News items starting in 2021 at time of start of this new website.

Newfoundland Quarterly

Volume 115 Number 4, Spring 2023

Paintings Janus Moon and Deliah published in Portfolio theme of Colour

50th Anniversary Exhibition
Craft Council of Newfoundland & Labrador

Curated by Bruno Vinhas

September – December 20, 2022

155 Water Street, St. John’s, NL

Play, Stoneware

Collection of the Craft Council of Newfoundland & Labrador

The Narrative Continues, Jonathon Bancroft-Snell Gallery, October 2022

The Narrative Continues

Solo Exhibition of New Paintings

October 20 to November 5, 2022

258 Dundas Street, London, Ontario

In The Makings

Mushroom Picker is on display in the exhibition In the Makings presented by The Rooms Provincial Art Gallery, St. John’s, NL

April 2021 – May 2024

Mushroom Picker, 2000, Stoneware Clay, H42 L25 W32 cm, Collections of the Government of Newfoundland & Labrador

Mark Makers is published in

Future Possible: An Art History of Newfoundland and Labrador 

by Mireille Eagan, “Future Possible, An Art History of Newfoundland and Labrador”  Goose Lane Editions, 2021

In the Collections of the Government of Newfoundland & Labrador

Community Profiles

Late Fall 2021 News Blast

McKellar’s Reed Weir

by Mary Jane Gomes

Internationally acclaimed sculptor Reed Weir, born in McKellar, returns establishing a painter’s studio. Pursuing painting through practise in sculpture, Reed Weir’s mastery of space, materials, textures and reflection map the dilemmas we face and our passage through them. She depicts us as integral to the ecosystem and it is the human interaction therein that jettisons Weir into motion.    
Whether wavering birdlike hands or inquisitive and arrested childlike beings, her images affront, the impish child intertwines with nature, hands flying through space occupied by imagination that sees us as part of the multi-dimensional. Weir playfully weds us to the ethereal reality of our existence. She insists the deliberately impish child of her art disarms viewers. Crafting at least four conversations in every piece, Weir denies enforced narrative. Yet evolving landscape and characters around her manifest, alive, specific. Mastering technique, Weir renders surfaces transparent allowing meaning and feeling to come through her very fingertips, exuding deep caring about the world and “we” in it.

The stance of Weir’s characters is evocative, deeply of the earth. Her imagination is rife with a wild humour. Her work is engaging, will depict life here and offer reflexive insight. It deserves to be contemplated and enjoyed.