BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Alberta Printmakers - ECPv6.17.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Alberta Printmakers
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:20130310T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20131103T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20140309T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20141102T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20150308T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20151101T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20160313T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20161106T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20170312T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20171105T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20180311T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20181104T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20190310T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20191103T080000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140914
DTEND;VALUE=DATE:20181013
DTSTAMP:20250801T205444Z
CREATED:20250801T205444Z
LAST-MODIFIED:20250801T205444Z
UID:10000283-1410652800-1539388799@albertaprintmakers.com
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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Wander.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170106
DTEND;VALUE=DATE:20170219
DTSTAMP:20250806T073040Z
CREATED:20250806T073040Z
LAST-MODIFIED:20250806T073040Z
UID:10000298-1483660800-1487462399@albertaprintmakers.com
SUMMARY:God Love Brigus II
DESCRIPTION:About the Exhibition \nExhibition essay by Tracy Wormsbecker \nWorking under the moniker Weather Girl\, Tara Cooper has been building an impressive body of work that encompasses a multifaceted exploration of weather. In both process and presentation\, she employs a scientific exploration of weather as a meteorological phenomenon while thoughtfully integrating a reflective approach that also considers the personal impact of weather as it is experienced. Straddling this interface\, she combines rigorous on-site field research with creative non-fiction to create work that amalgamates multiple art forms such as print media\, sculpture\, illustration\, writing\, artifact\, and video. This visually results in work that poetically embeds scientific methodologies of observation\, categorizing and archiving within personal and historical narrative and vice versa. \nIn God Love Brigus II\, Cooper presents an alluring representation of personal\, historical and weather research that she collected during a 3 week residency with Landfall Trust at a 200-year-old cliff side cottage in Brigus\, Newfoundland. In line with other Weather Girl explorations\, this exhibition continues to blend a scientific perspective of weather with the human experience of it. Particularly noteworthy in this collective work\, is that a discernable dichotomy between the two is almost entirely removed. In a way\, Cooper is drawing us in\, inviting us to vicariously experience and consider Brigus fully\, as a “landscape where nature is at the helm\,” and as a unique place where “fog lies thick on the harbor” and a clear distinction between history\, weather and daily experience is notably obscured. \nIn the center of the gallery\, her thorough fieldwork manifests as a tactile arrangement of sculpture\, print\, text and illustration laid out atop a long table to be explored. In no particular order\, viewers slowly encounter and consider the array of visual research that rests upon the table. Sculptures suggesting cloud formations\, weathered sea vessels and other seafaring paraphernalia are dispersed throughout the display. Settled in among them\, photographs\, prints and drawings are presented along with weather-specific phrases of varying severity from “saltwater rainbow” to “weather the storm” to “lost at sea.” Multiple arrows appear\, some revealing atmospheric forces and weather systems\, while others direct attention to curious historical belongings and artifacts\, eliciting further investigation. While the connections may not all be immediately clear\, each component appears both independent and unified with an apparent shared significance. \nSurrounding the table\, screen-printed banners of written text and other images adorn the walls\, embedding the display within a rich narrative context to be discovered. Some of the encompassing writings read as a personal diary of Cooper’s encounters with the landscape\, weather\, and local residents. Others reveal seemingly outlandish tales\, like those of the infamous Captain Bob Bartlett\, that were discovered through Cooper’s historical research and even directly from residents who maintain personal connections to these stories\, only a few generations removed. Captain Bob is a particularly captivating character who is known for his formidable arctic expeditions that were fraught with such astonishing anecdote and bleak peril that they would seem pure folklore were it not for the dangerous climatic reality that Cooper has nestled throughout the exhibition. Weather remains the true protagonist here\, the common denominator that blends science and subjectivity and bridges past and present. \nIn its entirety\, the exhibition is truly engrossing. Each encounter with an object\, image\, or written text encourages the next as lines are drawn to elicit a deeper experience of this place. Cooper describes her work as visually poetic. Indeed\, the installation that comprises God Love Brigus Il itself serves as a comprehensive field journal describing Landfall and Brigus. Though this description of the exhibition hints at its allure\, it is no substitute for experiencing the installation\, and in a way\, Brigus\, in person. \nArtist Bio: Tara Cooper works in a range of mediums from print\, photography and video to installation and book arts. Her teaching experience encompasses time-based media (video\, sound\, animation). All-print related media (lithography\, serigraphy\, relief\, intaglio\, book arts and digital imaging)\, as well as contemporary art issues and theory. As an educator\, she has worked with the following institutions: OCAD University\, Sheridan College\, the Canadian Art Foundation and the Art Gallery of Ontario. Currently she works as an assistant professor in the Department of Fine Arts at the University of Waterloo. 
