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Seven Women Chase Icebergs Friendship and Landscape in Pouch Cove May 30th to July 11th Daisy Craddock, Gill Ord, Trine Bumiller, Karen Marston, Barbara Friedman, Elisabeth Condon, Brenda Zlamany Opening May 30th from 4pm to 6pm Curated by Brenda Zlamany

This exhibition brings together seven women artists whose creative bonds stretch back decades — from studying abroad in Rome to working together at the Triangle Artists' Workshop and the Braziers International Artists' Workshop. Many of these women have been captured in Zlamany's portrait projects over the years; as curator and collaborator, she invited them to Pouch Cove not only to make work side by side, but to return to something essential about what it means to see and respond to a place together. They came from New York, Colorado, and London, each with independent projects, but the landscape drew them out of their individual practices and into a shared one. They hiked together, shared meals, critiqued each other's work, and chased icebergs along the coast — each artist finding her own relationship to the ice, to the light, and to the land. For a month, careers fell away. What remained was the work, the landscape, and each other. Zlamany, Sunrise Welcome, 2025, Acrylic On Panel, 18x24 Brenda Zlamany In Pouch Cove, I made A Rake's Progress — an eight-part series in which I confronted the landscape, art history, and myself simultaneously, arriving afraid to hike alone and leaving having painted my way through both. Each painting is a self-portrait filtered through an iconic figure — Pierrot, Madame X, Napoleon, Marat — not as masks, but as mirrors reflecting a psychological weather system of effort, doubt, and conviction. In the final painting, the figure dissolves entirely into a glowing iceberg: not an ending, but a becoming. Daisy Craddock Good thing I'd packed watercolor blocks for painting outdoors, because we grappled with freezing weather and gale-force winds almost every day, even though it was May. Near the end of the residency, a group of us drove five hours north to Twillingate in search of icebergs. About an hour from town we got news that our boat had been cancelled due to rough weather. Disappointed but carrying on, we all screamed when an enormous iceberg came into view, wedged right by the roadside as we drove into town. Gill Ord This residency was extraordinary, and the reasons are perhaps not the obvious ones. Of course time to think, work and walk, be amongst fellow painters. For me, the location way out in the Atlantic Ocean, remote, wild, changeable and challenging stays with me as an energy, a life force, the constant pull and the power of the horizon. Trine Bumiller Avalon is a series of paintings created during a residency at Pouch Cove Foundation in Newfoundland, Canada. I made this work while immersed in the coastal landscape — its plants, terrain, and shifting weather — as I experienced grief, memory, and renewal following the recent loss of my mother. With Newfoundland located just across the Atlantic from her native Denmark, the place became a deeply personal and symbolic point of connection. Karen Marston Newfoundland has become a profoundly inspiring locus for my interests in both ecological catastrophes and the sublime beauty of nature. The astonishing expanse of both sky and sea there is overwhelming. There is nothing like standing at the edge of a cliff surrounded by the tumult of the ocean, the undulating clouds and wild winds, and the ever-changing light. Most significant for me was the experience of the icebergs. These giant, beautiful ten- to fifteen-thousand-year-old remnants of glaciers drift across the Atlantic from Greenland, slowly melting at the end of their lifespan, like otherworldly creatures from a distant time — harbingers of climate losses and disasters to come. Barbara Friedman When I think of our residency at Pouch Cove, I remember my paint-covered floor, the fluorescent icebergs under gray skies, the festive meals, startling sunsets — among them the extraordinary views out of residency founder James Baird's windows — and, of course, Brenda's generous leadership. Partly in homage to Newfoundland's magnificent landscape, I swore off my toxic solvents and focused on water-soluble oil and ink while I was there. I worked deep into the night on different kinds of paper, and I ended up being most interested in a group of pieces that I'm calling The Figuration of the Invisible, after a phrase