Nikola Wojewoda 

THE APOCALYPSE TAPESTRIES: Polycrisis in the Anthropocene  

November 15, 2025 – February 2, 2026 

Community Gallery – Hallways 

Emerging from a time of global instability and shared anxiety, The Apocalypse Tapestries reflects on humanity’s closeness to moral and ecological collapse amid intensifying political tensions, climate crisis, and accelerating technological change. 

Each work portrays a “primal beast,” imagined as a solitary creature wandering through a post-human wilderness. These beings inhabit a distant future, long after the disappearance of humankind. Through them, the artist considers the lasting consequences of human actions, exploring themes of accountability, isolation, and survival. 

Functioning as lament, warning, and requiem, the series stands as an elegy for a civilization confronting the outcomes of its own choices. 

Nikola Wojewoda is a Canadian artist of second-generation Polish and Russian descent. A graduate of OCADU, her multi-dimensional practice encompasses collage, painting, drawing, illustrated ceramics, film, and clay sculptures incorporating found objects. 

Wojewoda has received multiple Ontario Arts Council grants and awards recognizing excellence in sculpture, ceramics, and fine art. Her work is represented in private and corporate collections, including the Canada Council Art Bank, and has been reviewed in publications such as C Magazine, The Globe and Mail, exhibition catalogues, and academic research projects. 

In addition to her studio practice, Wojewoda has taught painting, sculpture, and ceramics. Her detailed, process-driven work explores the intersections of icon and symbol, pattern and ornament, and the bridge between craft and fine art. She is an active member of several Arts Burlington Guilds and the FUSION Clay and Glass Association. 

Wojewoda currently serves as Mentor for the Hamilton and Region Potters Guild Artistic Development Program (2025), guiding eight artists in a project that will culminate in an exhibition at the Carnegie Gallery in 2026. 

 Medallic Art Society of Canada (MASC)  

The Best of MASC  

November 15, 2025 – February 2, 2026  

Community Gallery – Corridors  

The Best of Medallic Art Society of Canada (MASC) celebrates the Art Gallery of Burlington’s 50th anniversary with a showcase of favourite works by their members created over the past 25 years.  

 The Medallic Art Society of Canada is a non-profit organization of sculptors and medal-makers dedicated to creating, promoting, and advancing the fine art of the medal. MASC’s membership includes a small group of professional artists from across Canada who explore the expressive possibilities of this intimate art form.  

Traditionally cast in bronze or pewter, hand-held medals today also incorporate materials such as resin and cold-cast metals, reflecting both the rising cost of traditional materials and limited access to foundries. Medals may commemorate events, serve as awards, express artistic statements, or exist purely as works of art.  

MASC’s annual exhibitions present diverse interpretations of changing themes which range from traditional symbolism to contemporary design. Several members also belong to FIDEM, an international federation of medal art societies  representing  33 countries that holds a biennial exhibition.  

There are a total of 53 medals, from 19 different artists. 

Ibrahim Rashid  

Resistance to Erasure  

November 15, 2025 – February 2, 2026  

Community Gallery – Lounge   

Resisting Erasure explores the intersections of power, identity, and memory within systems of political control and biopower. Rooted in Rashid’s experiences in Iraq under a totalitarian regime. Through large-scale mixed media techniques, he examines how authority shapes the body and nature, silences narratives, and seeks to erase cultural memory.   

Rashid uncovers  hidden histories, stories buried beneath layers of trauma and survival. A paradoxical landscape emerges, where organic and abstract forms, detritus and wilderness coexist to express the body’s fragility and the tension between life and death. Transforming trees and hybrid creatures, combining symbols of marginalized communities with instruments of war,  he evokes the ongoing struggle between technology, humanity, and nature.   

Resisting Erasure draws inspiration from the philosophy of Ibn Rushd, who believed that thought cannot be suppressed and, “ideas have wings.” His conviction grounds Rashid’s artistic practice as a form of resistance, where art becomes both protest and healing.   

Ibrahim Rashid is a multidisciplinary artist whose practice engages sociopolitical themes, focusing on the land and human beings both as political bodies through radical and mythological imagery. He works across painting, drawing, printmaking, video, and writing.   

In the 1980s, Ibrahim worked in Baghdad as an illustrator for national magazines and newspapers, publishing art articles that critiqued cognitive violence and the sociopolitical realities under the ruling regime during the Gulf War. His artwork and writing reflected the collective experience of political instability and its effects on the human body and land during wartime. After graduating from the Academy of Fine Arts, Baghdad (1982), his early practice was profoundly shaped by his experience serving on the warfront. After immigrating to Sweden in 1991, Ibrahim expanded his practice through studies in screen printing and digital art, exploring identity and landscape in trans-migratory contexts. In 2009, he pursued a professional year toward an MFA at the University of Waterloo, Canada.   

 Ibrahim’s works have been widely exhibited across Scandinavia, Europe, North America, the South West Asian and Northern Africa, including the Mori Contemporary Art Museum (Tokyo), MAI (Montréal), the Sharjah Biennial (UAE), KWAG 5th Biennial (Canada), Malmö Art Museum (Sweden), YYZ Artists’ Outlet (Toronto), and Darat al Funun (Jordan). His awards include grants from the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, Swedish Arts Grants Committee, and Swedish National Council for Culture.