In a remote corner of Saskatchewan decades ago some of the greatest American post-war painters, including Barnett Newman, shared their doctrines on modernism. The Emma Lake Artists’ Workshops have long fascinated Tammi Campbell, whose works on canvas, board or paper pick and prod the origin myths of modern painting. Her cleanlined productions are meticulous in technical prowess and playful in their intent to remove some of the historical austerity of “hardedge” abstraction. The apparently taped surfaces of her Works in Progress (series) “allude to the process of painting,” she says. “They are uncanny representations of seemingly unfinished works … at once complete and incomplete, abstract and real, referential and self-referential.”