I've taken from the classicist Jean-Pierre Vernant. In this series, figures seem to coalesce out of an explosive primordial soup — long scroll-like pieces that are fundamentally abstract but nibble around the edges of representation. Elisabeth Condon My work approaches landscape as a construct, both real and artificial. Fluid pours, patterns, and nature layer influences from vintage patterns, Chinese scrolls, and abstract expressionism together. In the lavishly decorated, conservative household of youth my mother's wallpapers doubled as God, surrounding and surveilling me. Imagining their patterns behind the riverbeds and rocks in the canyon down the street as a child inspires my synesthetic approach to landscape now. Translucent pours of paint initiate my compositions. The pours simultaneously rupture empty surfaces and establish new, provisional space reflecting the subtropical humidity or urban density where the work is made. Moving from observation to translation and invention, the work forms an interior landscape felt as well as seen. It's no surprise that calligraphy and mountain-water painting, which I value highly, are meditative techniques involving mindfulness. Adapting their embodied, mix-and-match matrices brings a continuous transformation in which pour and pattern flow together, complicating the surface and unfolding of time. Bumiller, Darkness and Shadow, 12x16 Daisy Craddock, Tuckamores with Bowl of Sky, 2025, oil on canvas, 8 x 10 inches Gill Ord, ink and gouache on board, 2025, installation Marston, Rocks in Waves, 2025, Acrylic on Paper, 11x14in Barbara Friedman, square space 04 Elisabeth Condon,  Big Feeling, 2025, Ink-mulberry-paper, 18.5x37-framed Karen Marston Melting Ship, 2026, 96 x 120, Acrylic, Drywall, Site Specific Mural Brenda Zlamany A Rake’s Progress (Newfoundland), 2025 An eight-part self-portrait series confronting landscape, art history, and personal transformation through iconic art-historical figures Stranger in a Strange Land (after Pierrot) Sunrise Welcome (after Portrait of Madame X) 2025, Acrylic on panel, 18 x 24 Reckoning at the End of the Day (after Portrait of Pope Innocent X) Cutting Loose (after Judith Beheading Holofernes) The Reflection (after Symphony in White, No. 2: The Little White Girl) drawings for  A Rake’s Progress Barbara Friedman The Figuration of the Invisible (Knock Knees), 2025, water-soluble oil on paper, 108 x 51 The Figuration of the Invisible (Hiking Boots), 2025, water-soluble oil on paper, 98 x 36 The Figuration of the Invisible (Profile), 2025, water-soluble oil on paper, 92 x 52 Daisy Craddock Rocks and Water Study, 2025, 8 x 10, canvas, oil Old Pond (2nd), 2025, 8 x 10, canvas, oil Fish and chips (Torbay), 2026, 8 x 10, canvas, oil Tuckamores, 2025, 8 x 10, canvas, oil b Waiting for the Ferry (with Iceberg), 2026, 24 x 40, linen, oil Tuckamores with Bowl of Sky, 2026, 24x 30 inches, canvas, oil Waiting for the Ferry (Bell Island), 2025, 6 x 12, paper Bauline Sunset, 2025, 6 x 12, paper, gouache, Rocks and Water, Pouch Cove, 2025, 6 x 12, paper, gouache Dandelions, Pouch Cove, 2025, 9 x 12, paper, gouache Dandelions on the Berm, 2026, 8 x 10, Canvas, Oil Dandelions by the Water, 2026, 14 x 18, panel, oil Trine Bumiller AvalonAscendant, 225, 14 x 18, Acrylic, Panel Beyond Imagination, 2025, 14 x 18, Acrylic, Panel Matrilineal, 2025, 14 x 18, Acrylic, Panel Way of Peace, 2025, 14 x 18, Acrylic, Panel Love and Light, 2025, 14 x 18, Acrylic, Panel Our Hearts, 2025, 14 x 18, Acrylic, Panel Dawn Shall Break, 2025, 12 x 16, Acrylic, Panel Eternal, 2025, 12 x 16, Acrylic, Panel Life Everlasting, 2025, 12 x 16, Acrylic, Panel In Remembrance of Me, 2025, 12 x 16, Acrylic, Panel Darkness and Shadow, 2025, 12 x 16, Acrylic, Panel Dawn Shall Break, 2025, 12 x 16, Acrylic, Panel The Living, 2025, 12 x 16, Acrylic, Panel This Day 2025, 12 x 16, Acrylic, Panel Upon Earth, 2025, 12 x 16, Acrylic, Panel Ever and Ever, 2025, 12 x 16, Acrylic, Panel Elisabeth Condonbr /> Ocean Pistil, 2025, Ink and Gouache on W/C Paper, 17 x 22-3/4 Barely There, 2025, Ink and Gouache on W/C Paper, 17 x 22-3/4 Smoldering Flower, 2025, Ink and Gouache on W/C paper, 22-3/4 x17 Blue Ice, 2025, Ink and Gouache on W/C Paper, 14 x 12 NNewfoundland Delight, 2025, Ink and Gouache on Rives BFK Paper, 77 x 42 Gill Ord Pouch Cove Horizons Installation, 2025, Ink and gouache on board. Found wood. Dimensions variable Atlantic I, 2025, Ink on Japanese paper, 17 x 20 ½ Atlantic II, 2025, Ink on Japanese paper, 17 x 20 1/2