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DTSTART;VALUE=DATE:20140914
DTEND;VALUE=DATE:20181013
DTSTAMP:20250801T205444Z
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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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160909
DTEND;VALUE=DATE:20161009
DTSTAMP:20250806T065259Z
CREATED:20250806T065245Z
LAST-MODIFIED:20250806T065259Z
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SUMMARY:Threshold
DESCRIPTION:About the Exhibition\nExhibition Essay by Gina Freeman \nLaura Wider describes her work as “a quiet act of defiance in a digital age.” The Kelowna-based artist finds herself living in tension with our connected/dis-connected world. She seeks to celebrate the physical and handmade in an era of glossy tablets and storing memories on a cloud. These memories are permanent\, and yet subtly impermanent. While they may never be lost\, they are easily changed and altered. Hand-made\, physical objects\, however\, are not so easy to change. They carry with them the histories of their making – the errors and triumphs of their creation. \nIn the linocut process\, Widmer finds a living world of greys between the black and white. Each cut gives life and depth to her subjects – bringing them away from the simple binary. There is a tension within the linocut process itself. Though it is gradual and time consuming\, there is a certain immediacy in cutting: every gouge is lasting\, and will appear in the final print. We live with the imperfections of the physical type. Each cut is permanent\, made in a moment\, persisting forever. In our push towards digital perfection we lose these moments and the history entwined in them. \nThreshold’s large-scale prints present glimpses of a shifting\, sensual world. Heads\, hands and torsos are cropped\, abstracted. Strings of pearls are grasped tightly and held dear\, freely offered and willingly accepted\, tangled throats and fingers\, and draped lovingly around shoulders. There is an ambiguity in the moment captured. Without knowing what came before or what will come after\, the viewer cannot know whether the pearls are being offered or received. The exact nature of the moment remains enigmatic. Widmer encourages the viewer to interact with the images\, to create their own narratives and find the stories hidden in their histories. \nThere are many hidden\, parallel histories captured within each of Widmer’s images. There is the history of the person: a lifetime filled with sudden and gradual changes\, negotiations between shifting states. Each pearl contains its own history as well. Starting out as an irritant – a parasite or grain of sand within the shell of an oyster – each pearl accumulates value over years until it becomes something that is sought after and treasured. Finally there is the history of the print itself: cuts captured in proofs and stages\, contemplated and recut. The creation of a body of work\, like the creation of a pearl or a personal history\, is a slow and solitary process. With Threshold\, Wider explores these private narratives and presents a fleeting glimpse of them to the viewer. \nIn Threshold Widmer takes intimate moments and makes them public. She catches a brief\, shifting instant and makes it eternal through a slow and meditative process. With accumulated cuts and gouges she carves out a moment of time. In her work Widmer explores contrasts between black and white\, permanence and impermanence\, intimacy and openness\, and finds a vibrant world between opposing forces. This tension makes her work alive and animated\, like the string of pearls featured in Threshold: pulled taut\, thrumming with energy.  \nArtist Bio: Laura Wider earned her Fine Arts degree with a concentration in printmaking from the University of British Columbia’s Okanagan campus. In 2014 she completed a residency at The Banff Centre and returned to a long-standing interest in hand papermaking\, which she has since incorporated into her print-based practice. Laura regularly exhibits her work within Canada and internationally. Her work has been shortlisted twice for the Open Studio National Printmaking awards\, earning First Prize in 2010 and Honourable Mention in 2014. She was also awarded the Muskat Prize at the 2011 Boston Printmakers North American Print Biennial.
URL:https://albertaprintmakers.com/event/threshold/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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DTSTART;VALUE=DATE:20161021
DTEND;VALUE=DATE:20161127
DTSTAMP:20250806T065740Z
CREATED:20250806T065740Z
LAST-MODIFIED:20250806T065740Z
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SUMMARY:Air\, Fire\, Water
DESCRIPTION:About the Exhibition \nExhibition essay by Joanne Fung \nlan Brown’s work\, Air\, Fire\, Water\, interrogates both the transient nature of the photographed subject and the mutability of the photo- graph through the work’s multiplicities. The repetitive depiction of the three elementals heightens their unstable presence in the natural world\, and emphasizes the constant inconsistency of the climatic phenomena. When one photograph portrays the forcefulness of water leaping across rocks\, so does another find the water stable and certain in its moment of capture. In the multiple representations of the natural events\, Brown highlights their significance as being ultimately mutable and impermanent. However\, the multiplicities in Brown’s work do not only explore the transient nature of the photographed climactic phenomena\, but also work in tandem with the photographed subject to call the audience’s attention to the mutability of the photograph itself. \nRevolving around Brown’s work is an exploration of how different photomechanical processes influence an audience’s interpretation of the images. The mutable nature of texts is evidenced through Brown’s disassembling of the original image into expositions of the various processes and layers\, with each multiple producing a unique image that is as transient and changeable as the subject matter it portrays. Depicted are the three elementals in their momentary\, but significant forms. With each image uncovering yet another layer of photo processing\, and contextualized with the subject matter of the images\, Brown hints towards each process shown as momentary\, but significant. Viewing the images that are a display of the processes that the original went through\, we are asked to reexamine the way we view texts that have projected the world we live in. There is the question of whether the original image is an accurate representation of the climatic phenomena depicted. How often do we glance over the processes used to create different texts\, and in what way does the text become an entirely different text based on the stage of process it is in? Brown’s exposition of the various geometric shapes\, harsh lines\, shades\, hues\, etc. that are a part of the photomechanical processes are a stark reminder of this oversight. Too often do we forget that within each image\, video\, or film\, there are various mechanisms that have produced the final text. However\, through the enlargement of these mechanisms in his work’s images\, Brown demonstrates that texts are often as mutable and transient as the subject they portray. \nBrown purposefully disassembles the original texts\, dissecting and uncovering each surprising layer. His work questions the lenses that have fallen between the world and a reader’s eyes. However\, it is ultimately the experience of the audience that determines the significance of the photomechanical processes that have mediated the relationship between the natural world and the reader. In the moment of viewing the multiple images and acknowledging the often forgotten processes\, the reader is asked to reexamine their own interpretations. Thus\, Brown’s exploration of the photograph becomes one that is rooted in an audience’s interpretation of the varying images produced through photomechanical processes. \nArtist Bio: I​​an Brown is an artist from England. His current interest is in natural climatic phenomena\, and specifically the transient nature of these incidents. He uses material from a variety of sources\, his own photographs\, the internet\, video\, as well as images that have already passed through the print process. As a print maker\, he is interested in process\, the range of photomechanical deliveries that lie behind the way an image is presented on paper. The repeated testing of the visual protocols that freeze or fix a moment in time\, and the consequent impact on the reading of the image\, underpins all his work. \n 
URL:https://albertaprintmakers.com/event/air-fire-water/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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