rOGUE Gallery

Eastern Edge’s rOGUE Gallery is a space that is dedicated to showcasing work by Eastern Edge members, with a special focus on local practices and works by artists with a connection to Newfoundland and Labrador. Programmed through an annual call for submissions, the gallery highlights experimental art practices, and supports artists in the emerging stages of their career.

Starting in 2025, Eastern Edge will reserve one of the six-week exhibition slots in the rOGUE Gallery for community programming each year, usually running in the Spring. During this time, exhibitions and events by community groups and partner organizations will be on display. Exhibiting space in our province is limited, but our local arts community is robust, thriving, and ever-growing. With our rOGUE’s Community Slot, we hope to provide the much-needed space for community groups to share their hard work and programs with everyone!

Current Exhibition

Luanne Dominix, With Quiet Hands

November 7 – December 13, 2025

With Quiet Hands is a series of watercolour paintings that explore the delicate balance between tradition and modernity. Through a reverent celebration of butchery as both craft and ritual, the work reflects on our relationships with food, identity, and sustainability.

Drawn directly from first-hand experience on a local farm, the physical skill of processing animals is translated into a visual language of attention, precision, and respect. Here, butchery is framed not only as skill but as ritual.

The exhibition asks viewers to confront our growing detachment from the origins of what we eat, and to reconsider the reverence, labour, and care embedded in acts of preparation and transformation.

Upcoming Exhibitions

Bethany MacKenzie, (DE)COMPOSING

February 6 – March 21, 2026

(DE)COMPOSING marks MacKenzie’s first solo exhibition and shares work that explores the relationship between her body and place as they exist within the complex histories and heritage that they both carry. Using textiles, paper making and performance combined with photo-documentation by Johnny C. Y. Lam, MacKenzie questions and examines how colonization and patriarchy have severed and stigmatized Queer-Femme identity from the land while actively creating space for unmasked Queer expression and joy. Using the Ghillie-Suit, a traditional Scottish camouflage-garment that is most commonly seen through militaristic uses, MacKenzie creates an anti-camo suit that dances along the coast of Bonavista, their current place of residence. (DE)COMPOSING refers to both the breakdown of material after death, as well as the ways we “compose” ourselves in our everyday lives. While their work appears monstrous and at times, grotesque, this exhibition is an amalgamation of Queer-Femme expression that draws attention to what is perceived to be threatening, but in temporal simultaneity is both powerful and gentle, strong and soft.

Kristen Piercey, IntimaCy

June 12 – July 25, 2026

Through the use of doilies, IntimaCy calls to question the inherent societal expectations surrounding intimate sexual relationships and how social faux pas around discussing sex outside of a medical setting impacts disabled people through involuntary isolation. This piece allows viewers to reconsider their ideas around privacy and how they may approach accessibility in an intimate context while gaining a visual understanding of the physical and mental burdens of intimacy complications in someone as a result of chronic illness.

Ernest Boateng, POP YOUR COLLAR

August 14 – September 26, 2026

This exhibition celebrates the untold stories of tradespeople in Corner Brook, Newfoundland, and beyond. Through intimate portraits, workplace scenes, and artifacts, Ernest Boateng bridges local and global narratives, capturing the humanity, craftsmanship, and resilience of workers. Highlighting the intersections of labour, identity, and culture, the exhibit invites viewers to reflect on the vital contributions of these “unsung heroes” to our communities.

Katelyn Dobbin, Knowing, Not Knowing, and Being Known

Knowing, Not Knowing, and Being Known interrogates the intersections of gender, nature, and the grotesque in Newfoundland fairy lore and the artist’s memories of growing up in the St. John’s metropolitan area. Using experimental papermaking, quilting, and embroidery techniques that metaphorically recall the body and fragmentary nature of memory, Dobbin explores the multiplicity of identity—generating dialogue about the complexities of Newfoundland culture.