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Birdhouse for Maud
Oil on masonite
36 x 12

“... Ferguson believed that Nova Scotia had few artistic traditions worth considering outside of contemporary folk art and even used this theory to explain the development of an internationally recognized conceptual art scene at NSCAD in the 1970's. Ferguson's interest in folk art, thus, both complimented his own professional art practice and help to construct Nova Scotia's past as one of limited creative capacity due to regional isolation, artistic conservatism, and overall failure of the province's artists to keep pace with transnational late capitalistic economic and cultural developments." – Erin Morton, For Folk’s Sake