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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:20171204
DTEND;VALUE=DATE:20250807
DTSTAMP:20250807T034521Z
CREATED:20250807T034521Z
LAST-MODIFIED:20250807T034521Z
UID:10000305-1512345600-1754524799@albertaprintmakers.com
SUMMARY:The Mountie in The Family
DESCRIPTION:About the Exhibition \nMy maternal grandfather was a Mountie. This photo of him on horseback\, dressed in his formal Canadian Mounted Police uniform\, represents such an iconic symbol for Canada. Having passed away in 1995 he would have been 106 years old this year\, as Canada turns 150. This artwork is an investigation into my own identity\, within Canadian culture\, and how my personal view on heritage\, lineage\, and nostalgia have played a part in the formation of this identity. \nArtist Bio: Kenzie Housego has always been drawn to found objects and imagery with a sense of history. Through her art\, she seeks to investigate societal narratives of a romanticized past as well as the narrative of objects. She often highlights contemporary modes of gender roles and beauty by reflecting on the symbolic or iconized within society. Housego holds a BFA in Print Media from the Alberta College of Art and Design and resides in Calgary Alberta.  \n  \n 
URL:https://albertaprintmakers.com/event/the-mountie-in-the-family/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Mountie_Family-1-e1754538299810.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180223
DTEND;VALUE=DATE:20180408
DTSTAMP:20250801T202104Z
CREATED:20250801T201756Z
LAST-MODIFIED:20250801T202104Z
UID:10000280-1519344000-1523145599@albertaprintmakers.com
SUMMARY:Absurd Walls
DESCRIPTION:About the Exhibition\nA room without pictures – exhibition essay by Dan Shipsides  \nA room without pictures. I don’t like the pictures. Why?\nThey are all scary\, so scary.\nHow do you mean?\nDying people and lots of dead bodies and monsters.\nI don’t want to see anymore pictures\, why are they so scary? Well\, I guess it’s a complex set of reasons…\nThey scare me.\nI know. I’m sorry\, I suppose they are meant to be scary. But why?\nHmm. Well\, remember these paintings were made before TV and the\ninternet when there were not so many pictures in the world as there are now.\nI want a room that’s empty. Can we go to a room without pictures?\nThey are so freaky.\nYes\, I know. Spooky and monstrous too.\nAnd lots of naked people\, some of them being chopped up or stabbed. I know. I guess they try to make you imagine the bad things that might happen\, or show the horror of the world then or to fear the spirit world. But why are there pictures of that?\nWell\, they are stories which were made to be very vivid and dramatic so people would remember them and probably then be worried about themselves.\nI think they also show that some people are the winners and that the losers are punished either by god or by the laws made by the winners. So the dead people are bad people?\nThat’s often the idea but sometimes it flips around so the dead people are meant to be the good people but the pictures show that they suffered for their goodness.\nBut it’s so real and those people look poor and weak\, not like baddies.\nAh well\, yes that’s true… \nThe architectural face of the city is designed to mask the horrors of exploitation\, the core business of capital\, often in a morally encoded form of awe\, a surface veneer of sheen\, civility and moral power. ‘Everything here is Normal\, Proper and Right… ‘\, but behind that countenance there’s a sniggering\, lusting\, reveling\, wild heart of darkness that no architectural fac;ade can truly keep at bay. \nYet this masking acts as deception that quick turns to absurdity. Sisyphus is not pushing his rock up the mountain for fun\, it’s because it is the only action allowed to him as a punishment for daring to enact his own will. There’s nothing now he can do to escape his task but acknowledge its absurdity and push on. This absurdity of meaningless agency is an agency that nonetheless shifts responsibility to the individual to deal with the consequences (thank Sigmund and his nephew for that…). \nAbsurdity and its proximity to the grotesque darkness of selfish power is well revealed\, in what is the prototype of the Theatre of the Absurd\, in Alfred Jarry’s Ubu plays. Ubu is the absurd central character who gains power and acts in such a clearly nakedly unveiled manner that it’s impossible not to recognize that any fac;ade is absent. He kills\, steals\, brings upon his subjects a magnificent benevolence and then with equal measure capricious terror. All the acts of a man in power who cares for nothing but the immediate desires and cravenness of the self. He is unmasked and unchecked in equal proportion to the city which is fully masked and apparently ‘in check’. \nIn Huskisson’s compelling images\, gallery installations and urban interventions the darkly absurd is unmasked\, paradoxically often through the wearing of masks(or as human-animalhybrids)\, but it is not unchecked. Rather the work becomes the screening\, surfacing and texturing of our experience. The inner and concealed is openly revealed or acted out on the surface\, above ground\, in the open. But its revealing isn’t unchecked because there lies a level of filtering which synthesizes with humor and craft which is turned to critique\, self-exploration and honesty. A judgement is at play which is finely tuned to the affective so that the viewer is faced with their own subject-hood and implicated as the source or absence of meaning as much as the artist. In Huskisson’s work a sense of the overwhelming or excess is active but here it is not an exercise of power like the city’s architecture or the megalomaniacal behaviour of leader\, the aesthetic power here pitches towards states of unbecoming and draws from a combustible mixture of nineteenth century transcendentalism and from Beckettian animalistic rituals of repetitive failure. \nOf course there’s no room without stories because every wall embeds our desires\, dreams and delusions and even the wide-open wilds populate with our myths\, monsters and morality-traps. \nAbout the Artist\nJacqueline Leigh Huskisson considers herself primarily an artist who draws. Everything she does starts with the lines that lift off the page and evolve into video\, installation\, printmaking\, comics\, and illustration. Her art can be a question\, a reflection or a joke of the human condition and how one perceives our place in the universe. She was born and raised in Calgary and started her artistic career with a B.F.A in 2011 from the Alberta College of art and Design. Looking for a challenge she migrated to the emerald isles\, and in 2017\, earning a M.F.A from the Belfast School of Art. Currently Huskisson pursues a studio practice in Calgary and is awaiting her next adventure.
URL:https://albertaprintmakers.com/event/absurd-walls/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Absurd_Walls.jpeg
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