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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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Wander.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180420
DTEND;VALUE=DATE:20180602
DTSTAMP:20250801T202814Z
CREATED:20250801T202814Z
LAST-MODIFIED:20250801T202814Z
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SUMMARY:Makeshift Tales
DESCRIPTION:About the Exhibition\nMakeshift Tales – exhibition essay by Jenn Law \n​​In the story of evolution\, the most successful organisms are the ones most able to adapt to their surroundings. A form of creative problem-solving\, adaptation is a process steered by contact and exchange between diverse species in a shared environment. Evolution cannot be predictably mapped\, however\, but rather develops in often makeshift\, happenstance ways and owes a great deal to random events and mutations. Indeed\, often the most elegant evolutionary advances are the result of accidental\, haphazard or repeated attempts at mediating complex challenges-eyes\, for example\, which independently evolved dozens of times; or feathers\, which did not originally develop for flight\, but were first employed for warmth and display. While makeshift solutions may be imperfect\, they may nevertheless be lauded as strategies of adaptive innovation\, requiring resourceful ingenuity and a creative capacity to adjust\, regroup\, and ultimately resolve seemingly insurmountable problems using the materials at hand. \nIn Makeshift Tales\, Elizabeth D’Agostino embraces improvisational experimentation and adaptive problem-solving in both her technical approach to material making and in the conceptual issues she chooses to engage. Drawing on environmental debates surrounding species extinction\, biotechnology\, genetic engineering\, climate change\, urban expansion and population pressures\, D’Agostino creates a fantastical floating world of miniature architectures and hybrid life forms. Set against a printed backdrop of layered narrative veils illustrating a complex history of sociobiological interactions\, her mixed media prints and sculptural assemblages model evolutionary processes in their very construction\, tapping into print’s historical propensity for adapting and combining rapidly transforming technologies and strategies of mimetic reproduction. \nSemi-transparent layers of silkscreened\, etched\, and mono-printed Japanese washi paper (gampi) are grafted onto wood\, ceramic\, and paper clay surfaces. Tissue-thin\, this delicate paper is sensitive to its surroundings\, becoming gently animated with the shifting movements of the viewer in the gallery space. Though seemingly fragile\, gampi is made with long inner plant-based fibres\, which are stretched rather than chopped and is thus deceptively stronger and more resilient than Western rag or pulp-based papers\, which are made with shorter fibres. \nD’Agostino’s work regularly plays with such material and conceptual contradictions-strength in fragility\, variability in originality\, singularity in multiplicity. \nA natural story teller\, D’ Agostino is inspired by nineteenth century natural history collections\, curiosity cabinets\, and print-based botanical illustrations\, combining empirical data with imaginative elements to construct multiple interconnected story lines. She is a keen observer and collector of the world\, gathering specimens from her surroundings that often make their way\, in one form or other\, into the images that compose her multi-species ethnographies The urban Canadian landscape here serves as the artist’s primary field-site\, the ideal creative laboratory for studying adaptation among competing species in overlapping niches. \nAgainst this backdrop\, D’Agostino combines botanical\, entomological\, ornithological\, and mammalian specimens with manmade forms to create new hybrid structures and organisms\, where nature and culture become at times indistinguishable. In the artist’s hands\, a butterfly wing is repurposed as a door\, foliage masquerades as architectural tiles\, a ladder mimics a DNA chain\, molecular cellular structures become wallpaper. Through the lens of hybridity\, D’Agostino challenges an anthropocentric approach to the world which places humanity at the centre of the universe\, while unveiling the mechanisms by which such illusions are upheld. Rather\, her narratives allow multiple species and object ontologies to intersect and mutually inform one another\, breaking down traditional binary oppositions between human/non-human; nature/culture; fact/fiction.  \nWe have been engineering the world since the beginning of humanity\, but along with great technological advances\, human interventions and adaptations have irreversibly damaged fragile ecosystems\, altered climate patterns\, and decreased the planet’s biodiversity. D’Agostino reminds us that life is a complex entanglement of interlocked agencies and storylines in constant process of shared becoming! In response\, the makeshift becomes the artist’s modus operandi – a type of miniature world-making that finds compromise in adversity\, seeking sympathy in difference. Hers is a strategy of becoming that embraces every adaptation as speculative and every contact as an opportunity for creative collaboration\, allowing for unexpected evolutions to be revealed in the process.  \nAbout the Artist\nElizabeth D’Agostino holds a BFA from the University of Windsor and an MFA from Southern Illinois University\, Carbondale. Her work has been exhibited in Canada and internationally including Iziko: Museum of Cape Town\, South Africa\, Manhattan Graphics Centre\, New York\, and The Print Centre\, Philadelphia. In addition\, D’Agostino’s prints can also be found in many private and public collections including the University of Changchun\, Jilin\, China; Anchor Graphics at Columbia College Chicago\, Illinois\, Department of Foreign Affairs Canada\, and Ernst and Young\, Canada. D’Agostino is the recipient of many awards including the Hexagon Special Projects Fellowship at Open Studio\, Toronto. In 2015\, she was selected by the Department of Foreign Affairs\, Trade and Development Canada to create the custom carpet design for the Ontario Room in the newly renovated Canada House\, London\, England. Elizabeth D’Agostino lives and works in Toronto and is a member of Open Studio FIne Art Printmaking Centre and Loop Gallery. 
