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DTSTART;TZID=America/Edmonton:20260508T000000
DTEND;TZID=America/Edmonton:20260620T000000
DTSTAMP:20260630T052331Z
CREATED:20260429T012654Z
LAST-MODIFIED:20260630T052331Z
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SUMMARY:The Latest Edition: Senior Print Student Exhibition
DESCRIPTION:The Latest Edition presents print-based artworks created by a selection of senior students and recent graduates from Calgary’s two post-secondary arts universities: Alberta University of the Arts and the University of Calgary. \nThis exhibition showcases 9 emerging artists who use printmaking as a means of questioning and discovery. For each artist\, meaning emerges through process. Initial ideas\, images\, and concepts concerning nuanced themes of self\, interconnection\, and change have transformed slowly through the materiality\, repetition\, and layering that is characteristic of print media–allowing depth of understanding to surface. \nFrom the University of Calgary: Gabrielle Arrizza\, Aidan Dupuis\, Joshua Seguin\, and Míša Štorková. \nFrom Alberta University of the Arts: Leafa Christieson\, Dana Nell Doshewnek\, Kat King\, Naia Lisch\, and Dimitri Smith-Kac. \n\n\n 
URL:https://albertaprintmakers.com/event/latestedition2026/
LOCATION:A/P Gallery and Studio\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2026/04/desperate-to-find-meaning-in-the-warp-and-weft-Dana-Doshewnek-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260508T000000
DTEND;TZID=America/Edmonton:20260620T000000
DTSTAMP:20260630T052414Z
CREATED:20260429T003336Z
LAST-MODIFIED:20260630T052414Z
UID:10000425-1778198400-1781913600@albertaprintmakers.com
SUMMARY:Lasting Impressions 2026
DESCRIPTION:A/P presents Lasting Impressions 2026! \nOur annual member exhibition\, Lasting Impressions is an opportunity for A/P to: \n\n\nCelebrate members while welcoming new and returning members\nFoster community through an inclusive group exhibition\nConnect with local and global printmakers and showcase the breadth and depth of their print-based work\nPromote sales that will support individual artists and raise funds for sustaining A/P’s community programs*\n\n*artworks are not required to be available for sale to participate \n\n  \nThis year’s exhibition features works by over 60 artists including:  \nBailey Arnholz\, Gabrielle Arrizza\, David B.\, Erik B.\, Zoe B.\, Sherry Bachmann\, Kate Baillies\, Zara Basseri\, Christine C.\, Christine Caissie\, Melisa Centofanti\, Anthony Daniel Cleghorn\, Cooney\, Jonathan Creese\, Lyndon D.\, Jules de Guzman\, Kendra Delichte\, Eric Dyck\, Deirdre Earl\, Nicole Estabrooks\, Cathy Evans\, Chad Fournier\, Iren Gibson\, Jamie-Lee Girodat\, Nishma Gopaul\, Erin Haid\, Andrea Hoflin\, Heather Huston\, Wayne Immonen\, Eirian Jewitt\, Julie Johnson\, Nicholas Kirk\, Irena Kongsuwan\, Christina Krentz\, Amanda Kriaski\, Brittany L.\, Hanna Lopez\, Rachel MacKinnon\, Carol Mannas\, Cece Marin\, Renata Martin\, Sarah McPhail\, Shinobu Mitsuhashi\, Craig Moser\, Phoenix Ning\, Kent Pointon\, Eckhard R.\, Anne Range\, Liz Robertson\, Kaitlin Roth\, Janine Samuelson\, Hannah Sanford\, Krys Sikora\, Margo Smith\, Sheryl Spencer\, Angela Torres\, Kris Twyman\, Michelle Wiebe\, Sarah Wilkins\, Tracy Wormsbecker\, Cy Yang-Smith\, and Roxann Yuen \n 
URL:https://albertaprintmakers.com/event/lasting-impressions-2026/
LOCATION:A/P Gallery and Studio\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2026/03/Lasting-Impressions-2024.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260220
DTEND;VALUE=DATE:20260411
DTSTAMP:20260429T005630Z
CREATED:20260128T193600Z
LAST-MODIFIED:20260429T005630Z
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SUMMARY:Ashes! Ashes!
