Dyck was celebrated for her innovative use of everyday domestic materials and her remarkable collaborations with honeybees, through which she created poetic, layered works that questioned ideas of authorship, labour, and interconnection. Her practice consistently invited viewers to look more closely at the overlooked—whether the hidden labour of women, the slow work of insects, or the fragile ecologies we inhabit together.
Internationally recognized yet deeply rooted in Manitoba, Dyck’s career bridged the local and the global, the intimate and the monumental. Her art revealed how creativity can emerge from collaboration, care, and attentiveness to the smallest of details.
This focused display offers visitors a moment of reflection on the enduring legacy of an artist who transformed Canadian contemporary art and inspired generations with her curiosity, generosity, and vision.
Aganetha Dyck

Aganetha Dyck was born in Winnipeg and studied at the University of Manitoba from 1980 – 1982. An important MAWA mentor she has played a significant role in this artistic community. She has exhibited extensively across Canada and is represented in several prestigious public collections such as the National Gallery of Canada, the Glenbow, the Vancouver Art Gallery and Oakville Galleries. She has received several grants through out her career from the Canada Council and the Manitoba Arts Council.
Internationally recognized, Aganetha Dyck’s was most known for her collaboration with honeybees. Influenced by her rural Manitoba Mennonite background Dyck has maintained an interest in the everyday work of woman – that is the processes of sewing, mending, canning, baking, and organizing. Since 1991, Dyck’s practice concentrated on placing ordinary household objects in several beehives located at the St. Norbert Arts and Cultural Centre in Winnipeg, thereby the bees became her artistic partners by adding wax sculptures to the objects. Dyck did not intercede with her collaborating bees but rather responded to their creative embellishments.
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