Tracey Bryant has always found solace in 快盈v3 landscapes. Not just the sky and the trees, but the minutiae of the patterns and details in the rocks and the earth. 

Even as a child, the Yellowknife artist said she would often escape to the bush to calm her worries and examine lichen and other organisms. 

In the Prince of Wales 快盈v3 Heritage Centre鈥檚 (PWNHC) newest exhibit, Covered Ground, visitors are invited to explore the details of the natural world with the same fascination. 

The exhibit, on display in the museum鈥檚 mezzanine until May, pairs Bryant鈥檚 pieces in acrylic and encaustic, or wax, with lichen-inspired paper sculptures from Alberta artist Rhona Harder Epp. 

鈥淚 spent a long time trying to capture feeling of a not just visual but sensory experience,鈥� Bryant said. 

She explained the work amplifies that which we regularly encounter but may not notice. 

Bryant described the way the 鈥渞esilient鈥� lichen break down rocks to provide nutrients to the soil and allow other organisms to flourish. 

鈥淚t鈥檚 not just the rocks, it's the relationship to the lichen and the other things that are growing and in greater scheme of life,鈥� she said.  

Bryant said the irony is not lost on her that an art show featuring greenery would launch in the dead of winter. She admits she finds the dark winters to be a challenge but she said she pushed herself to find 鈥渢hose little reserves of light.鈥�

In that sense, 鈥淐overed Ground鈥� has dual meaning as it represents themes of the physical ground, while providing a grounding experience for viewers. 

While Bryant is a seasoned acrylic artist, she recently 鈥渇ell in love鈥� with the encaustic medium 鈥� an art form where coloured beeswax is melted on canvas. 

She starts each piece with an idea, however, since encaustic work involves melting wax with a blow torch, it鈥檚 difficult to plan precisely where the colours end up. The art is largely a result of 鈥渆xperimenting and play and not being in control and letting go,鈥� she said. 鈥淭here鈥檚 a very therapeutic aspect that reflects my relationship with the (Canadian) shield. It鈥檚 very symbolic.鈥�

On Jan. 14, Bryant and the PWNHC are hosting an where visitors can hear from the artist and curators to learn more about the exhibit and the story behind its inception. Tours will take place from 5-8 p.m. and last 20 minutes for groups of up to five. Residents can reserve time slots for the free event on the . Attendees are reminded to wear a face mask. 

Since Harder Epp is not able to attend the event in person, she will be giving a virtual talk of her own on Jan. 21. At that time, she will discuss how she came to create her white paper sculptures, despite her usual set of work being mostly paintings.

"I'm not actually against colour," she joked. The same work in colour just didn't have the same effect. It seemed to override the purpose." 

With Bryant鈥檚 use of bright colours, Harder Epp said 鈥渢he pairing is fabulous.鈥�

In his curatorial statement at the museum, Scott Marsden wrote that both artists "have done a remarkable job of revealing a hidden world full of natural variations and a shared and symbiotic relationship between colour, repetition and forms found on the landscape of the NWT."

While lichens "can be understated" and "might be missed at first glace," he said both Bryant and Harder Epp shed light on the organism's "quiet exquisiteness."