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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:20170602
DTEND;VALUE=DATE:20170716
DTSTAMP:20250806T074620Z
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SUMMARY:disPOSSESSION
DESCRIPTION:About the Exhibition \nExhibition essay by Dana Tosic \nThe setting for Miriam Rudolph’s exhibition disPOSSESSION is the Paraguayan Chaco\, about one quarter of the Gran Chaco Americano\, the second largest forest in South America. This semi-arid\, virgin forest features an astounding level of biodiversity but has come under threat in the 21st century by global-scale agricultural development. Worldwide food shortages\, increased demand for beef and soy\, and low cost of land has brought transnational corporations and the development of large-scale soy farming and cattle ranching to the region\, resulting in the rapid razing of vast areas of the forest. Scientists fear that the forest\, much of which is as yet unexplored\, will be wiped out more quickly than species can be researched and documented while conservationists warn of ecological disaster as deforestation and aggressive farming methods lead to widespread desertification and erosion. The last indigenous tribes to call the Chaco home are no longer able to sustain themselves through traditional means of hunting\, gathering and fishing and as a result\, are being displaced. \nAlthough the context for this exhibition may seem melancholy in tone\, there is a dark beauty to the prints\, expressed in the lyrical quality of Rudolph’s line\, the softness of the figures\, delicate grass pattern\, and painterly dark clouds. Rudolph is rigorous in her approach to printmaking\, using a systematic medium to investigate a systemic problem. What distinguishes printmaking from other media is its reproducibility\, which Rudolph takes full advantage of in creating multi-layered\, narrative images. Using a library of plates\, each etched with images that draw upon specific elements relating to themes of deforestation\, enclosure\, private property\, displacement\, cattle ranching\, soy production\, and indigenous land rights\, Rudolph takes these individual elements (images of forests\, clouds\, fences\, cattle\, and groupings of figures) and prints\, overlaps and flips them\, working intuitively to construct rich narratives. disPOSSESSION includes up to20 printed layers\, resulting in strikingly rich tones. In Advance Rudolph contrasts the encroachment of farming with the retreat of the forest by printing on both sides of the paper\, utilizing its translucency to create not only a sense of distance but also to hint at the passage of time\, revealing traces of the vegetation that has been lost. In Displacement the crisp\, hard-edged imagery of farm equipment\, juxtaposed against the sensuous quality of rich tones in the cloud\, vegetation\, and figures carrying jars for seeds mirrors the contrast between farming technologies developed for large-scale industry\, and local\, traditional farming methods. Hovering in the sky\, farming equipment appears as a symbol of capitalism\, a global power inflicted from on high and imposed on the land and its people who are losing their traditional way of life. \nWorking with multiple plates of varying sizes allows Rudolph to bring an additional element to her images\, that of containment. The Enclosure series of prints uses the repetition of borders\, some literal\, such as the fence\, others metaphorical\, as in the visible edges of the etched plates or rectangular form of grass. This repetition of grid lines reveals the many methods by which a populace may be contained\, restrained\, and controlled. Power relationships are further investigated through the use of scale\, as in Colonization by Cattle\, in which the epic scale of the Deforestation caused by cattle ranching is evoked by using just two plates containing drawings of about twenty-five cattle each\, and printing them repeatedly across seven sheets of paper. The very density and scale of the cattle\, relative to the smallness of the forest\, emphasizes just how much vegetation has been lost. \nThere is an obvious parallel between the encroachment of capitalist industry in Paraguay and its effect on the indigenous population\, and similar problems around the world. Common to all countries in the western hemisphere is a history of colonization\, environmental destruction\, displacement of Indigenous peoples and irreversible change to their way of life. Exploitation of the land\, whether by governments or private enterprise\, serves to enrich the few at the expense of many. But there is hope for the future\, and it is presented in Seeds of Hope\, an installation work featuring a suspended banner consisting of a multitude of layered hands\, reaching down toward a set of porcelain jars. Rudolph describes the gesture of the hands as “blessing from above for the labour of planting and the traditions of saving seeds.” The jars they reach toward depict images of the germination of seeds as they grow into crops. It is here where we may seek solace in the future of the Chaco; as each life cycle dies\, a new one begins\, continuing on in perpetuity.  \nArtist Bio: Miriam Rudolph was born and raised in Paraguay\, South America. In 2003 she moved to Winnipeg to study Fine Arts at the University of Manitoba where she graduated with a Bachelor of Fine Arts Honours in 2007 and a Bachelor of Education in 2010. From 2011-2014 Miriam lived in Minneapolis where she continued to make prints at the Highpoint Centre for Printmaking\, She recently completed the Master of Fine Arts in Printmaking at the University of Alberta\, Edmonton (2017). She was awarded the University of Alberta Graduate Recruitment Scholarship in 2014 and the Joseph-Armand Bombardier Graduate Scholarship (SSHRC) along with the Walter H. Johns Graduate Fellowship and the Alberta Foundation for the Arts Scholarship for Art and Design in 2015. She has shown her work nationally and internationally. In 2016\, she co-won the first prize (Best in Show) at the 5th Biennial International Footprint Exhibition at the Centre for Contemporary Printmaking in Norwalk\, Connecticut. She has shown her work in Asuncion-Paraguay\, at Global Print 2013 in Portugal\, at the International Print Center New York\, at the Highpoint Centre for Printmaking – Minneapolis\, in Washington D.C.\, at Martha Street Studio – Winnipeg\, Toronto\, and Ottawa. 
URL:https://albertaprintmakers.com/event/dispossession/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_disPOSSESSION.jpeg
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