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DTSTART;VALUE=DATE:20110907
DTEND;VALUE=DATE:20111016
DTSTAMP:20250801T164518Z
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SUMMARY:Origin Returning
DESCRIPTION:About the Exhibition\nReflective Movement in Kyla Fischer’s Origin Returning – exhibition essay by Sarah Nordean \nLiquid drips and swirls\, and repetitive\, organic shapes and lines suggest nature and landscapes in movement in Kyla Fischer’s exhibit Origin Returning. Viewers may find themselves oscillating between viewing the works as non-objective explorations of media and technique\, and also as poignant\, otherworldly landscapes. An upward thrust of a mountain\, an icy peak of snow\, a turbulent swirl of water\, or an ominous churning cloud emerge from the pools and splatters of Fischer’s abstract prints. \nFischer’s process is a comfortable tension between chaos and order\, marrying painterly dripping and splattering with more structured printing techniques. The compositions have been carefully considered\, and each print is comprised of a collage of 4 – 8 photo etching or photolithography plates. Paper is used as a medium in itself as Fischer prints on both sides of thin Japanese parchment to create a distinct veiled effect. \nIt is a tidal push/pull between these dichotomies–between chaos and order\, the non-objective and the objective\, and between detailed marks and conceptually expansive space­–that makes Fischer’s work so engaging. Her prints are comfortable being many things at once\, and invite prolonged contemplation from viewers. \nIn Origin\, repeating black drips and splotches appear to move outward from the centre of the image. A pale blue oblong shape seems to be the source of the emanating movement\, and the overall effect is of something bursting\, captured in space. The print is comprised of two identical adjacent images\, with one flipped\, creating a kind of reflection. Indeed a motif of reflection and oscillating movement runs throughout the exhibition\, visually as well as conceptually\, beginning with the title of the show\, Origin Returning\, and underscored by what Fischer indicates is the inspiration for her work–an 11th century\, reversible verse Chinese poem. \nSustaining the notion of reflection\, Fischer‘s ambiguous landscapes lend themselves to be open to viewers’ contemplations and interpretations. Psychoanalyst and theorist Jeanne Randolph uses the term amenable to describe this openness of artwork\, stating that a work’s ambiguous elements allow leeway for the viewer’s impulse to play with the illusion that has been created. Fischer’s work\, like a palindrome\, moves in two directions – towards the viewer and then back again as the viewer contemplates. \nA rhythm is generated in Fisher’s exhibition through repeated imagery and palindromic motion. From the movement of nature and landscape within the images\, to the reflective interactions viewers have with the work\, the exhibition pulsates with a subtle but constant peaceful energy.
URL:https://albertaprintmakers.com/event/origin-returning/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/02_KylaF.jpeg
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DTSTART;VALUE=DATE:20111019
DTEND;VALUE=DATE:20111112
DTSTAMP:20250801T165149Z
CREATED:20250801T165149Z
LAST-MODIFIED:20250801T165149Z
UID:10000267-1318982400-1321055999@albertaprintmakers.com
SUMMARY:I am the one\, Orgasmatron
DESCRIPTION:About the Exhibition\nJacinthe Loranger: I am the one\, Orgasmatron – exhibition essay by Stacey Watson \nJacinthe Loranger’s work may be psychedelic but it is also firmly grounded in the labours of putting together a silkscreen print. Her artistic practice has taken her down the rabbit- hole; viewers can follow her trail through investigations into installation\, performance\, photography and collage. However\, there is always the print. Popping up again and again\, there they are: finely crafted serigraphs. \nEvery piece Jacinthe completes is like the crescendo. There are no dull moments; collisions abound. Hers is a floating world of absurd cartoons groping grotesque props to a soundtrack of heavy metal. But for all this manic energy\, she writes with balanced clarity about her work. She says\, ” In opposition to the banality of everyday life\, my work offers a luminous\, unhinged alternative world in which every excess is a blissful celebration” (artist statement Loranger 2011). Based in Montreal\, Jacinthe has travelled to present her work in many locations and incarnations. This time in Calgary she will exhibit / am the one\, Orgasmatron at the Artist Proof Gallery. In this work the viewer will experience the blissful celebration going terribly awry when violence breaks out on a mythic quest. \nI am the one\, Orgasmatron presents a series of action-packed collages. Each one is like a landscape from an eighties computer game\, complete with a challenge\, ominous signs and odd characters. The title refers to a song by Motorhead\, one that lyrically rebels against organized religion and politics. Jacinthe’s work plays not so much upon the themes of protest but upon the culture of heavy metal\, the goth good times of basement-bedroom posters\, head-banging concerts and ripped t-shirts. There is the obligatory skull and candle\, the Ouija board\, the knight and sword; it’s all a pretty fun party. The action is definitely playful\, which is a natural extension from Jacinthe’s previous work role-playing in performance with props and prints. \nThe scenes are built up using multiple layers of printed shapes driven into formation by hand-cut collage work. The resulting flatness of the colours and choppy-ness of the forms appeals to the naivety of the pieces. It is all at the service of underlying sense of humour; these are hilarious works. The figures and shapes almost ask to be played with\, like on a felt-board in an elementary school\, they are ready to be moved around; the hand over the Ouija board\, the swinging mace. \nHowever\, Jacinthe is not fumbling around. These are skillful demonstrations of silkscreen. Hot colours are laid down with nonchalance and patterns are scattered with ease and decisiveness. It is really Jacinthe’s mastery over silkscreen as a process that creates the framework supporting all of her work. There is confidence underlying the experimentation and skillfulness directing the play. Therefore the viewer never gets lost while following on the heels of this artist through all her wild wanderings.
URL:https://albertaprintmakers.com/event/i-am-the-one-orgasmatron/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/01_Jacinthe.jpeg
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