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BEGIN:VEVENT
DTSTART;VALUE=DATE:19900901
DTEND;VALUE=DATE:20250720
DTSTAMP:20250730T161556Z
CREATED:20250724T171135Z
LAST-MODIFIED:20250730T161556Z
UID:10000205-652147200-1752969599@albertaprintmakers.com
SUMMARY:1990 ArtWalk
DESCRIPTION:About the Exhibition\nThis year’s annual ArtWalk festival will be held in September. Work from A/P will be on display in both The Petro-Canada Gallery and Image 54\, with Image 54 showcasing works and prints of a smaller scale. Thank you to Pauline Lindland and Mark Dicey for jurying this exhibition. \nArtists included in the exhibition: \nLeslie Minions\, Joan Weiser\, Helen Mackie\, Carole Bondaroff\, Gwen Frank\, Malcolm Brekkie\, Robbin Yager\, Todd Johnson\, June Thomsen\, Lenore Dyke\, Setsuko Moulton\, Colleen Shepstone\, Vera Greenwood\, Kevin Jones\, Janet Lowry\, Nick Meijer-Drees\, KarenMacRae\, Marda Wright\, Vivian Herman\, Bill Laing\, Catherine Baillies. 
URL:https://albertaprintmakers.com/event/1990-artwalk/
LOCATION:Image 54
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20110401
DTEND;VALUE=DATE:20250724
DTSTAMP:20250730T164653Z
CREATED:20250724T175248Z
LAST-MODIFIED:20250730T164653Z
UID:10000239-1301616000-1753315199@albertaprintmakers.com
SUMMARY:Local Imprint
DESCRIPTION:About the Exhibition\nA/P is organizing\, Local Imprint\, a juried exhibition for A/P members to showcase their work. \n\nThis exhibition is intended to: \n\nCelebrate A/P members while welcoming new and returning members\nFoster community through an inclusive group exhibition\nConnect with local and global printmakers and showcase the breadth and depth of their print-based work\nPromote sales that will support individual artists and raise funds for sustaining A/P’s community programs\n\n  \nArtists included in the exhibition: \nAlden Alfon\, Elizabeth Allen\, Carole Bondaroff\, Rosemary Brown\, Katherine Cregan\, Irén Gibson\, Kenzie Housego\, Ursula Knight\, Eveline Kolijn\, Kathryn Mathias\, Larissa McLean\, Michael Leeb\, Shinobu Mitsuashi\, Sara Norquay\, Anne Petrie\, Stan Phelps\, Carrie Phillips-Kieser\, Evan Smibert\, Heather Stump\, Margot Van Lindenberg\, Caitlin Wells\, Andie Wicherts\, Andrea Williamson\, Tracy Wormsbecker\,
URL:https://albertaprintmakers.com/event/local-imprint/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
ORGANIZER;CN="Alberta Printmakers":MAILTO:director@albertaprintmakers.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140914
DTEND;VALUE=DATE:20181013
DTSTAMP:20250801T205444Z
CREATED:20250801T205444Z
LAST-MODIFIED:20250801T205444Z
UID:10000283-1410652800-1539388799@albertaprintmakers.com
SUMMARY:Wasteland / Wanderland
DESCRIPTION:About the Exhibition\nWasteland / Wanderland  – exhibition essay by Shaun Crawford \nAny soul born from childhood will connect with the universal experience of growing up\, a sensation that Laura Peturson implores with apparent effortlessness – and capitalizes on as a space to draw attention to the world that today’s children are destined to inherit. Within large scale murals\, Peterson immerses her audience in a fantasy land that at first glance seems separate from the adult world. And yet\, there is something looming in the margins. Some hunch that two realms are in a quiet conflict with each other. The innocence of children\, so enchanting in the ease of their wonderment\, is being invaded by the greater\, corruptible\, ever more complicated context that  cradles them. The world we live in now.  \nLaura Peturson is based just outside of North Bay\, Northern Ontario\, a place known as “the gateway” between North and South. And so it is no accident that Peturson’s work also serves as a gateway\, a journey between two worlds. Her journey includes a B.F.A from York University in Toronto in 20011\, followed by an M.F.A from New York Academy of Art in 2005. And for the last decade\, Peterson has given her time as Associate Professor of the Department of Fine and Performing Arts at Nipissing University in North Bay Ontario. She has shared a myriad of exhibitions along the Eastern artistic hubs of Canada and the U.S\, including numerous shows through both Ontario and New York. Those shows have featured Peturson;s printmaking with a focus on relief\, screenprint\, and papercut processes. Though\, like any artist\, describing her simply by her academic history and preferred mediums falls drastically short of capturing her body of work- a narrative- based exploration of the defining experience of childhood and how its imprint and resulting identity interacts and resonates with place. And like many of her themes\, the notion of “place” represented an interconnected series of manifestations\, including geography\, internal space\, familial environments\, a globalized planet\, and no doubt much more than that. For Peturson is an artist that doesn’t seem too concerned with operating inside these constraints.  \nHer work is likewise ungoverned by arbitrary rules or constrained by boundaries\, be they artistic or imposed – most importantly those often self-imposed. And yet\, as much as her work exists in a boundless world\, it also lives on a razor thin edge\, that place that Peturson herself describes as\, “The line between peril and safety\,” a notion echoed in the title of her exhibition\, Wasteland/Wanderland. And “wander” and “wonder” and in doing so blurs the line between each. And wonder most certainly has a place in this exhibition as well. Be prepared to be immersed in an uncanny world\, an experience carrying with it both the familiar and the deliberately unknown. This Wasteland/Wanderland\, most definitely evoking a forest as a totem that immediately conjures a sense of both danger and whimsy\, borrows well from the history of children’s stories. Should anyone have had the good fortune to come across the original images from the wizard of Oz or Alice in Wonderland there will be a familiarity in the artistic style of Peturson’s work\, clearly influenced by earlier print images in children’s books. Within these woods\, overgrown\, dead\, or dying\, there is an instant sense of both nostalgia and fear. Nostalgia for the uninhabited and explorative experience of childhood and fear in the wisdom that burdens adulthood\, the recognition of peril and decay. But the dread that seeps out of every chasm and fissure in every root and every tree\, is still so easy to ignore\, even as it threatens to overtake the children that recall such a sense of enchantment.  \nChildren have been called the world’s most valuable natural resource\, and the irony of that claim is apparent in Peturson’s world\, intended or not. This precious resource\, incumbent with inheritance\, children are unwilling participants in the chapter-book of our collective worlds. Just as we all were once. And now\, in a space where we’re allowed to stand on the edge between that penultimate innocence and the gravitas knowledge we now possess\, what will it mean to each of us? What will we walk away with? What will we leave behind? Because in the answers to those questions\, may be the world that we entrust to the children.  \nAbout the Artist \nLaura Peturson is a printmaker based in Northern Ontario. Her work uses narrative to explore themes of childhood\, gender\, and place. She is interested in the ways the domestic spaces we inhabit as children form our identity and a conception of our place in relation to family\, geography\, and nature. Peterson’s recent work has been exhibited at Flowers Gallery (New York\, NY)\, The Thunder Bay Art Gallery (Thunder Bay\, ON)\, White Water Gallery (North BAy\, ON)\, and Idea Exchange (Cambridge\, ON). In January 2017\, she installed a 9 x 16 ft printmaking mural at the Gladstone Hotel as part of Come Up to My Room\, an exhibit in the Toronto Design Offsite Festival. Her recent curatorial projects include a national artist residency for the creation of site-specific installations in North Bay entitled You are Here: Visualizing Place at the Gateway to the North. Peterson teaches printmaking\, painting\, and drawing at Nipissing University. 
