Opening reception

Jan. 23, 5 - 7 p.m. (Snow date: Jan. 30, 5 - 7 p.m.)
UNB Art Centre, East & West Galleries, Memorial Hall

Join us for the opening of Trayces, an exhibition by Gary Weekes, that explores Black skin, memory, and cultural lineage through 14 stunning photographic portraits. These works celebrate the tones, textures, and stories of Black skin across the diaspora. Meet the creative team behind the exhibition and experience this powerful visual narrative together.

Alongside Trayces, the UNB Art Centre continues its annual Black History Month project, honoring notable Black New Brunswickers who have fought, and continue to fight, for equality in the face of prejudice and discrimination.

Artist Talk with Gary Weekes

Feb. 5, 5 - 7 p.m. (Snow date: Feb. 6, 5 - 7 p.m.)
UNB Art Centre, East & West Galleries, Memorial Hall

Register now

Join artist Gary Weekes for an in-depth conversation about the making of Trayces. Discover the creative inspirations behind the work, the photographic and sculptural processes involved, and the cultural influences that shaped this series.

This session creates space for dialogue about representation, artistry, and the stories carried through Black skin.

Panel discussion: The Art of Belonging

March 21, 2:30 - 4:30 p.m. (Snow date: March 28, 2:30 - 4:30 p.m.)
UNB Art Centre, East & West Galleries, Memorial Hall

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In recognition of the International Day for the Elimination of Racial Discrimination, this community-centred conversation explores belonging, identity, and cultural histories.

Rooted in the themes of Trayces, the panel reflects on how our stories shape who we are and what it takes to build dignity and belonging across difference.

Statement

Trace
verb
3rd person present: traces

1. find or discover by investigation.

noun
plural noun: traces

1. a mark, object, or other indication of the existence or passing of something.

Trayces connects the present to the past in a subtle yet enigmatic way, so not to overtly bludgeon the observer with overt imagery, but to have them recognize how traces in the everyday can become triggers to the past. Weekes generates debate on Blackness and its perception thereof, through his choice of medium—industrial baking trays—thus creating conversation.

Presented as modern day tintypes, our sitters are individuals representing diversity of age, gender, birthplace, and culture who are integral to my narrative. Intentionally moving away from fashion as an appreciation of position and status but instead stripping away the superficial to allow the sitter’s gaze to be unapologetically strong. To directly confront the viewer’s attention with the challenge to initiate or provoke dialogue. There is much more going on than what we perceive at the outset.

Highlighting the diversity multiplicity of Black people found throughout the African diaspora, each baking tray echoes the colour and patina of Black skin. Each tray reveals uniquely complexed shades and tones which have been created by hot ovens, providing metaphorical relationships to our countries of origin. In their colour and patina, the trays symbolize the the dispersion or spread of a people from our original homeland.

These seemingly innocuous baking trays used only as vessels for bread & pastries, conjured up implied relationships with Blackness and strength to me.

Every scratch and mark meant more to me than just scratches on aluminum, they signified the practice of scarification that has been widely used by many West African tribes to mark milestones in both men and women's lives. Scarification is used for aesthetic reasons, cultural or symbolic expression, rites of passage, or to show community status. These ceremonial markings have been replaced in the Western world by tattoos, piercings and are worn without the tradition, honour, lineage and importance that scarification holds in Africa.

Tragically, through the metaphor of the trays, I force open the eyes of my viewers to the atrocities of lynching and the subsequent colloquially named “Nigger Barbecues” that occurred in Southern parts of America. Placing each portrait on the surface of a tray that was created by intense fire and heat, I want the viewers to know that the burning of Black flesh was not a cremation--but entertainment--a further degradation of a human by their oppressors. Lynching was terrorism, but this was far worse. Open fire pits caused the sickening stench to carry far and wide, but white oppressors still came in their numbers, rejoiced and cut pieces from the blackened corpses to take home as souvenirs.

These baking trays told me all that…

Trayces will challenge the viewer to see beyond the superficial and reveal how everyday objects are used in dynamic ways to create new narratives.

My exhibition is about discovery, awareness of environment and the incessant dialogue that my photography seeks to promote.

Bio

Fredericton NB. based photographer Gary Weekes’ commissioned work covers many different photographic disciplines; from inanimate objects to portraiture, maintaining an emphasis on quality with a sensitivity to his clients’ needs. This sensitivity is born from living in the huge cosmopolitan cities of London and New York to his finally settling in New Brunswick, Canada.

Gary’s evolution into Fine Art Photography originated with an eclectic body of work that explored the human condition through collaborative storytelling with his sitters. Collaborations are important for Gary, “shared experiences” are an important part of his mien.

In 2022, Gary became the first Black NB Artist to have a Solo Show at the prestigious Beaverbrook Art Gallery, subsequently having one of his works purchased, becoming part of their Permanent Collection. He also received the byblacks.com People’s Choice Visual Artist of the Year award. CBC honoured Gary with its 2023 Black Changemaker Award for his Community Work. Gary has now moved into Short Documentary Filmmaking with Cinematography/Directorial Credits added to his increasing list of accomplishments.

He is currently working on Still Here: Preserving Our Legacy a multi-year project, which culminates in his first published book and major exhibition in July 2026.

There is an underlying beauty in his subject matter, objects that are often overlooked by others resonate with Gary. Everyone and everything has a pulse that radiates - this is what he tries to uncover through his work. Finding this pulse creates a connection between the art and the viewer with Gary becoming a conduit for doing so.

With a uniqueness of vision, Gary’s approach to his art is “Out of confusion comes clarity!”

Music info:

Impossible Dust explores the idea of dust as a metaphor for timelessness, finality and the afterlife. The sources include electronic sounds from synthesizers and digital artefacts from software malfunction. As these recorded fragments become increasingly granular, they are occasionally influenced by musical AI algorithms, absorbing the vocal quality, humming and crackling sounds in historical recordings of choral music.

Bio

Michael Lukaszuk is an artist and researcher with interests in electronic music/sound art, improvisation and exploring the cultural dimensions of technology in music. His work often explores themes such as digital liveness and algorithmic media in culture. His work has been repeatedly presented at events such as ISEA (International Symposium on Electronic Art), ICMC (International Computer Music Conference) and has received awards from organizations such as SOCAN and the Canadian Electroacoustic Community. From 2024-2025 he was a Postdoctoral Fellow in New Media Art at Umeå University. He currently lives in Fredericton, where he teaches music courses at UNB.