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DTSTART;VALUE=DATE:20140108
DTEND;VALUE=DATE:20140223
DTSTAMP:20250801T190103Z
CREATED:20250801T190103Z
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UID:10000274-1389139200-1393113599@albertaprintmakers.com
SUMMARY:Capturing Moments: Tracing the Journey
DESCRIPTION:About the Exhibition\nCapturing Moments – exhibition essay by Sheri Nault \n“As for writing\, most people secretly believe they themselves have a book in them\, which they would write if they could only find the time.” Margaret Atwood\, Negotiating with the Dead \nJimin Lee creates and communicates stories\, through her prints\, of experiences which focus on the physical point of a body and the ways in which that body relates to the space around it. The incredible familiarity of the imagery she utilizes creates a sense of deja-vu\, allowing the viewer to see both a particular moment that Lee herself must have experienced and\, simultaneously\, one which they themselves may have had. Through this familiarity\, repetition\, and open narration Lee transforms brief captured moments into disarmingly familiar narratives about both the artist\, and her viewers. \nIn the past\, Lee has often been recognized for her work dealing with mundane and everyday objects; objects which have a relationship to her body through repetitive acts of touch\, indicative of and referential to lived personal experiences. Capturing Moments: Tracing the Journey is the third solo exhibition of Lee’s more recent series\, in which she has shifted from the physical relationship of the body to objects and\, instead\, considers the position of the body as a focal point within the experience of movement\, migration\, and environment. \nThrough unique and labour-intensive processes\, Lee creates images in which her familiar perspective is the centre of a nostalgic universe. She describes the view from within the containers that hold our bodies\, that we look out from within\, and experience the world through. \nContemporary experience is highly mobile\, it is physically and digitally globalized\, and many day to day activities lack an immediate physical reality\, they are digital\, cyber\, unreal –  there is no scent or smell or sensation of being within them. In contrast to this\, Lee\, through travelling\, began to focus on her experience of the tactile physicality of being in those places. These recent works consider travel\, literally\, through mobility and migration but also metaphorically\, as an experience that moves the individual. \n What is particularly striking about her work is the incredible accessibility of the images she creates. The road\, traffic\, vehicles interlocked in gradual movement\, or the view out the window of a plane are experiences\, tied to daily life\, that almost anyone can relate to. This open quality of her work invites viewers to insert their own stories and narratives into the visual spaces she has created – a potential amplified through manipulations of each image. \nThough the content of Lee’s prints may appear to be as immediate as a photo on instagram\, the process of producing these eerily familiar images includes many steps and translations. Each print may consist of one image or many\, combined through digital processes\, manipulated to create a singular narrative moment. Further\, whether edited minimally or laboriously\, the image must then be adapted to become viable for printmaking. Finally\, the seemingly immediate moment is transformed through the physically laborious process of producing the prints themselves. The effectiveness of Lee’s subtle manipulations is the deception\, translation\, and narration embedded within each of her familiar\, nostalgic images. \nProducing prints is a process that Lee relates to travel itself\, the outcome always uncertain. \nAbout the Artist\nJimin Lee is a Korean-born\, California-based artist. Lee has had solo exhibitions at Anchor Graphics in Chicago; QCC Art Gallery at the City University of New York; Don Soker Contemporary Art in San Francisco; DoART Gallery/Hyundai Gallery in Seoul\, Korea; Shirota Gallery in Tokyo\, Japan; An­ drewShire Gallery in Los Angeles; Megalo Gallery in Canberra\, Australia; Open Studio Gallery in Toronto\, Canada; and Guan­ Ian Original Printmaking Base in Shenzhen\, China. Notable group exhibitions include Crosscurrents: 8 American Contempo­ rary Printmakers at II Quadrato di Omega\, Rome\, Italy; Tradition & Innovation II at Museum Zallerein Halle 6\, Essen\, Germany; and Graphica Creative 2009 at Jyvaskyla Art Museum\, Jyvas­ kyla\, Finland. \nSince 1995 Lee has been living in the San Francisco Bay Area and she is a professor of art and heads the print media program at the University of California\, Santa Cruz\, USA.