URL:https://albertaprintmakers.com/event/wasteland-wanderland/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Wander.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170224
DTEND;VALUE=DATE:20170402
DTSTAMP:20250806T073620Z
CREATED:20250806T073620Z
LAST-MODIFIED:20250806T073620Z
UID:10000299-1487894400-1491091199@albertaprintmakers.com
SUMMARY:The Dormant Consciousness/Sleeping Awareness of a Human Within Urban Space
DESCRIPTION:About the Exhibition \nExhibition essay by Shaun Crawford \nThe modern empire of mass media bombards the world with an unending montage of shallow images\, creating a collective hyper reality that blinds its people to the uniqueness of their own critical thinking. This is the time and space that we live in. And this is the world from which Marek Pośpiech sets out to address the collective consciousness and the matrix entwined with it. His series of works titled simply Sign I through Sign VIlI presupposes that people are submerged in this hyper reality\, created by our collective actions and perceptions. \nThe result is a vague pattern of place – a simulation of the urban environment\, reminiscent of all form and meaning. \nPośpiech  hails from Rydułtowy\, Poland where he graduated from the Department of Art in the Studio of Painting at the State Higher Vocational School in Raciborz in 2012. He went on to graduate from the Studio of Letterpress and the Studio of Painting at the Academy of Fine Arts in Katowice in 2014. He utilizes a range of mediums\, working in graphic art\, art installation\, painting\, and drawing. His unique excavation of the human consciousness and its relationship to the modern hyper reality has been experienced in shows and exhibitions all over Poland\, and around the world including Bulgaria\, Czech Republic\, Thailand\, and Canada. \nAt first glance\, Pośpiech’s Sign series of prints appears ambiguous in scale. It is unclear whether the image is seen through the perspective of a microscope or a satellite. Traces of it seem familiar. Is that a brick? A curb? Shards of glass. Each has an uncanny texture and composition. But the ambiguity is Pośpiech’s challenge. In the world he has identified \,Pośpiech suggests that people are overcome by superficial and aesthetically irrelevant visuals\, lured into the hyper reality as their perception and individual capacity for critical thinking are corroded. People are simultaneously influenced by\, existing in\, and also constructing this collective pseudo-world through their determined and sometimes unconscious activities. There is a danger in such an absentminded existence. A danger that Pośpiech calls to our attention. \nHis pieces exist deep beneath the hyper real. They are demanding of their audience. Citizens of the “Internet Empire” as Pośpiech calls it\, must tap into a greater reservoir of perception\, of consideration – of critical thought. In some ways\, his show is an awakening. A quick *snap* of the fingers calling you to action to look here \,and look closely. But his work is also an invitation to the viewer to create their own meaning. Its substance is defined less by what exists within it\, and more by what someone brings to it. Marek Pospiech’s precisely titled\, The Dormant Consciousness/ Sleeping Awareness of a Human Within Urban Space is a collection of work that’s not just seen\, it is developed in the moment; its true intention exists in the viewer’s own realm of conscious thought. It is a trigger. A catalyst. And as art often can\, it reflects our world. The one we create. And the one we sometimes fail to see. \nArtist Bio: Marek Pośpiech was born in 1990 in Rydułtowy. He graduated from Department of Art – Kazimierz Cieślik’s Studio of Painting – at the State Higher Vocational School (Państwowa Wyższa Szkoła Zawodowa) in Racibórz in 2012. Between 2012 and 2014 he studied at the Academy of Fine Arts in Katowice\, graduating from the studio of Letterpress under the supervision of professor Kaziemierz Cieslik. He practices graphic art\, artistic installation\, painting and drawing. 
