place do not exist; on a significant bases of reality, the imagination spins, weaving new patterns; a mixture of memories, experiences, free fancies, incongruities and improvisations. The characters split, double, multiply, evaporate, condense, disperse, assemble. But one consciousness rules over them all, that of the dreamer; for him there are no secrets, no illogicalities, no scruple, no laws. He neither acquits or condemns, but merely relates; and, just as a dream is often more painful than happy, so an undertone of melancholy and of pity for all mortal beings accompanies this flickering tale." [2] 

Steven Rhude, Wolfville, NS

[1] A place called Away; living and painting in Nova Scotia, pg 37
[2]Strindberg's preface to A Dream Play (Ett drömspel), 1901.  

Friday, 25 November 2016


Reclamation, o/b, 22" x 52", Steven Rhude

Steven Rhude, Wolfville, NS

Sunday, 20 November 2016


Portrait of Kluskap (with Amethyst), oil on canvas, 38" x 60", Steven Rhude

"Kluskap, the first creature, was created out of three bolts of lightening, according to Mi’kmaw legends. Gerald Gloade, a public information officer with the Mi’kmawey Cultural Centre at Debert, says the first bolt gave him form, the second life, but he was still connected to the land and could only observe and learn from nature. The third bolt set him free to walk about and teach."

Steven Rhude, Wolfville, NS

Tuesday, 11 October 2016

Post Colonial

Post Colonial Town #1, oil on panel, 31" x 40", Steven Rhude

Steven Rhude Wolfville, NS

Friday, 30 September 2016

Cape Blomidon

Spirit Cliff #2, oil on copper, 12" x 20.5", Steven Rhude

Spirit Cliff #3, oil on copper, 10" x 20", Steven Rhude

"A particular place in the land is never, for an oral culture, just a passive or inert setting for the human events that occur there. It is an active participant in those occurrences. Indeed, by virtue of its underlying and enveloping presence, the place may even be felt to be the source, the primary power that expresses itself through the various events that unfold there." 

-David Abram, Spell of the Sensuous, pg 162

A particular
in the land
is never,
an oral culture,
just a passive
or inert
for the human
It is an active

Wednesday, 28 September 2016

Spirit Stone

Spirit Stone, Cape Blomidon, oil on canvas, 20" x 30", Steven Rhude

They (Mi'kmaq) would have left under our very feet, in stream beds or along shore lines like Cape Blomidon, a long standing stone carving art form that held the conviction that a stone contains the spirit of a person, animal, bird, etc.
Manipulated in one's hand, or held up against the sky, or sun - or fire light, one can explore the cultural practices of their lives and ethos as they elaborated on that which the stone contains.

Steven Rhude, Wolfville, NS

Saturday, 24 September 2016

Spirit Cliff, Cape Blomidon

Spirit Cliff #1, Cape Blomidon, oil on panel, 19" x 20", Steven Rhude

Glooscap was said by the Mi'kmaq to be great in size and in powers, and to have created natural features such as the Annapolis Valley. In carrying out his feats, he often had to overcome his evil twin brother who wanted rivers to be crooked and mountain ranges to be impassable; in one legend, he turns the evil twin into stone. Another common story is how he turned himself into a giant beaver and created five islands in the Bay of Fundy, Nova Scotia by slapping his huge tail in the water with enough force to stir up the earth. His home was said to be Cape Blomidon. - Wikipedia

Steven Rhude, Wolfville, NS