These are the amazing DOORS that were auctioned in May 2016 as part of the GALA fund raising event in Yarmouth. They are shown here as part of the visual record.

Wayne Boucher

These are the two sides of Wayne Boucher’s doors. Notice the reference to our Nova Scotian origins. This door was originally a kitchen door at 27 Willow Street in Yarmouth and dates from 1887. It is 30 x 81 inches.








Channing Burchell

Life is a canvas and each of us has a unique story to paint. I try to fill mine with as much colour as I possibly can because the world already has enough darkness in it. I want to be the light. This door was originally at 27 Willow Street in Yarmouth in an upper bedroom. It dates from 1871. It is 31 x 81.5 inches.









Anne Marie Clow

Ann Marie Clow’s door plays with the theme of a  useful note keeping surface with chalk and eraser provided. It is connected to Yarmouth through its images. The door was originally in Halifax a dates from 1910. It is 31 x 72.5 inches


Colette Deveau

Colette has created a ‘living’ door. Each of the small panels is removable and can be replaced by new self created art over time. Thus, the door is continually evolving with the family who owns it. Is an 1872 door from 25 Willam Street in Yarmouth. It is 30 x 81.5 inches.

Colette Deveau


Colette has this to say about her creation: “Our community, our country, the world is made up of many races, languages, cultures, women and men. We are all different, but we are all people. We are all one ‘people’. Seek peace, harmony, equality – yes. But don’t live in the shadow of others – of the masses – oppressed, silent. Be you. Be true to your spirit. Live. Love. Open the door. Unlock your fears. Release the spirit. Embrace your dreams. Love. Live!”

Flora Doehler

Flora DoehlerFlora’s door is a wild exuberance of colour recalling a summer flowers. It dates from 1910 in Halifax and is 32 by 79.5 inches.

Flora says: “Each year’s crop of flowers means a fresh, beautiful beginning. That determined persistence is embodied in a living, complex form that continues to inspire me. 

When I designed this door, I imagined what it would be like to shrink down to a Thumbelina size and to step into a chaotic garden of colours.”
Flora’s schooling as artist stretches back a few decades to Toronto and then Berlin, Germany. After years of painting part-time, her yearning to paint full time happened 8 years ago in a move to Nova Scotia. She lives in the pretty and creative village of Bear River and divides her time between painting, gardening and community work.


Craig Dorsey

Craig has reconstructed his door as a fine arts cabinet using other found materials to complement the its character. The door is from the 1840’s, Beacon Hill, Boston. The construction is 31 inches wide, 80.5 inches high and 17.25 inches deep at the crown.

Craig Dorsey (front)Craig Dorsey (side view)








Craig has this to say: “Not being a painter, I sought to create something completely different with my door, something no one would expect. Doors can be a gateway to the past or the future. At times they can be nothing more that a passage way from one room to the next, but they can also be used as metaphors as the blockages for the untapped parts of our minds, those places which we Artists are ever striving to reach. For me, the natural beauty of the age and patina of the door itself is the art, it is the story. It not only holds all of history of the family’s who lived in the home it came from, but it acted as a perfect foundation for me to reach deep inside and open new doors of creativity within myself. For me, this one single door has opened many new doors. I have made new friends, I have combined elements I have never used before and I have opened a few new doors deep within that have allowed me to venture forth on a new found path.”
“With a boundless imagination and the use of obscure discarded elements and rich vintage textures, I am able to create objects of functionality which can evoke images of wonder, much like a carnival of yore. My intertwined use of found materials not natural to each other – in the lighting, flooring, furniture and sculpture I create – is simply the purest expression of playful eco-lectic reclamation I can conjure.”

Michel Doucet

Michel’s door captures the spirit of the Nova Scotian days of sail and the vitality of the fishermen who were aboard. It dates fro 1887 as a door at 27 Willow Street in Yarmouth. It is 36 x 79.5 inches.


Richard Doucette

Richard has produced an exciting and dynamic door through use of colour and imaginative carving. The reverse of the door is “as found” with some enhancing use of additional colour. The door is from 1840’s, Beacon Hill, Boston. It is 31.25 x 75 inches.










Tootsie Emin

This door explores the “pathways” through life as a child to adulthood on one side and the state of the universe on the other.  The large 42 x 79.5 inch door was originally at 8-10 Albert Street, Yarmouth.  It is one of three doors used as a basement divider for this 1895 duplex home.










