vine harvest, cement, oil, and acrylic paint on canvas, 30in x 30in (76cm x 76cm), 2023
village IV, cement, acrylic and metal paint on canvas, 36.5in x 36.5in (93cm x 93cm), 2024  
village III, paint and soil on canvas, 2023
guy leaning, soil, acrylic and oil paint, charcoal on canvas 20.75in x 36.5in, (53cm x 93cm), 2024

young life, paint and soil on canvas, 66in x 67in (168cm x 170cm), 2023
cowey abundance, paint on patchwork canvas, 22in x 28in (56cm x 71cm), 2023  
shovel, paint and oil stick on canvas, 42in x 58in (107cm x 147cm), 2023
wheelbarrow, paint on canvas, 39.5in x 38in (100cm x 96.5cm), 2021
farmer at rest, paint soil and charcoal on canvas, 77in x 51.5in (196cm x 156cm), 2023
mf ford ranger, paint dirt and oil pastel on canvas, 40in x 46in (102cm x 117cm), 2023
only forever, acrylic on patchwork canvas, 63in x 63in (160cm x 160cm), 2021 
bird glass, paint and cement on canvas, 38in x 50in (97cm x 127cm), 2020
body of water, acrylic and mud on canvas, 30in x 35in
(76.2cm x 89cm)
sands of time I, paint on paper, 21in x 29in (53cm x 48cm), 2022⁠
sourdough (bowl and spoon), charcoal and acrylic on linen, 26in x 54in (66cm x 137cm), 2021
caverns I, oil paint and flour on linen, 30in x 36in (76cm x 91cm), 2021
carry water, paint on paper, 13in x 17in (33cm x 43 cm), 2022


Paint is mixed with leftover flour, soil, dyeing leaves, and other readily available materials to create new pigments. The canvases are then sown like seeds: physically buried in the earth, left outside, or stored in cellars for later dates, resulting in both decay and transformation.


Janine Dunn produces figurative, modern-folk art paintings inspired by the farmland and characters of her rural town of Gibsons BC. From her studio situated on a country road (a converted 1940’s camp dormitory), she creates work visually anchored in her own lived experience, in her own lexicon of magic.

As a homesteader of British Columbia Dunn borrows directly from farm life. Through a limited colour pallette, figures emerge: food, water, houses, tools and shapes. Bodies are likened to geological forms, essential shapes emerging from the light and shadows. She is pulling from a pool of archetypes, filtered in dreamlike abstraction. Rendered in bold strokes and raw texture, Dunn’s figures and landscapes invite references to cave paintings, Art Brut, and Le Corbusier’s Purist aesthetics.
Her work reflects the desires of many to reconnect with the land and our life sources. Dualities of modern life emerge: loneliness versus community, convenience versus self-sufficiency, built up dwellings and sprawling nature, even the darkness of depression against healing inspiration. Seen in person, these paintings emanate a calm simplicity, yet reveal new details on every viewing.

Dunn's commitment to her canvases begins to mirror her standing commitments to everything else she cares for on the land, which is to say it is a collaborative process, in lockstep with nature’s seasons. The emerging patina and texture present cyclical dimensions of death and rebirth, as image.

Additional Links

Public Sculpture
Inquiries: studio@jdunn.art

= Available Work

December 2024: Gibsons Public Sculpture install & ceremony

Feb 08 - Mar 03 2024: Ferry Bulding Gallery (West Vancouver) exhibit with Biliana Velkova