Lorne Arthur Beug was born in Regina in 1948. He studied Social Science at the University of Saskatchewan, Regina Campus, earning his Bachelor's degree in Anthropology and Psychology with Great Distinction in 1967. It was only after working for a time at the Weyburn Psychiatric Hospital as a clinical psychology intern that he committed himself to art. In 1972-73 Lorne studied ceramics at the University of Saskatchewan, Regina Campus with Joe Fafard and Marilyn Levine, and in 1977 he received a Canada Council Art grant which enabled him to study “Outsider” art in Europe. He then moved to Vancouver and taught ceramics at the Burnaby Art Centre and at the Emily Carr College of Art and Design through their Outreach Program.

In 1982-83, Beug became a student again, this time studying computer programming at the British Columbia Institute of Technology. He then attended the Explorations Symposium at the Banff School of Fine Arts in 1983 before returning to Regina to work as a multi-media artist, fully utilizing his experience and educational background in his work with ceramic tiles, assemblage sculptures and his photo-collages, often large-scale and with an architectural theme. His walk-in collage, (an installation), was titled, Museum and A Tent for the Exploration of a Dark Continent, and toured nationally. Beug has also produced digitally printed artists’ books, one of which is included in the new Library of Alexandria in Egypt. He has also co-authored Regina’s Secret Spaces: Love and Lore of Local Geography, with Anne Campbell and Jeannie Mah.

Beug’s work is widely collected across Canada, and he has had over 20 solo exhibitions and participated in over 40 group exhibitions with his contemporaries. Beug has been commissioned for numerous installations for public spaces: among them, the City of Regina Field House, where “Patterned Ground” was installed in 1987; the ceramic floor tiling in the University of Regina’s Riddell Center, installed in 1996; and the terrazzo floor designs for the University’s residences, Paskwāw and Wakpá Towers were installed in 2003. In 2006 the Cathedral Village Freehouse also commissioned Beug for a unique addition for their restaurant, he designed and installed the Freehouse bar that was used by patrons for a decade before new ownership chose to extensively renovate the space in 2016 and replaced Beug’s commission.

Beug continues to create new work and explore new ideas as influenced by his own collecting habits and through his work in collage. His assemblages include incorporating objects into cupboards and cabinets, he has recently engaged in the creation of a series of model ecosystems presented under glass domes. These contain simple abstracted components of gardens with flowers and insects that are automated and interact with each other in sometimes complex and unpredictable ways.

Ronald L. Bloore was born May 29, 1925 in Brampton, Ontario. He studied art and archaeology at the University of Toronto (1949), the Institute of Fine Arts, New York University (1949-51), Washington University in St. Louis (1953), Belgian-American Art Seminar in Brussels and Antwerp (1955), and the Courtault Institute, University of London, England (1955-57). After brief teaching stints at Brixton Day College in England and the University of Toronto, Bloore became an Instructor of art and archaeology at the University of Saskatchewan, Regina College and the Director of its Norman Mackenzie Art Gallery.

Bloore was based in Regina for only a brief period of time, from 1958 to 1966, but while there he made a deep and lasting impression. As Director of the Gallery he was noted for his energy and determination to bring the art world to the prairies. He sponsored and contributed to the infamous “Win Hedore” exhibit at the Mackenzie in 1961, where car parts and buckets of sand challenged viewers’ notions of art, and enraged the more conservative. He acquired the sculpture “Mother and Child” by Jacques Lipshitz - a bold and farsighted move.

Bloore exhibited with Ken Lochhead, Art McKay, Ted Godwin, and Doug Morton in the National Art Gallery’s “Five Painters from Regina” show in 1961. By 1964, however, the group had split up. Two years later Bloore left Regina to teach visual art and art history at York University in Toronto where he remained for the rest of his working career. Ron Bloore died on September 4, 2009.

Claude Breeze, sometimes also known as cHerbert, was born in Nelson, British Columbia in 1938. He received early education and art training in Saskatoon studying under Ernest Lindner. He attended the School of Art at Regina College and graduated in 1958, receiving instruction from Roy Kiyooka, Ronald Bloore, Art McKay and Ken Lochhead. In 1959 he attended the Vancouver School of Art.

In 1967 Claude Breeze was employed as a Sessional Instructor at Simon Fraser University in Burnaby and then at the Banff Centre School of Fine Arts in Banff, Alberta. Moving to Ontario he worked as the Artist-in-Residence from 1972 to 1975 at the University of Western Ontario and then moved back to Alberta to be a Sessional Visiting Instructor at the University of Calgary in 1975. Moving back to Toronto in the following year he became an Associate Professor at York University. In 1988 he was a Sessional Visiting Professor at the Emily Carr School of Art in Vancouver.