Ken Flett

final-The Weight in my Bones (1)Ken says: I found the format of the door a challenge. In the beginning the only specific thing l had in mind were two wooden ships in battle and from there l tend to work intuitively. The theme of love and sadness are recurring in my work and l think it happens here. The door is from 1910 in Halifax and is 32 x 80 inches.



final-The Weight in my Bones (2)








Lisa Francis

Lisa’s door is an expression of First Nation’s symbology and connection to the land of Nova Scotia. It is 32 x 73 inches.

P5110829 copy

P5110830 copy copy









Marilyn Francis

This door is dedicated to reflecting on the plight of First Nations women who have suffered abuse, become lost or killed. The figures on the door were created at each the First Nation reserves in Nova Scotia. The door is 32 x 82 inches.









Dave Gorman with Alex Gigeroff

Dave Gorman, one of Yarmouth’s up-and-c0ming young artists know for his bold compositions and exuberant colour use, teamed up with seasoned artist, Alex Gigeroff to create what has turned out to be the last art work in which Alex had a hand. Door is 30 x 79 inches. It is 1893, 17 Collins Street. Kitchen pantry door.

Dave Gorman:Alex G.(back)

Dave Gorman:Alex Gigeroff (front)








David gives us this insight to the door: “We collaborated fully on the door. Alex came up with the concept for the door: to have an “inside” and an “outside”. Alex would do sketches and give me his ideas and thoughts on it, and I translated these to the door.

The inside is to reflect a wall hanging or a carpet, simple geometry but attractive colours. The biggest part was to break the rectangle, embellish and work the ellipse! Another objective was to keep the eye moving and perhaps convey a sense of unrest.
The outside of the door represents nature. The inner panels are reflective of the sea and sky around us and the outer area represents the interior of the province. I took inspiration from a place called Little Half Way in Carleton; Alex used to have a place there and spoke well of it. The three leaves on the door are zdravets, a wild Macedonian geranium. Alex said these would be planted around the front of the homes of Macedonian immigrants. This way a passing Macedonian would know living in the home was a fellow Macdeonian who they could go and see for conversation, food or shelter if needed. Alex’s mother brought zdravets with her when she came to Canada from Macdeonia. 
It was a pleasure and honor working with Alex on this project and getting a glimpse into his mind and learning many valuable lessons from him both on art and in life. Sadly, Alex passed away the morning we were to finish the door with him. Alex told me from day one to sign the door for him so that is what was done.”

Hermit of Jedore

This door has been reset into a custom frame and stand. It is a fine piece of interpretive folk art in the Nova Scotia tradition. The overall size with frame is 29.25 x 75 inches  plus six inches on each side for support.


Hermit of Jeodore front


Hermit of Jedore back








Anne LeBlanc

Anne’s door captures the freedom of the sustaining Nova Scotia landscape with its  images of water, waterfalls and the bald eagle found her in abundance. The door dates from 1872 from 25 William Street in Yarmouth. It was a closet door in a bathroom. The door is 25 x 74 inches.


Anne has this to say about her door: “One side of my door has a river with rocks blocking it’s path, symbolizing the obstacles we all have in life, but the water finds a way around them, as we find ways around our obstacles.  The mighty eagle soars overhead reminding us there is always someone or something looking out for us. 

The other side of the door shows the river transformed into a waterfall with all it’s splendor. The eagle is still keeping guard.”


Roy Mandell

Roy’s door is a true inspiration, an evolving creative subject approach to those familiar with his work. References from art history are rampant. Interpretations are brilliant. The door is 35.5 by 79 inches.


Roy Mandel (back) copy

Roy Mandel (front)









Roy had this to say about his creation.

I pried the mouldings off of the panels and glued 1/2 inch boards into the spaces to make the entire door a flush surface. I had no idea what to do so I started with a baby in utero and built outward from there watching the concept unfold not knowing where it would go until it  gradually appeared on the door. The opposite of conceptual art where the idea is first. As a painter I just wanted to know how to  make a painting that looked like old paintings I love in museums and books and the internet.

Lara Martina

Lara Martina’s door is reflective of a portable alter backdrop and has a social justice theme. She has incorporated a signed poem by George Eliot Clarke in this collaborative effort. The door dates to 1872 and is from the kitchen at 27 Willow Street in Yarmouth. It is 60 inches wide by 50.75 inches high but it is hinged and folds in four pieces.