URL:https://albertaprintmakers.com/event/makeshift-tales/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Makeshift.jpeg
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DTSTART;VALUE=DATE:20180608
DTEND;VALUE=DATE:20180703
DTSTAMP:20250801T204322Z
CREATED:20250801T204322Z
LAST-MODIFIED:20250801T204322Z
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SUMMARY:Not Yet Earth
DESCRIPTION:About the Exhibition\nNot Yet Earth – exhibition essay by Shaun Crawford \nThe body is often viewed as nothing more than a vessel for some higher identity – a concept that Madeline Mackay discards and reframes\, immediately differentiating her work conceptually from what has come before. She presents flesh as an entity in itself\, exploring its journey from animate to inanimate. From the body to the Earth. Whatever lines are crossed or edges leapt from in that evolution are impossible to determine. Instead\, in the exhibit Not Yet Earth\, Mackay explores substances like flesh and mud to pose questions about the space between these states\, what they echo from either side\, and what they can tell us about what Mackay calls\, “the relationship between the bodily self and the sense of an autonomous identity.”  \nWhile the themes explored in Not Yet Earth are accessible to any audience\, the come from a personal place for Scottish visual artist and printmaker Madeline Mackay who shares in her artist statement that in the summer of 2016 she was diagnosed with a disorder that caused her immune system to attack the platelets in her blood – drawing her attention to both her own mortality and her flesh as a separate entity independent from herself. After a BA (hons) at Duncan of Jordanstone Collage of Art and Design\, showing her work in exhibitions throughout the UK and Canada\, and now completing her MFA in printmaking at the University of Alberta\, Mackay has brought her personal experience and skills as a visual artist together to create this unique and powerful show.  \nThrough a combination of drawings\, photographic screenprints\, a series of soap ground etchings\, and a haunting video piece\, Not Yet Earth is sure to elicit deep consideration of the journey of the flesh. Each medium presents its own window into the transition from corporeal to incorporeal.  \nAt first glance\, Mackay’s grid of 35 etchings may recall something closer to ripples on a pond or a skeletal fossil of some pre-historic presence\, like some creature simply laid down and ceased to be. Given that the base set of materials is comprised of flesh\, mud and water\, the superficial forms are closer to the truth than usual. But through the etchings Mackay presents\, “some metaphysical space between flesh and mud\, neither lifeless nor alive\,” and this space between life and lifelessness permeates everything in the exhibit.  \nIn the transcendence of the conceptual themes\, there is something almost cosmic\, and as the title of the show suggests\, something almost earthly too – as if the image is going to come alive and compose itself into some kind of pastoral landscape. Even Mackay’s drawings resemble a bouquet of flowers\, a vibrant testimonial of life\, and yet these knots of meat are intentionally placed within the scale of the image to reference vital centres of the body – twisted and manipulated\, inducing an unavoidable conflict between the self and the flesh.  \nIt is tempting to say life – or the margins of life – seem to be an intuitive motif throughout the exhibition\, Meat Knot\, a video of Mackay manipulating discarded scraps of meat entices to enforce this idea yet again. After all\, water has always held a special place within the realm of liminal life-inducing symbols\, and here it serves as the cradle for the creation of her own design. But to focus on the margins of life is an incomplete acceptance of her work. While viewing these pieces as almost alive feels more comfortable\, the direction that Mackay presents suggests that they are more accurately described as being nearly dead\, carrying with them a history of life. Regardless of the direction the beholder chooses\, they are clearly on a significant journey. ONe that cannot be named. Which is often the perfect place for great visual art to hold sway.  \nAbout the Artist\nMadeline Mackay is a Scottish visual artist and printmaker. She recently gained her MFA in printmaking at the University of Alberta\, Canada and received her BA (hons) in FIne Art from DJCAD\, Dundee\, in 2012. She has exhibited in juried\, group\, and solo exhibitions at galleries and artist-run centres in the UK and Canada. Madeline has taught drawing and printmaking both at the University of Alberta and in Sambaa K’e\, a community in Canada’s Northwest Territories where she was artist-in-residence in 2014.
URL:https://albertaprintmakers.com/event/not-yet-earth/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Not_Yet_Earth.jpeg
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