Breeze held his first one-man show in 1965, “Lovers in a Landscape” at the New Design Gallery in Vancouver, British Columbia. Since then he has had many one-man exhibitions and has participated in group shows in Canada, the United States, England, France, Scotland and China. Breeze was an early pioneer in the use of digital technology in studio art making. His work is held in many private, corporate and public collections. His art deals mainly with social and political issues and is manipulated as a combination of expressionist figure to non-representational motifs.

Claude Breeze was elected to the Royal Canadian Academy of Arts in 1974 and awarded the Queen’s Silver Jubilee Medal in 1978, he is a painter with a national reputation as well as Professor Emeritus at York University

Victor Cicansky (Czekanski) was born and raised in Regina, Saskatchewan. He completed a Bachelor of Education degree at the University of Saskatchewan in Saskatoon in 1964, and a Bachelor of Arts degree at the University of Saskatchewan, Regina Campus in 1967. In 1970 Cicansky received a Master of Fine Arts degree from the University of California at Davis. Cicansky also studied at Haystack Mountain School of Art at Deere Isle, Maine.

In addition to teaching at the University of Regina for over 20 years, Cicansky has taught courses at the Nova Scotia College of Art and Design, the University of California at Davis and the Banff Centre of Fine Arts. He has also presented various workshops, lectures and slide presentations across Canada.

Cicansky’s sculptures and wall murals have been shown in numerous solo and group exhibitions in public and commercial galleries across Canada, the United States, England, France and China. He has been a member of several Canada Council and other art competition juries and has also served on the Saskatchewan Arts Board, the Norman Mackenzie Art Gallery Board, the Wascana Centre Arts Advisory Committee, and the Applied Arts Advisory Committee of the Saskatchewan Institute of Applied Science and Technology, Woodland Campus in Prince Albert.

Vic Cicansky retired as Professor Emeritus from the University of Regina Department of Visual Arts in 1994 and in 2007 received an Honorary Doctorate from the University of Regina.

Victor Cicansky’s work has been exhibited in solo and group exhibitions across Canada, the United States, Japan, and Europe.

His clay and bronze sculptures, often describing cultural, agricultural and historical circumstances of the Canadian prairies, are represented in collections at the Mackenzie Art Gallery, the National Gallery of Canada, the Museum of Fine Art, and the Museum of Modern Art in Tokyo — just to name a few.

Some of his commissioned works have include pieces created for the City of Regina, Government of Saskatchewan, Canadian Broadcasting Corporation, the 1976 Olympic Games and in 1989 for the provincial visit of their Royal Highnesses the Duke and Duchess of York.

Victor is the recipient of many Canada Council grants and has won awards such as the Victoria and Albert Award for Ceramic Sculpture, the California Kingsley Annual Award for Sculpture and the Saskatchewan Order of Merit.

In 2009 his many contributions to the arts, as a sculptor, an educator and mentor were recognized as he was named a member of the Order of Canada. Victor Cicansky passed away on March 3, 2025 .

Kathryn (Kate) Anne Davis was born in Chicago, Illinois in 1951. She attended Bradley University from 1969 to 1973 where she graduated with an undergraduate degree in art history. From 1974 to 1976 Davis attended the University of Chicago for graduate studies in art history, with a focus on contemporary art. From 1977 to 1980 Davis attended the University of New Mexico. After finishing her graduate studies she moved to Canada in 1981 and in 1982 she got job as Registrar at the Edmonton Art Gallery. She later advanced to the role of Photography/Curatorial Manager. It was here that she realized her calling as a museum administrator and started her successful and fulfilling life long career.

Davis moved to Calgary in 1986 after accepting the Director of Programs job at the Glenbow Museum. In 1993 Davis moved to Manitoba where she worked as the Deputy Director at the Winnipeg Gallery. In 1997, Davis became the Director of the Mackenzie Art Gallery in Regina. During her twelve years working there, Davis transformed the traditional art gallery into an institution not only of excellence and high quality, but also a gallery with strong community and local cultural connections. An example of this is the artist-led programs directed at youth in the inner cities and reserves.

From 2000 to 2004 Davis served as the President of the Canadian Art Museum Directors Organization (CAMDO). Davis was a board member for the Canadian Museum Association and for the International Council of Museums. Davis also belonged to many professional committees and juries related to the art community.