URL:https://albertaprintmakers.com/event/the-dormant-consciousness-sleeping-awareness-of-a-human-within-urban-space/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_The_Dormant.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170330
DTEND;VALUE=DATE:20170526
DTSTAMP:20250807T035401Z
CREATED:20250807T035401Z
LAST-MODIFIED:20250807T035401Z
UID:10000307-1490832000-1495756799@albertaprintmakers.com
SUMMARY:i/we
DESCRIPTION:This series speaks to the contemporary and ongoing dialogue between the construction of the identity of self and the collective cultural identity\, specifically in relation to social media. The layering and fragmentation of the portraits reflects the complex and multifaceted nature of identity and perception of identity in both the natural and digital world. \nArtist Bio: Samantha Charette is a visual artist from London Ontario and recent Bachelors of Fine Art graduate from the University of Alberta. Currently working and residing in Calgary Alberta\,her interests include the identity of self\, cultural identity\, identity formation and site specificity. \n  \n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/i-we/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_i_we-e1754538718494.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170421
DTEND;VALUE=DATE:20170528
DTSTAMP:20250806T074058Z
CREATED:20250806T074058Z
LAST-MODIFIED:20250806T074058Z
UID:10000300-1492732800-1495929599@albertaprintmakers.com
SUMMARY:The Intricacies of People\, 20 colour etchings by Robert Pugh
DESCRIPTION:About the Exhibition\nExhibition essay by Mary-Beth Laviolette  \nRobert Pugh is a senior artist whose artistic practice began to take shape in England in the 1970s. Over the years\, much of his time has been devoted to painting despite acquiring a press twenty years ago and creating\, over time\, an oeuvre of printed works. Five years ago Pugh started producing figurative colour etchings\, nineteen of which are on display at Alberta Printmakers. One engraving with aquatint is also included. \nThese art works involve some of the oldest techniques in printmaking but in the hands of a capable artist like Pugh there is a vitality\, visually speaking\, that makes these small-scale prints speak totally of the present. Underlying it all is an informal style of drawing that avoids the illustrative while conveying as much as the viewer needs to know. It’s a case of: implied but never revealed\, evoked but never declared. \nThis approach plays well with the subject matter addressed by the artist. Let’s call it the quotidian or a preoccupation with everyday moments in the artist’s life and his friends. It’s people that interest Pugh and in each etching generally some kind scenario is depicted. A naked man dips his foot in a Cold stream\, a couple embrace in a deep Kiss. In Rain\, running for cover is a man attired in a bright striped red shirt and blue jeans while in a crowded Rooftop Café a patron near the back holds forth. \nThe exception to all of this ordinariness is Squeeze where inspired by a 1977 video\, a woman visitor is required to squeeze past a naked and stone-faced Marina Abramovic\, the performance artist. The other woman’s expression is one of uncertainty or perhaps embarrassment. Through compressed body language\, this artwork evokes a quiet intensity that gets repeated in other prints such as Tight (2015)\, Asha (2016)\, A Drink (2016) and others. \nResponsible for conveying all of this\, is his sketch-like drawing which transfers well to his etching. The drawing seems to be a spontaneous affair but according to Pugh is the result of absorbing information from photographs he has taken or borrowed from friends. A lot of process is involved then in this trajectory from photograph to drawing (several) to a soft-ground etching. As a viewer I was compelled to ask: where’s the photo? It was nowhere to be seen\, hence\, a convincing conversion. \nIn addition to the etching itself\, the artist employs two and sometimes three aquatint plates – one with warm colours and the other with cool to enhance the humanity of the scenario he has created. Here tone plays a role rather than line; giving us a sense that some of these images are located in a tropical environment. It doesn’t take much but the experience of rain pelting down on a Pink Umbrella (2016) or being a blue-shirted tourist in a crowded Beach House (2016) is lucidly implied. Most beautiful among the twenty prints is the aquamarine-drenched background in front of which a gesture of kindness is performed in The intimacy of strangers(2017). \nFinally\, is the spirit of Edgar Degas being channeled someway in these prints of Robert Pugh? The French artist is best known for his paintings of ballerinas but he was also a prolific printmaker (monotypes) noted for the ease of his mark making. Pugh’s work is completely of a contemporary kind but the spirit of urban life is also a strong feature too. Conveyed is the conviction that even in the very ordinary matters of life compelling images are to be found. \nArtist Bio: Robert Pugh is a painter and printmaker living in West Sussex UK. He attended Byam Shaw School of Art\, obtaining a Distinct degree. He has attended classes in printmaking at Morley College\, Camden Arts Centre and Brighton Independent Printmakers. Pugh is a member of the Printmakers Council\, East London\, and Brighton Independent Printmakers. 
URL:https://albertaprintmakers.com/event/the-intricacies-of-people-20-colour-etchings-by-robert-pugh/
LOCATION:Alberta
CATEGORIES:Past
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