BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Alberta Printmakers - ECPv6.17.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://albertaprintmakers.com
X-WR-CALDESC:Events for Alberta Printmakers
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Edmonton
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20110313T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20111106T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20120311T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20121104T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20130310T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20131103T080000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120425
DTEND;VALUE=DATE:20120603
DTSTAMP:20250801T160642Z
CREATED:20250731T222935Z
LAST-MODIFIED:20250801T160642Z
UID:10000258-1335312000-1338681599@albertaprintmakers.com
SUMMARY:Transmutation of Being
DESCRIPTION:About the Exhibition\nMariana Moranduzzo-Static Processist – exhibition essay by Mario Trono \nMany artists allege a philosophical status for the meanings of their works. It‘s easy to do in artist statements\, and you can’t blame artists for trying. After all\,good work that is also compellingly theorized by its creator remains the ne plus ultra of the more stellar exhibitions. Since contemporary modes of art criticism long ago eschewed affect in favour of ontology\, and since the reports ofTheory’s demise are not so much greatly exaggerated as they are a kind of desperate\, wishful thinking\, we will continue to see some artists’ statements clogged by abstruse language and abortive argument\, tacked onto work that bears few traces of the claims made for it. \nYou will see precisely the opposite of this state of affairs in a show by visiting Portuguese artist Mariana Moranduzzo entitled Transmutation of Being. She offers an artist’s statement that I hope most viewers read after seeing (as I did) her etchings\, woodcuts\, and drawings on paper. The statement\, read after\, will most likely evince thinking congruent with your own. \nPresented many times in the work itself is the unmistakable contour of an object most figuratively akin to rock\, that most blunt symbol of materiality (and\, to the old existentialists\, of the burdens of consciousness). In a few of her counterpoint works\, the shape figures less prominently in what feel like desultory responses to those other clearer shapes\, a response that seems a type of thought. If architecture is frozen music\, then the abstractions of art are static thought. It feels to me like Moranduzzo‘s images\, collectively\, are thinking.  \nAnd they got me thinking. The rock-like object appears to float at times\, something that only suggests an experiential unlikelihood if one forgets physics. The earth itself is a weightless rock in space. But it has mass.The more mass (concentrated or otherwise) a body in space possesses\, the more gravity it has\, and as physics now tells us\, time itself will slow down near large celestial bodies. Rocks in space exist not in but are the very essence of the universe’s being.  \nBut as we all know\, paper covers rock; I wasn’t looking at rocks when I beheld these images but at paper. And so are/will you inside the exhibition space\, and that fact brings human perception into the equation that Einstein worked so hard to create in order to explain existence in space. Art\, more than other human creations\, needs to account for its own being\, especially complex art that ever sits-because of its complexity-at a cultural remove. The savviest art accounts for itself by drawing your being into a consideration of its being. This occurred to me as I beheld Moranduzzo’s “Earth Memory”wherein the rock-like object reminds one of a human skull. Gazing out of one’s skull is\, by its very nature\, a contemplative act\,and the contemplator is always deeply implicated in the contemplated. To perceive a rock or a piece of art when both you and what you look at exist together-in space and time inside never ending processes that govern existence-well\, that is itself a process. \nMoranduzzo’s work seems to suggest this\, or at the very least gets it. It’s like her images limn the contours and outlines of process ​​philosophy which holds that something we might call the Real is best understood not in terms of things but of processes. When you gaze at art\, you are in process with it\, inside the larger fold of gallery space and gallery hours\, inside the still larger phenomena of universal space and time. \nIn this sense\, Moranduzzo’s work is the real deal. Ironically\, she is a process-ist expressing herself in what is only ostensibly a static medium. Nothing is static. Not even the typographically set sequences of her and any other artist’s statement. After you’ve read my words\, and hers\, both she and I-and then you too-will move towards new and different meanings attributed to this art and what will soon become our earlier thoughts. In an unending process of meaning attribution. All our minds are one and the same as those rock-like objects-that is\, we are evidence of a coalescing in space and time of some… thing.
URL:https://albertaprintmakers.com/event/transmutation-of-being/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/09_MarianaM.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120613
DTEND;VALUE=DATE:20120729
DTSTAMP:20250801T154742Z
CREATED:20250731T223746Z
LAST-MODIFIED:20250801T154742Z
UID:10000259-1339545600-1343519999@albertaprintmakers.com
SUMMARY:Exempla
DESCRIPTION:About the Exhibition\nExempla – exhibition essay by Nicole Boyce \nCombining artistic tradition with contemporary mythos\, Wendy Tokaryk’s Exempla examines spirituality in a morally ambiguous age.Inspired by Albrecht Durer’s moral allegories\, the collection uses color and movement to evoke a tranquil\, meditative mood\, coaxing the viewer into moral contemplation.Though graceful and understated\, the collection shares with Durer’s work a rich symbolism; through gentle iterations and soft\, natural tones\, Exempla leads the viewer through a process of spiritual discovery. \nIn the collection’s multi-print pieces\, the viewer sees the same theme repeated in several forms.The shapes are organic\, reminiscent of sunbursts\, plant cells\, organs rendered in gentle strokes.The colors are soft yet ripe; warm\, yolky yellows\, blush pinks and hushed\, minty greens create a spring-like palette\, suggesting an awakening or rebirth – something on the cusp of discovery. \nContrasting softness with vibrancy\, Tokaryk drags the viewer’s eye across the work\, making us aware of our processes of seeing and interpreting. In doing so\, she constructs a gentle provocation\, suggesting a question but not imposing an answer. The work is thought-provoking but unobtrusive;we feel not alienated but absorbed\, invited to join in the contemplative process. \nEven at their boldest – a vacuous blue sphere\, a color palette becoming darker and more constrained – Tokaryk’s pieces are tempered by soft edges and a quiet\, almost dream-like pace. Never melodramatic\, merely vivid and evocative\, they swell along their natural course\, coaxing the viewer through a personal journey. \nThe total effect is introspective and ethereal. Balanced and subtle\, the prints glow with an almost sublime light.Indeed\, the artist envisioned the prints as halos\, symbolic references to meditation\, illumination and enlightenment.While some areas are vivid and sharp\, others remain vague and tenuous\, suggesting notions pondered but not yet excavated. \nIn this way\, Exempla leads its viewers through a philosophical exploration\, asking us to examine our morality in the context of social ideals.The collection’s name has dual meaning: ‘exempla\,’ in the plural\, means pattern.The singular form – exemplum – means anecdote or sermon. Indeed\, these pieces are both patterns and anecdotes. In their movements and repetitions\, we feel an idea threaded\, looped\, frayed and amended – a notion under quiet but diligent inspection.  \nAs with all meditations\, Exempla is as much about process as enlightenment. The images give the sense of ripening and shifting within their own identities – although contained by borders\, they are not restricted from growth and discovery. The colours seem to distill and become aware of themselves before drifting back into a haze. There is a sense of moral ambiguity here – the search for truth portrayed as constant flux. \nAsking not just “are you good?” but ” what is goodness?”. Exempla is confident yet esoteric. The collection provides a catalyst for reflection\, marrying traditional engraving techniques with modern metaphysical questions. In doing so\, Tokaryk creates art both fresh and retrospective\, shedding new light on humanity’s search for meaning. \nAbout the Artist \nAn acclaimed print and paper artist\, Wendy Tokaryk has exhibited across Canada and Japan. With collections at the University of Calgary and The Glenbow Museum\, she is a significant presence in Alberta’s printmaking landscape.
URL:https://albertaprintmakers.com/event/exempla/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/10_WendyT.jpeg
END:VEVENT
END:VCALENDAR