Davis received several honours for her work; the highest was being inducted as a Fellow of the Canadian Museums Association in 2009. She also received many awards over her life including: the Queen's Golden Jubilee Medal (2002), the Saskatchewan Centennial Medal (2005), City of Regina’s Mayor's Award for Business and the Arts (2006) and a Lifetime Achievement Award from the Museums Association of Saskatchewan (2010).

Davis retired from the Mackenzie Art Gallery in 2008. In 2009 Davis took a special assignment at the Art Gallery of Ontario, hoping change in career would bring her personal growth. However, Davis became ill with a progressive cancer and died in October 21, 2010.

Nationally and internationally acclaimed artist, Joe Fafard, was born to French-Canadian parents in the small agricultural community of Ste. Marthe, Saskatchewan. He attended the University of Manitoba (BFA 1966) and Pennsylvania State University (MFA 1968).

He taught at the University of Saskatchewan, Regina College from 1968 to 1974 and was visiting lecturer at the University of California at Davis in 1980-1981. Joe Fafard was a distinguished full time artist and sculptor who resided on an acreage near Lumsden, Saskatchewan.

Fafard was one of Canada’s leading professional visual artists and has exhibitions of a wide variety of work in galleries and museums across the country and around the world, including the United States, Great Britain, France and Japan. He was widely recognized as being at the forefront of his art, and his outstanding contributions to the arts have significantly raised the profile of both Saskatchewan and Canada on the national stage.

He was named an Officer of the Order of Canada in 1981; awarded the Architectural Institute of Canada Allied Arts Award in 1987; received an Honorary Degree from the University of Regina in 1989, and from the University of Manitoba in 2007; received the Saskatchewan Order of Merit in 2002; received the National Prix Montfort in 2003; received the Lieutenant Governor’s Saskatchewan Centennial Medal for the Arts in 2005; was named CTV Citizen of the Year in 2006; and most recently received the Saskatchewan Arts Board Lifetime Achievement Award in 2007.

In the early 1970’s, much of his sculpture used clay as a medium. In 1985, he shifted to bronze as his chief sculptural medium, successfully establishing a foundry in Pense.

His insight and humour characterize his portraits of neighbors, farm animals, and famous artists that he came to respect as he learned his craft. His work in bronze is displayed across Canada and his ‘cows’ have become one of his trademarks.

Mary Filer was born in Edmonton, Alberta on New Year’s Eve in 1920 to Anne Charlotte (Grace) McLeod and Earle Leon Filer of New York City. Her brother, Roderick George McLeod Filer was born in 1931. Before Mary’s family moved from Edmonton to Regina, she attend Oliver and Glenora Schools and in Regina she attended Lakeview School for her 7th grade year. She was a gifted student and awarded ribbons at agricultural fairs and art shows, she played piano and sang soprano, designed costumes for school plays as well as acted. Mary attended high school at Central Collegiate where she contributed drawings of students and teachers to the school yearbook, Ye Flame, and to the school’s newspaper, Perroquet, Mary graduated in 1939 and went on to study commercial and fine art locally at Balfour Technical School in Regina under W. Garnet Hazard. In early 1940, Mary returned to Edmonton to help care for her grandparents and joined the Edmonton Art Club and while there mounted a solo exhibition at the University of Saskatchewan. Later that same year she returned to Regina and in September 1941 began studies in nursing at the Regina General Hospital, graduating in May 1944 and receiving her certificate in 1945.

Mary was engaged to David Hugh Plunkett Brown for two years, but broke off her engagement in 1944 and moved to Montreal where she began post graduate studies at the Montreal Neurological Institute and Hospital (MNI) with Dr. Wilder Graves Penfield and others working on a treatment for epilepsy. Mary later had her own medical illustrations published and painted the windows of the hospital for the holiday season.

In April 1945, Filer won a museum and book illustration scholarship and exhibited with the Canadian Society of Painters in Watercolor and the Canadian Society of Graphic Artists in Toronto. In 1946, she became a member of the Federation of Canadian Artists (FCA) and made trips to St. Anne’s Military Hospital to sketch and to provide art therapy to the patients there.

