The term "The Dirty" in Lethbridge has multiple connotations. For a city that prides itself on its manicured river valley parks and new suburban developments, "The Dirty" is the underbelly—both literal and figurative.
Locals familiar with Lethbridge’s industrial north side know the area around Stafford Drive North and the old CP Rail yards as “The Flats” or, increasingly, “The Dirty.” It’s a zone of salvage yards, neglected storefronts, and transient housing. For Shareen Bartley, this was ground zero for her artistic revival. She rented a decrepit garage at the corner of 2nd Avenue North and called it The Dirty Studios. Shareen Bartley - Lethbridge - The Dirty
From 2022 to 2024, The Dirty Studios became an unlicensed venue for punk shows, queer poetry slams, and late-night experimental film screenings. The city issued three noise complaints and one fire code violation. Bartley fought each one, arguing that “clean cities produce sterile art.” A mural she painted on the garage’s exterior—a twisted caricature of the iconic Lethbridge High Level Bridge bleeding into the Oldman River—was painted over by municipal workers within 48 hours. But the photos live on. The term "The Dirty" in Lethbridge has multiple
Shareen Bartley is not a household name in mainstream Canadian media, but within Lethbridge’s independent art and music scenes, she has become a figure of quiet infamy. Bartley, a multidisciplinary artist and community organizer in her early forties, moved to Lethbridge from Vancouver nearly a decade ago. Unlike many who come for the affordable housing and leave for the lack of opportunities, Bartley stayed—and began to stir the pot. For Shareen Bartley, this was ground zero for
Her work is confrontational. She blends performance art, spoken word, and “grunge-craft”—a term she coined for sculptures made from discarded industrial materials found in Lethbridge’s abandoned rail yards. Her pieces often explore themes of ecological decay, gentrification, and female rage. In 2021, her installation "Runoff"—a six-foot-tall weeping figure made from feedlot tarps and melted irrigation pipe—was briefly displayed in the basement of the Owl Acoustic Lounge before being vandalized. The tagline on the exhibit’s poster read: “Lethbridge is clean. But below the topsoil, it’s dirty.”
So, when the phrase "The Dirty" attaches itself to Bartley’s name, it may not refer to something illicit. Rather, it points to an aesthetic and a philosophy.
The term "The Dirty" in Lethbridge has multiple connotations. For a city that prides itself on its manicured river valley parks and new suburban developments, "The Dirty" is the underbelly—both literal and figurative.
Locals familiar with Lethbridge’s industrial north side know the area around Stafford Drive North and the old CP Rail yards as “The Flats” or, increasingly, “The Dirty.” It’s a zone of salvage yards, neglected storefronts, and transient housing. For Shareen Bartley, this was ground zero for her artistic revival. She rented a decrepit garage at the corner of 2nd Avenue North and called it The Dirty Studios.
From 2022 to 2024, The Dirty Studios became an unlicensed venue for punk shows, queer poetry slams, and late-night experimental film screenings. The city issued three noise complaints and one fire code violation. Bartley fought each one, arguing that “clean cities produce sterile art.” A mural she painted on the garage’s exterior—a twisted caricature of the iconic Lethbridge High Level Bridge bleeding into the Oldman River—was painted over by municipal workers within 48 hours. But the photos live on.
Shareen Bartley is not a household name in mainstream Canadian media, but within Lethbridge’s independent art and music scenes, she has become a figure of quiet infamy. Bartley, a multidisciplinary artist and community organizer in her early forties, moved to Lethbridge from Vancouver nearly a decade ago. Unlike many who come for the affordable housing and leave for the lack of opportunities, Bartley stayed—and began to stir the pot.
Her work is confrontational. She blends performance art, spoken word, and “grunge-craft”—a term she coined for sculptures made from discarded industrial materials found in Lethbridge’s abandoned rail yards. Her pieces often explore themes of ecological decay, gentrification, and female rage. In 2021, her installation "Runoff"—a six-foot-tall weeping figure made from feedlot tarps and melted irrigation pipe—was briefly displayed in the basement of the Owl Acoustic Lounge before being vandalized. The tagline on the exhibit’s poster read: “Lethbridge is clean. But below the topsoil, it’s dirty.”
So, when the phrase "The Dirty" attaches itself to Bartley’s name, it may not refer to something illicit. Rather, it points to an aesthetic and a philosophy.