URL:https://albertaprintmakers.com/event/capturing-moments-tracing-the-journey/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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DTSTART;VALUE=DATE:20140226
DTEND;VALUE=DATE:20140406
DTSTAMP:20250801T190819Z
CREATED:20250801T190819Z
LAST-MODIFIED:20250801T190819Z
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SUMMARY:World Machine
DESCRIPTION:About the Exhibition\nExhibition essay by Skylar Borgstrom  \nHalifax-based artist Mark Bovey uses printmaking techniques from past and present to explore his personal fascination with the ways humans connect\, learn and question place. Bovey presents the collapse of space and time\, known and unknown\, through the multiple layers and varied processes used to create his work.  \nBovey is an artist and Associate Professor at the Nova  Scotia College of Art and Design University who has exhibited both nationally and internationally. His work includes traditional printmaking techniques (intaglio\, lithography\, screen printing and woodcut) and more recent modes of artistic production including inkjet prints and digital video projection. With one foot in printmaking’s oldest and most fundamental technologies\, and the other residing firmly in the present\, Bovey’s work creates a bridge between that which we think we know and that which we seek to understand.  \nPreviously\, Bovey has used a combination of traditional and new media techniques to create installation works like those in Ledge_Suite (2011). Exhibited in “Last Frontier”\, which was curated by Sarah Filmore at the Art Gallery of Nova Scotia\, Ledge_Suite challenges our concepts as virtual as opposed to lived experience through a backlit video projection of century-old documents\, including a ledger from 1895 in works like Plume. For the past five years Mark Bovey has explored the nature of printmaking as a surrogate for the virtual experience and his current body of work is a continuation of his interest in the function of printed media in communication and technologies’ ever expanding nature.  \nFirst impressions of Bovey’s newest 20” x 30” faux slate works in World Machine reveal the use of “trompe-l’œil”\, an optical illusion or trick of the eye\, designed to give the viewer a sense that they are examining an age-old teaching tool and traditional repository or knowledge\, the chalkboard.  \nAs Bovey’s work\, created through multiple technologies and media\, writes\, re-writes and scrapes away the surface\, literally and figuratively\, so too does the traditional chalkboard. If a chalkboard is  a locale of learning and information transfer\, Bovey reveals it also as one of erasure\, repositioning and revised histories.  \nBovey’s critical understanding of printmaking’s varied process allows him to treat “every work as a journey” in which the exploration of a multitude of artistic media creates a forum for open dialogue between artist and viewer. Bovey’s hope is that the works elicits questions about the “evolution of knowledge through technology\,” as viewers are encouraged to evaluate their own relationship to art\, science\, knowledge and technological innovation. By contrasting the concept of “real” and the projection of “real” Bovey affords viewers the opportunity to question history and truth for themselves.  \nIf we agree that what we have been taught as factual history is in a reality a manufactured construct frequently gilded as truth\, and that technology is thought to have a homogenizing effect on culture\, Bovey’s World Machine exhibition attempts to usurp the effects of both “fact” and technology by combining them.  \nAbout the Artist\nMark Bovey is an artist and Associate Professor in the Printmak­ing Area at the Nova Scotia College of Art and Design in Hali­fax Nova Scotia Canada (2004-present). He received his MVA in Printmaking from the University of Alberta in 1992 and his BFA from Queen’s University in Kingston Ontario in 1989. Bovey’s work has represented Canada internationally in juried biennial and triennial exhibitions in 17 nations worldwide. He has exhibited in solo and group exhibitions across Canada including 15 curatorial projects. Bovey’s practice ranges from traditional printmaking (combinations of Intaglio\, Lithography\, screen printing and woodcut) to print installation works incorporating inkjet and digital video projection that reference and incorporate the history of printed forms. His work is in numerous collections\, most recently\, the Cana­dian Foreign Affairs Visual Art Collection\, The Art Gallery of Nova Scotia\, Halifax Canada\, Tama Arts University Tokyo\, and the Danforth Museum\, Boston Massachusetts USA.
URL:https://albertaprintmakers.com/event/world-machine/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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