She has this to say about the work as it is based on observations of history that are important to its creation.

TEXT: A Letter From Henry Tucker, August 28th, 1789 Verse V

Now we have darkies,

and Nova Scotia has darkies,

and we all have Christ.

And we all split “fair” from “dark.”

But no one cares for the Nova Scotian Negroes, despite the black- robed, long-coat traffic

of clergy twixt Halifax (NS) and Hamilton (BDA), with white Believers assisting brown Bermudians, but ignoring New Scotland’s scruffy blacks.


“NS has had historic encounters with racism, segregated areas, discrimination, hatred, forced relocation, and a loss of a sense of identity and a sense of belonging experienced by Black descendants though they had settled in Canada for hundreds of years.” Ruth Holmes Whitehead

By camouflaging/not camouflaging the door in the creation of an altarpiece I am making reference to how we as humans choose, or do not choose, to camouflage our identity, our race.It is an engagement with the question of the possibility of language and how the human relation to Being is sketched out through text and art.My art and the poetry of George Elliott Clarke are shaped by the landscape through which we move – thus the inclusion of NS landscape icons – The Baptist Churches, Blomidon etc.

As Emerson says : “ The ground is memoranda and signature.”

Olivia Sawler

Olivia Sawler is an art student at Yarmouth High School. Her door is a an expression of her reflections on her life with images of childhood transforming into where she is today looking to the future. The door is from 1872 as a bedroom door at 25 Willow Street in Yarmouth. It is 30 x 81.75 inches.











Kathy Seaboyer

Kathy SeaboyerKathy’s door is one of a few that uses a three dimensional approach of carving and adding to the original door planes. It is a very thoughtful door on state of humanity and will be the subject of much thinking and interpretation. The door is 32 x 79.25 inches.






Maggie Schmidt

Maggie’s door is a joyful expression of warm images with a Victorian flare on one side and a beautiful combination of satiny golds and silvers on the other. It is one of the smaller doors, just 26.5 x 66.25 inches. It is from 25 Willow Street in Yarmouth.

Maggie Schmidt-Mandel

Maggie Schmidt-Mandel








Maggie has this to say about her door.

My door came from the bathroom of a Victorian Era house. This triggered my imagination. First that decoratively it was in the Art Nouveau period which I happen to love and I Decided to explore. The one side of the door, silver, gold and copper leafed with art nouveau designs states the period in which the door lived. The fact that is was a bathroom door, suggested to me what perhaps could happen behind closed doors. I explored the Czech artist Muncha who painted lovely sensual ladies. I googled Victorian Nudes and found a plethora of wonderful naked ladies…and decided they  should be my models. With a bordello point of view I painted these ladies surrounded by Irises, also in my mind a very erotic plant. I then stencilled in copper oil paint a floral pattern to fill in the blanks. The Victorians were always over the top with decoration. I call the door UNHINGED.

About myself, I have always made my living as an artist. One way was as a decorative artist and interior designer embellishing people homes.


Mary Pitman

Mary Pitman did this symbolic door expressing the  unity of First Nations peoples from East to West coast. This door is 36 by 79.5 inches.

Mary Pittman

Mary Pittmam









Brian Porter

Brian’s door is an exemplary example of his imaginative and sometimes dream-like approach to painting. His strong graphic approach is evident. This door dates from 1887 when it was a kitchen door at 27 Willow Street in Yarmouth. The door is 30 x 83.25 inches.




Steven Rhude

Steven Rhude’s door incorporates a whimsical theme of coastal Nova Scotia and a personal observation poem. It is 36 x 84 inches.










Diane Rosati 


Diane RosatiDiane’s first door is entitled “The Old Homestead”. It is a construction of found objects from in and around her 1787 farmhouse and reflect a feeling of days gone by. The door includes a mezzotint of her long dead whippet called Trouble and represents the hunt for the cat. It has been shown at various shows starting in New York city, going to Home Museum, and winning first prize at the found objects show at the Osprey Theater and Gallery in Shelburne, NS. It is a narrow  23.5 x 73.5 inches. The box with cat at the bottom is a separate piece.

The second door has various “state” etchings inserted into the panels and reflects Diane’s background as a printmaker. It uses prints as collage. This door has been stippled using bait bags. Stencilling and old hardware have been incorporated. It is all about the visual in art. This door is 31.75 x 72.5 inches.