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DTSTART;VALUE=DATE:20140914
DTEND;VALUE=DATE:20181013
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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
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DTSTART;VALUE=DATE:20160422
DTEND;VALUE=DATE:20160605
DTSTAMP:20250806T073111Z
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SUMMARY:Landscape Gaze and Breezy Erudition\, and What About Formal Freedom?
DESCRIPTION:About the Exhibition \nJoani Tremblay – Landscape Gaze and Breezy Erudition\, and What About Formal Freedom? – exhibition essay by Christie Kirchner \nJoani Tremblay’s work is rooted in the creation of spaces\, both external\, physical spaces to be occupied\, and internal\, psychological spaces of experience. Working in embroidery\, printmaking and drawing\, she creates illusory multi-media environments that weave together imagined places and experienced places\, leading us tenuously along and across the borderline between our outer and inner landscapes. Her installations – often characterized by suspended embroidered drawings interspersed with prints\, sculptural objects\, and even live plants – create spaces that must be physically occupied\, but that also provide an ethereal\, abstract environment\, in which the viewer can project their own backdrop of memories\, fixations\, and fantasies. \nTremblay’s exhibition Landscape Gaze and Breezy Erudition\, and What About Formal Freedom? explores the transfer between the physical experience of a place and the imaginings it conjures by endeavoring to re-create the “feel” of an existing place. In this work\, she is interested in how we connect to and experience the feeling of powerful\, emotionally loaded places – landscapes that have a particular mystical\, ritual or historical significance. This specific installation draws inspiration from the Untermyer Garden in New York state: an elaborate\, century-old garden founded by Samuel Untermyer\, then a prominent lawyer and Jewish-rights advocate\, and designed in the Beaux-Arts style at the turn of the century. Upon Untermyer’s passing\, the gardens were endowed to the state\, abandoned\, and soon fell into neglect\, becoming a neo-renaissance-styled shelter for transient people and a mystical site for conducting occultist rituals. For several days\, Tremblay walked\, sketched\, photographed and collected minerals and flora from the park as source material for her work\, while internalizing a distinct feeling invoked by the esoteric history\, architectural details and abandoned\, outgrown aesthetic of the gardens. \nThe resulting works seek to elicit this affective experience in the viewer – the layers of time\, overgrowth\, and mysticism – through the repetition and layering of imagery. Within her sketches and photos\, Tremblay looked for interesting details and gestural marks that resonated with her inner experience of the landscape. She then reproduced these tiny pieces of the collected garden imagery and re-configured\, repeated and collaged them over and over in her prints and drawings into larger images and onto objects that form the new landscape of the installation. The ore and foliage collected at the site were ground into pigments to make inks from which the resulting imagery is printed\, creating works that capture the feel of the gardens through both formal reflection and materiality. \nRe-contextualizing these elements from their original locale into the layered marks of a maze of drawings\, prints and objects\, Tremblay’s installation creates a parallel space that exists somewhere in between the garden’s actual landscape and its distinct emotional experience. From this distilled essence of its history\, visual details\, and natural elements\, we as viewers are invited construct our personal inner experience of the Untermyer gardens. By triggering a particular feeling or emotional response through our interaction with her constructed space\, Tremblay seeks to explore our internal perception of and connection to the physical landscapes around us\, and how we understand the notion of place. \nArtist Bio: Joani Tremblay is an artist and curator living in Montreal. She is an MFA candidate at Concordia University with an art practice based in print media\, drawing and installation. Tremblay’s work has been shown in Tokyo (3331 Arts Chiyoda)\, New York City (DRAFTspace)\, Denton\, Texas (tAd Gallery) and throughout Canada in Toronto (Open Studio Gallery)\, Montreal (Parisian Laundry)\, Rimouski (Caravansérail) and soon in Calgary (Alberta Printmakers Gallery) and Edmonton (Latitude 53). Tremblay has also done artist residencies in Tokyo and Berlin. Her work is part of the Loto-Québec Collection and numerous national and international private collections. She is the recipient of the Vladimir J. Elgart Graduate Scholarship and a research grant from The Fonds de recherche du Québec – Société et culture. \n 
URL:https://albertaprintmakers.com/event/landscape-gaze-and-breezy-erudition-and-what-about-formal-freedom/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Landscape_Gaze.jpeg
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