In 1946 Filer won another scholarship, the Robert Redford Scholarship for Drawing from Life. She began showing more art with the membership of the Canadian Society of Painters in Watercolour in Toronto, the Canadian Society of Graphic Artist, and the Students Art Association of Montreal. Mary also started teaching at St. Helen’s School in Dunham, Quebec. In 1947, at an exhibition for the Canadian Society of Painters in Watercolor in Toronto, her work titled Gloxinia sold for $60.00 and in an exhibition by Canadian Women Painters, Mary’s Still Life was said to be controversial “with Picasso’s ‘foreign’ influence.” In the same year, with the help of her mentor, Arthur Lismer, Mary became an assistant instructor for the Art Association of the Montreal School of Art and Design where she taught children and adults. In 1948, the Department of Education hired Mary to instruct a group of over sixty teachers during the summer. That fall, Mary was teacher-in-charge of over forty students, aged 6 to 8, at the Town of Mount Royal Community Recreation Association Children’s Art Centre using techniques influenced by Victor Lowenfeld, with whom she would later study at Pennsylvania State College. Also in 1948, Mary took courses and exhibited at the Montreal Museum of Fine Arts, an exhibition with all medium of her work including monotypes, wood blocks, lithographs and drawings. In 1949 she exhibited in Vancouver. In 1950, Mary was awarded McGill University’s first Bachelor of Fine Arts degree. Following that, she travelled to England for an intense six week program at the Department of Extra-Mural Studies at the University of London which included field-trips, lectures, and all manner of discipline including drama, literature, architecture, visual arts, and music.

Returning to Montreal, Mary started teaching at McGill and continued to show her work in exhibitions. In September 1952 she began negotiations with Dr. Penfield to paint a mural on the board room wall at the Montreal Neurological Institute. This tempura and plaster mural, The Advance of Neurology, is an allegorical history of neurology. Over the summer, Mary painted over 40 life size personalities in a style of figurative post-impressionism while travelling back and forth between Pennsylvania State College (where she had undertaken a Master’s program in 1952) and Montreal. The mural was unveiled in September 1954. Meanwhile, as Mary continued to use all medium in her own work, she continued to teach children and create lino-cuts and prints, etchings, pen and ink drawings, monotypes, portraits and landscapes and prepared for her fourth solo exhibition in November 1953. The National Gallery purchased a lino-cut from this time and another of her pieces, Virgin and Child, was printed in Time Magazine.

In 1955 Mary became an Assistant Professor of Art Education at New York University School of Education but after an unsatisfactory personal relationship ended in 1956, Mary moved to Europe with most of her possessions. Around this time, she began to enjoy the company of the much loved ‘Natasha of Toy Time’ or ‘Tasha’, an Apricot French Miniature Poodle of Russian origins. This dog, and those who followed it, and her cats, were often subjects in her paintings. Mary had a deep affection for animals, sketching them many times over before reproducing them for murals relating to animals and their well-being.

Mary’s pen and ink drawings and lino-cuts were popular for Christmas cards. She was hired by banks and large companies to create for them. In 1957, Filer held a solo exhibit at the Red Lion Pub, and in December had a second solo show at Kinnerton Gallery. In 1958, she was commissioned to design a commemorative scarf for Queen Elizabeth’s trip across Canada.

Mary went to France in October and November 1959 to learn a new process called Crystopal, which was still a ‘secret process’ then that used fiber-glass, resins and plastics with colour. The technique was taught by Jean Pierre Fisholle’s company. While in France, Mary drew Notre Dame Cathedral and visited the Palace at Versailles where she used coloured pens to depict what she saw.

In 1959 Mary was awarded other commissions. One, to create a mural for the new Blue Cross Animal Hospital in Grimsby, she created ‘The History of Our Dumb Friends,’ measuring 7’ x 15’. In that same year she was commissioned by St. Luke’s Anglican Church in Southend-on-Sea, Essex for six windows and a painting for their ceiling. The subject was be to the life of St. Luke done in traditional fresco methods. Two of the nave windows, and the ceiling painting, were dedicated to St. Luke’s Church in October 1960.

From April to May 1961, Filer exhibited at the Montreal Museum of Fine Art. In England she painted many large wet-on-wet watercolours in the parks and gardens of New Forest, Kew, Richmond Park and other locations. In 1961, Filer bought ‘Goldenhurst Manor’ located near Ashford, Kent, England and once owned by Noel Coward. She had a studio there and her brother, ‘Roddy’ and his family lived there too.

In 1962 Mary had an exhibition in London at Heal's Gallery. Her drawings, prints, and watercolors sold well. Towner Art Gallery in Sussex purchased her Oriental Poppy and Gallery Oldham in Manchester purchased a watercolour, Tiger Lily.

