Brief Infinity is an ongoing body of work by artist Danielle Hogan, and while the series will travel to British Columbia in the winter of 2027, its presentation at the University of New Brunswick Art Centre carries a particular resonance.

Founded 85 years ago by artists Pegi Nicol MacLeod and Lucy Jarvis, the Centre has welcomed hundreds of thousands of visitors, each leaving behind a trace of their presence. The galleries hold the breath of these accumulated moments—tears shed, joys sparked, losses remembered, love recognized, exhaustion endured, confusion navigated, epiphanies felt, even knees skinned. Time, which touches every life, forms the central axis of this exhibition, revealing how the most private experiences can echo outward and mirror the broader human story.

The works in Brief Infinity are both absolute in their presence and incomplete in what they leave open to the viewer; like reams of celluloid film—overlapping, discontinuous, and endlessly rearranged—the paintings (over 1000) remain somewhat liminal, moving between the minutiae of the artist’s individual experience and broader commonalities of existence.

Writer, poet, and civil rights activist Audre Lorde wrote that she herself was, her own best work “a series of road maps, reports, recipes, doodles, and prayers from the front lines”, a stance that is materialized by the works in Brief Infinity.

Hogan’s paintings are accompanied in this installation by a new textile work and a selection of collected objects—elements that extend and deepen the exhibition’s central themes. Brief Infinity, installed across both of UNB Art Centre’s East and West galleries, invites viewers to notice the echoes of their own experiences that may surface as they move through the space.

“The only professed atheist among Leila’s friends, Nalan saw the flesh – and not some abstract concept of the soul – as eternal. Molecules mixed with soil, providing nutrition for plants, those plants were then devoured by animals, and animals by humans, and so, contrary to the assumptions of the majority, the human body was immortal, on a never-ending journey through the cycles of nature. What more could one possibly want from the hereafter?” ― Elif Shafak, 10 Minutes 38 Seconds in This Strange World, 2019

Danielle Hogan [she/her] is a Canadian visual artist and academic recognized for her research in fiber-based art and for having a studio practice rooted in personal narrative. Working across multiple media, through her practice she investigates notions of time, precarity, joy, grief and patriarchal labour hierarchies. Since late 2022, she has been exploring non-linear storytelling through the practice of miniature, near-daily paintings.

Credit: Image: Kelly Baker

Hogan received a doctoral fellowship for her PhD research, which examined the stain of Femaffect on fiber in art. She coined the term to describe the art world’s persistent bias against textiles as sculptural media.

She is alumna of the New Brunswick College of Craft and Design; Emily Carr University of Art + Design (BFA) in Vancouver; the University of Victoria (MFA); and the University of New Brunswick where she earned her doctorate in Interdisciplinary Studies.

Her first book, LIGHT and MATERIAL: Weaving and the Work of Nel Oudemans, was published in 2024 and she is currently researching her second book of textile history.

Brief Infinity, an exhibition of Hogan’s paintings, opens July 10, 2026 at the University of New Brunswick Art Centre in Fredericton.

Of Irish, Italian, and French settler ancestry, Hogan lives as a guest in Ekpahak (Fredericton), on the unceded and unsurrendered territory of the Wabanaki people.