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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:20170818
DTEND;VALUE=DATE:20171014
DTSTAMP:20250806T075503Z
CREATED:20250806T075503Z
LAST-MODIFIED:20250806T075503Z
UID:10000303-1503014400-1507939199@albertaprintmakers.com
SUMMARY:Field Work
DESCRIPTION:About the Exhibition \nExhibition essay by Andrea Williamson \n…A series of book-sized etchings\, true to techniques of the past\, practices of making the past present…Their dark registers and diminutive humanoids approach and conjure some kind of back- looking vision of some kind of primeval action. Vibrational energies swell around a vortex\, carry souls down a river\, hover over a birth of an idea\, assemble tools under a sharp cliff. We remember a time when we measured small and humble in the landscape\, and when the art of technology was our hope of survival. Memories are shrouded in a fertile darkness\, with glimmers and sparks that pierce the distance of time- a spritz of resinous powder on a metal plate. These memories are far away and in their place\, separated by a perfectly achieved gauge\, a threshold that sinks experience into its own place within an otherwise untouched paper. The illuminations hang on a wall above us out of reach like a misty sky of constellations. This dark place- dark skies\, black water\, unrecognizable forms\, and crouching figures- this is where myth lives and works. \nWhile vaporous\, shadowy and shaky qualities of this art form give birth to myth\, the myths themselves portray art making in content\, creating a staircase from one process to another. This time\, in the stories of the pictures\, we’re witnessing a very different kind or use for art\, one that is very close. Stacey talks about living and dying with art pieces- allowing objects to affect us over time. Each framed story is a recollection\, an echo\, of a time when she and others brought alchemical\, cinematic\, otherworldly\, magical art\, directly into the everyday. Why not? The fabrication of a “well for bad wishes” out of paper and wheat glue\, transforming ubiquitous cheap plastic cd covers into a crystal palace of fractal wonder\, reenacting trench warfare\, being enveloped by the darkness of night skies under billowing sails… In these escapades with friends and places\, the artist exercises making life more wonderful without reserve. Superseding everyday aesthetics\, which looks for transcendence in the mundane\, everyday activities such as chores\, these projects say “to hell with the everyday”\, and make each day an epic quest for the sublime. Living with the props and aids to these extra-quotidian experiences means carrying with us reminders of the potential for flight into other realms. Failure is a constant bystander\, as it must be\, when the utopic impulse reaches toward open play\, collaboration and serendipity. \nWhat we must talk about\, or represent\, is what we are not already living. These projects recognize and fulfill the desire to live within the messy blurring of art and life\, of intention and process\, of self and other. And that is where I believe myth comes back in. \nMyths are needed to house everything that is bigger than our conscious understanding and individual lives. They pay tribute to all the experiences of Jungian’s place beyond or below the threshold of consciousness\, which are deeply effective nevertheless. I believe the artist continually seeks encounters with awesome events and forces\, as well as her own humility\, situatedness\, and embeddedness in something bigger. The artist’s printmaking practice extends this figuring of other forces into her process\, in a careful and attentive orchestration alternating technical prowess and welcome surprises. But what the prints offer\, among many things\, is a necessarily distant or aerial view upon these lived events- one which opens up the space to observe the complete mystery and magic that is people sharing dreams. \nArtist Bio: Stacey Watson is a Calgary-based artist. She completed a BFA in Photography and an MFA in Printmaking at the University of Calgary. Her work in photography\, print and sculpture deals with how human imagination is linked to landscape and weather. She also has a collaborative practice with Vancouver artist Justin Patterson and their work was most recently exhibited in the 2017 Alberta Biennial of Contemporary Art. Watson also teaches at ACAD in Calgary. 
URL:https://albertaprintmakers.com/event/field-work/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20170908
DTEND;VALUE=DATE:20171014
DTSTAMP:20250809T160902Z
CREATED:20250806T075035Z
LAST-MODIFIED:20250809T160902Z
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SUMMARY:Taking Stock
DESCRIPTION:About the Exhibition\nExhibition essay by Shaun Crawford \nThe modern global community simultaneously increases the interconnectedness between people around the world\, while also alienating their contextual perspectives. The rise of  globalization has created a world of intimate and unseen relationships between individuals\, their identified place\,and the global systems and institutions that play a significant role in shaping experiences. However\, people rarely see where they fit in that typically inaccessible and enigmatic puzzle. Chad Erpelding provides a platform for people to situate themselves within a systemic global network by representing these systems through data visualization in an accessible and surprisingly appropriate print medium. \nChad Erpelding himself has contributed to the global conversation as a visual artist for more than 20 years. He began his formal studies in 1994 at Central College where he participated in a study abroad program in Wales at Trinity University before receiving his BA in Studio Art from the Central College in Iowa. He later went on to achieve a Masters in Fine Arts at the Southern Illinois University of Carbondale in Illinois in 2006. Throughout that time Erpelding’s work has been seen all over the world in the form of public art and several solo and group exhibitions in places like Japan\, Romania\, South Korea\, Hungary\, Russia\, and of course\, all over the United States. The international network of his exhibitions is reminiscent of his work itself\, consistently considering our place within the context of systemic global relationships. \nGlobalization has emerged as a result of long-standing political systems\, increasingly powerful corporate institutions\, and a vast\, sprawling network of travel around the world. The current global situation is one of constant interconnection. And while many discussions about people connecting across the world credits social media\, citing something like Facebook for providing global platforms\, Erpelding has identified the evidence of these networks in their footprint of data and information. Through his precision work\, Chard Erpelding calls our attention to the global institutions and systems that truly construct a network of interconnectivity by portraying contextual data visualizations. As Erpelding himself says\, “I am interested in the movement of people\, capital\, business\, and organizations and the effect this has on contemporary perceptions of place.”  \nFor his exhibition at Alberta Printmakers\, Erpelding analyzes data from Canada’s S&P/TSX composite index\, studying its relationship with the Global Economy. These numbers offer a unique glimpse into Canada’s connection with the rest of the world\, and offer the viewer a new platform to consider their own connection with Canada and the globe. It is a relationship that some experts follow closely\, but one that most people dismiss or overlook\, living their everyday lives without examining its effect on them. Erpelding’s work compiles the data in a new way- far from the news report on the radio\, the black and white print in the paper\, or the scrolling numbers on a screen. His pieces provide you with an opportunity to consider this visual data as evidence of global relationships\, a barometer of a place’s relationship to the world and how you are intricately connected to it. \nArtist Bio: Chad Erpelding (b. 1974\, Iowa; MFA Southern Illinois University Carbondale 2016) formed an interest with data and maps through extensive travelling\, including riding a bicycle across North America and hiking the Appalachian Trail. His work has been exhibited throughout the world and he’s been awarded residencies in Argentina\, France\, and Armenia. He is currently a professor of Art and Director of the graduate Program at Boise State University in Idaho. 
URL:https://albertaprintmakers.com/event/taking-stock/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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