Not only was Mary inspired by animals, she was deeply inspired by the marsh near her property. The wetlands near Goldenhurst are the subject of many of her paintings. In August 1964, Mary opened the Romney Marsh Art Society’s 6th annual exhibition. Mary also painted personalities she was acquainted with: early in her studies, Mr. Detwiler, the principal at Wetmore School in Regina; in England, Gromille Robinson, (a journalist) visited Goldenhurst; and in London, Hon. Zamira Menhuin and Bobo were her subjects. By the mid 60’s Mary was becoming heavily involved with her work in glass and church commissions.

In 1966, St. David's Church, South-End-On-Sea, commissioned her for a work depicting St. David with a dove and staff, in the new glass art. In 1967, St. Michael's and All Angels Church in Westcliff-On-Sea commissioned her for the entire interior decoration.

Mary traveled frequently between Montreal and Victoria between 1967 and 1977. She gave talks about her work on the Neurological mural to nurses and the Montreal Museum of Fine Art bought Filer’s Storm, which she painted while in Hythe, Kent, for $200.00. She married architect and urban planner, Harold Spence-Sales, whom she had known for more than 20 years and in 1968 they teamed up to create a calendar of drawings of the buildings located on the McGill campus, a project commissioned by the Graduate’s Student Society at McGill.

In January 1969 Mary set up a space in Harold’s office on Sherbrooke Street, in Montreal to show clients her work. In October 1969, Mary taught for two months at Acadia Handicraft Guild on Prince Edward Island and in the early 1970s, Harold and Mary moved to Victoria, B.C.

In August 1970, a married couple who attended Christ Church Cathedral in Victoria commissioned Mary to commemorate the Lunar Landing of July 20, 1969. Her two windows over the doorway in the South Tower, The Moon Window ($500.00) and The Sun (donated), were soon completed. These windows were the first stained glass windows made without the use of lead but with glue and silicon. The windows were dedicated in April 1971.

While living in Victoria in the early 1970s, Mary continued to exhibit in England and paint in her Victoria studio. She had incorporated gold leaf foil with acrylic paint and worked with coloured glass designing small and large scale sculpture for exhibit for the foyers of large buildings. Cosmos, designed for Roberts House Apartments in Victoria, weighs 300 pounds and is a free standing work in an iron frame 5 feet in diameter. In the fall of 1973, Mary showed her first glass exhibition at the Art Gallery of Greater Victoria which was based on a sun and lunar light theme. The gallery bought Filer’s Sunburst and she donated Counterthrust. Later, Sun Dazzle III and Clean Cold II were donated to the Gallery for auction.

In winter 1974, Mary and Harold visited England, France and Italy. The next year, Mary had a solo show of various types of glass including laminated glass, float, recycled, stained and plate glass and was also featured on the CBC program Take 30.

St. Phillip’s Anglican Church in Oak Bay, BC was one of Mary’s most extensive commissions. She worked to fill the north and south nave windows and other spaces with work representing a spiritual life; God, balanced with a temporal life; man, and the land. For St. Mark’s Anglican Church at Qualicum Beach on Vancouver Island, Mary was hired to make a large floral rose window. She meanwhile continued to accept commissions for decorative windows and sculptural pieces from private citizens and building owners and architects. In 1976, Mary and Harold moved to English Bay and then to an eastside warehouse / factory building on Beatty Street in Vancouver. Mary remained focused with speaking engagements, exhibiting and completing her many commissions -- so committed to her work she even sketched during a stay in hospital in 1980.

Mary was commissioned to create thirty-six memorial windows for Christ Church at Milles Isles, Quebec while both she and Harold continued to work on impressive projects as a duo. Mary also participated in several exhibitions featuring her glass work during this time and was selected to contribute her work, along with other well-respected Canadian artists, at Expo ’86. That same year she was made an honorary member of the British Columbia Landscape Architects Society and succeeded with more church commissions.

Mary, as always, continued to cultivate her relationships with societies and local art galleries; as patron, board member or simply interested party. The B.C. Glass Artists Association, Simon Fraser University, the Art Gallery of Greater Victoria, the Back Room Gallery in Oak Bay, and many others benefited from her numerous contributions. By 1990, the Mary Filer Fund was established at the Centre for Contemporary Arts and she was awarded an Honorary Doctorate of Laws from Simon Fraser University. In 1992 Mary was recognized as an Honourary Life Member of the BCGAA and recognized by the Royal Architectural Institute of Canada for her outstanding achievement in arts with architecture.