URL:https://albertaprintmakers.com/event/god-love-brigus-ii/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_God_Love_Brigus_II.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170224
DTEND;VALUE=DATE:20170402
DTSTAMP:20250806T073620Z
CREATED:20250806T073620Z
LAST-MODIFIED:20250806T073620Z
UID:10000299-1487894400-1491091199@albertaprintmakers.com
SUMMARY:The Dormant Consciousness/Sleeping Awareness of a Human Within Urban Space
DESCRIPTION:About the Exhibition \nExhibition essay by Shaun Crawford \nThe modern empire of mass media bombards the world with an unending montage of shallow images\, creating a collective hyper reality that blinds its people to the uniqueness of their own critical thinking. This is the time and space that we live in. And this is the world from which Marek Pośpiech sets out to address the collective consciousness and the matrix entwined with it. His series of works titled simply Sign I through Sign VIlI presupposes that people are submerged in this hyper reality\, created by our collective actions and perceptions. \nThe result is a vague pattern of place – a simulation of the urban environment\, reminiscent of all form and meaning. \nPośpiech  hails from Rydułtowy\, Poland where he graduated from the Department of Art in the Studio of Painting at the State Higher Vocational School in Raciborz in 2012. He went on to graduate from the Studio of Letterpress and the Studio of Painting at the Academy of Fine Arts in Katowice in 2014. He utilizes a range of mediums\, working in graphic art\, art installation\, painting\, and drawing. His unique excavation of the human consciousness and its relationship to the modern hyper reality has been experienced in shows and exhibitions all over Poland\, and around the world including Bulgaria\, Czech Republic\, Thailand\, and Canada. \nAt first glance\, Pośpiech’s Sign series of prints appears ambiguous in scale. It is unclear whether the image is seen through the perspective of a microscope or a satellite. Traces of it seem familiar. Is that a brick? A curb? Shards of glass. Each has an uncanny texture and composition. But the ambiguity is Pośpiech’s challenge. In the world he has identified \,Pośpiech suggests that people are overcome by superficial and aesthetically irrelevant visuals\, lured into the hyper reality as their perception and individual capacity for critical thinking are corroded. People are simultaneously influenced by\, existing in\, and also constructing this collective pseudo-world through their determined and sometimes unconscious activities. There is a danger in such an absentminded existence. A danger that Pośpiech calls to our attention. \nHis pieces exist deep beneath the hyper real. They are demanding of their audience. Citizens of the “Internet Empire” as Pośpiech calls it\, must tap into a greater reservoir of perception\, of consideration – of critical thought. In some ways\, his show is an awakening. A quick *snap* of the fingers calling you to action to look here \,and look closely. But his work is also an invitation to the viewer to create their own meaning. Its substance is defined less by what exists within it\, and more by what someone brings to it. Marek Pospiech’s precisely titled\, The Dormant Consciousness/ Sleeping Awareness of a Human Within Urban Space is a collection of work that’s not just seen\, it is developed in the moment; its true intention exists in the viewer’s own realm of conscious thought. It is a trigger. A catalyst. And as art often can\, it reflects our world. The one we create. And the one we sometimes fail to see. \nArtist Bio: Marek Pośpiech was born in 1990 in Rydułtowy. He graduated from Department of Art – Kazimierz Cieślik’s Studio of Painting – at the State Higher Vocational School (Państwowa Wyższa Szkoła Zawodowa) in Racibórz in 2012. Between 2012 and 2014 he studied at the Academy of Fine Arts in Katowice\, graduating from the studio of Letterpress under the supervision of professor Kaziemierz Cieslik. He practices graphic art\, artistic installation\, painting and drawing. 
URL:https://albertaprintmakers.com/event/the-dormant-consciousness-sleeping-awareness-of-a-human-within-urban-space/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_The_Dormant.jpeg
END:VEVENT
END:VCALENDAR