Mary created another set of windows in a geometric pattern for St. Mary’s Church in Nanoose Bay in 1999. Years later she was invited back to create another work for them. Mary’s popularity, even in advanced age and sometimes ill health, was unwavering. She was invited back to the Montreal Neurological Hospital in Montreal and commissioned co-create The Neuroessence, for the Helen Penfield Atrium in the new building, which was installed in 2002. After Harold passed away in 2004, Mary continued make art, to exhibit and to contribute. Over the span of her career, she participated in more than 150 exhibitions and contributed to a myriad of institutions, societies and associations. Mary passed away in 2016.

David Gilhooly was born in Auburn, California, he obtained a Bachelor of Arts degree (1965) and a Master of Arts degree (1967) from the University of California at Davis. There he studied principally with the sculptor Robert Arneson.

Gilhooly studied at the studio, TB-9 where he was one of the founders of “The Funk Ceramic Movement”. Davis is 80 miles east of San Francisco so their movement is often associated with the San Francisco Bay Area. Others in the movement include Margaret Dodd, Chris Unterseher, Peter Vandenberge and of course, Robert Arneson. He is now a well-known sculptor and printmaker, who is especially recognized for his ceramic sculpture of animals, food, planets and the “FrogWorld”. In 1982 Gilhooly started exploring plexiglas as an art media and in 1995 he officially gave up clay and the plexiglas work to work on what he calls shadow boxes, assemblages of found objects. As the 21st Century began, he also began doing assemblage of jigsaw puzzles and most recently large paintings which incorporate assemblage element. He has also been working extensively with collage that are then turned into prints.

Gilhooly’s teaching career has included the University of California at Davis, in 1975 and 1976; York University in Ontario, Canada from 1971 to 1977; San Jose State College in San Jose, California in 1967 to 1969 and the University of Saskatchewan, Regina Campus from 1969 to 1971. It was during this time that he influenced and was influenced by Saskatchewan artists, Vic Cicansky, Joe Fafard, Russ Yuristy and David Thauberger.

His works of art have exhibited throughout the world, and from the east coast of Canada to the west coast, he is featured in many publications and his work is held in both private and corporate ad collections.

David Gilhooly passed away in 2013.

Ted Godwin was born in Calgary, Alberta in 1933 studying at the Alberta Institute of Technology and Art in Calgary from 1951 to 1955. He also attended several Emma Lake Artists Workshops, including those led by Barnett Newman (1959), John Ferren (1960), Jules Olitski (1964), and Lawrence Alloway (1965). From 1955 to 1964 he worked in the commercial art field as Art Director for CJLH Channel 7 in Lethbridge, and a neon designer, winning 2nd prize at an international neon design competition, N.E.S.A. in 1958.

In 1962-63 he spent the year sketching and painting in Greece on a Canada Council grant and was hired by the University of Saskatchewan, Regina Campus to teach at the School of Art in 1964.

Godwin remained at what became the Visual Art Department at the University of Regina for the rest of his working career. He exhibited with Ken Lochhead, Art McKay, Ron Bloore, and Doug Morton as one of the Regina Five. Following the Regina Five years he became known for his large Tartan paintings. A heart condition (which eventually forced him to retire in 1985) produced the Dying Orchids series in 1974. From the mid 1970s to the present, Godwin has produced several series of large and vivid landscape paintings.

In 1991 Godwin mounted exhibitions of new work simultaneously in four Canadian cities: Vancouver, Calgary, Regina, and Toronto. The show was known as the Lower Bow project and Ted was present to open each of the exhibitions; Calgary Thursday evening, Regina Friday, Toronto on Saturday, and Vancouver on Monday. In 1999, The Nickle Arts Museum of Calgary mounted and toured a major examination of Godwin's Tartans and in 2008 the Nickle mounted a major touring exhibition of Godwin’s Regina Five Years, 1957 to 1967.

Ted Godwin was elected to the Royal Canadian Academy in 1974, and was awarded the Queens Silver Jubilee Medal 1978. For his Messages from the Real World A Handbook for the Emerging Artist, (1999) Ted won the Sask Book Award for best new publication (Educational). He was awarded the Alberta College of Art and Design Board of Governors Award of Excellence and was also awarded an Honorary Doctorate from the University of Regina in 2001. In 2004, for his excellence in the field of visual arts, Ted was made an Officer of the Order of Canada and in 2010, he was chosen Artist of the Year by Trout Unlimited.

Ted Godwin has been exhibiting his work since 1955 and has had more than 60 solo exhibitions. He currently resides in Calgary where he devotes himself to writing, painting, fishing, Tai Chi, and Alcoholics Anonymous.