DESCRIPTION:About the Exhibition\nAshes!Ashes! \n“Most prints are contact relics in this sense\, inasmuch as they are essentially stains on one surface that attest to damage done to another surface.”   \n– Jennifer L. Roberts\, Contact: Art and the Pull of Print \nSoot on the inside of a fireplace. Drops of candle wax on a dining table. A felt blanket draped over the armrest of a chair. Ashes! Ashes! is an exhibition grounded in the materials of charcoal\, beeswax\, paper and wool combined with printed gestures of cutting\, redrawing\, and wiping away. As I reflect on the 14 houses that I have moved in and out of over the last decade\, I turn to drawing as both an archival and speculative practice. The works exhibited here trace both real memories and imagined scenarios of these homes and the 25 people I shared them with\, manipulating the images through techniques of monotype\, collagraph\, and mokulito to reveal themes of comfort\, deterioration\, and repair. For myself and many of those closest to me\, our paths through the smog of urban housing precarity have been lined with neglectful landlords\, deteriorating architecture\, personal conflicts\, unpaid debts\, and threatening property managers. By sinking its teeth into moments in these spaces and the relationships made and lost in them\, Ashes! Ashes! wonders — with uncertainty\, grief\, and sometimes hope— what is left behind\, what do we take with us\, and where do we go from here? \nMargaret Joba-Woodruff is a visual artist whose practice employs an interdisciplinary approach to printmaking to consider the intersections of land\, body\, family\, memory\, and labour. After completing a BFA in Visual Art at the University of British Columbia in 2020\, she became a worker-owner of the Vancouver Artist Labour Union Cooperative before relocating to St John’s\, Ktaqmkuk (Newfoundland) to spend a year in residence as the ‘22-’23 Don Wright Scholar at St Michael’s Printshop. Her work has been supported by the Canada Council for the Arts and Arts NL\, and has been exhibited across Canada\, in the UK\, and Taiwan.  \nBorn in Montréal and raised on the island of Martha’s Vineyard\, Joba-Woodruff is once again living in Vancouver\, BC as a guest on the homelands of the xʷməθkʷəy̓əm (Musqueam)\, Sḵwx̱wú7mesh (Squamish)\, and səlilwətaɬ (Tsleil-Waututh) Nations after two meaningful years of living and working in Ktaqmkuk. \n\nRelated Events:\nOpening Reception:  \nJoin us for the opening reception on Friday\, February 20 from 7-9pm.  The artist will be in attendance and light refreshments will be served. \nAttendance is FREE and ALL ARE WELCOME. \nPrintmaking Demonstration and Artist Meet & Greet:  \nJoin us on Saturday\, February 21 from 1-2pm. \nMargaret Joba-Woodruff will be providing a live demonstration of Mokulito (wood lithography)\, and there will be an informal meet and greet with the artist and local community members. \nAttendance is FREE and ALL ARE WELCOME.  Registration is kindly requested. \n\n_________________________________\nVisitor Information:\nNew to the A/P space? Welcome! Here’s a helpful guide to visiting the A/P Gallery\, Studio\, and Events \nHours and Location: A/P Main Gallery Hours: Wednesday from 10am – 5pm; Thursday – Saturday from 10am – 5pm (closed Sunday\, Monday\, and Tuesday) Accessibility: \nAccessibility:  \nA/P is located near the 39th Ave. C-Train Station and has free parking stalls located in front with additional street parking nearby.  \nThere is an access ramp at the east end of the building\, and A/P is equipped with a wheelchair accessible\, gender neutral washroom.  \n\nWe do our best to accommodate the needs of our visitors whenever possible. We welcome your questions and are committed to working with our members and guests to have a great visit when you are here!  \nInclusivity and code of conduct: \nA/P’s cultivates an inclusive and collaborative environment to learn about printmaking\, to create printed works\, and to pursue exciting artistic opportunities. \nA/P operates by a code of conduct with an expectation of promoting dignity and respect to all\, and we prioritize individual and community safety.  Any form discriminatory behaviour\, intimidation\, bullying\, harassment or victimization is not tolerated. 
URL:https://albertaprintmakers.com/event/ashesashes-jobawoodruff/
LOCATION:A/P Gallery and Studio\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250926
DTEND;VALUE=DATE:20251115
DTSTAMP:20251022T190754Z
CREATED:20250827T035513Z
LAST-MODIFIED:20251022T190754Z
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SUMMARY:The Integrity of a Story by Jenie Gao
DESCRIPTION:About the Exhibition\n“My mother lives in a rural area of Kansas\, threatened in recent years by encroaching suburbanization. Since 2024\, my spouse and I have taken turns visiting my mother to help her with house repairs and to assert our presence to overly inquisitive realtors and developers eager to displace older residents. \nThe centrepiece of this exhibition is a TV tray table in my mother’s home\, where we share our meals. In this modest and intimate setting\, my mother steps into one of her most profound roles as our family’s knowledge keeper. Her stories—simultaneously historical\, allegorical\, almost mythic\, and sometimes prophetic—come alive. \nIn one story\, my mother explains how she sees herself\, brave and capable of doing things alone. When she was a child in Taiwan\, her family rented her a third-story bedroom separate from their first floor flat. Every night\, she had to ascend the staircase outside into the mountains under the watchful eyes of mountain lions. \nIn another story\, my mother shares that the character for Yuàn 苑 in her name means “garden of the immortals\,” or “the deer garden where the emperor’s sons practice their hunting.” As I admire the poetry of her name\, my mother laughs at the irony of her family naming her after imperials and celestial beings who would have never troubled themselves over the problems of working class mortals. Her family by then had suffered repeated losses of language and home under multiple occupying governments\, including the Japanese and the Chinese Nationalists. Years later after our family immigrated\, my grandparents would lose their house again when the US government eminent domained their neighbourhood for a freeway project. \nThe Deer Garden woodblock features a Formosan Sika Deer and Clouded Leopard in a continuous\, cyclical chase. The woodcut is designed to resemble a piece of hand-carved jade\, with the final block inlaid into the surface of a TV tray table. \nThe works in this exhibition capture moments when my mother’s stories are suspended between a child’s imagination and an elder’s recollection\, one in which there might truly have been lions in Taiwan’s mountains\, or perhaps an elusive Clouded Leopard before habitat loss caused them to die out and disappear.  \nThe mountain lions of my mother’s childhood ended up being feral cats. The white-tailed deer my mother watches from her window are in the heart of the rural Americana Midwest. Yet for a moment\, as she passes her stories to my stewardship and safekeeping\, the common becomes mythic. \nThe works in this exhibition are part of my ongoing series called The Negotiation Table\, in which I take hand-carved woodblocks and transform them into sites of negotiation. This transformation responds to the history of how print became indoctrinated in the fine arts\, in contrast to its use in community activation and protest. To compete with high art forms\, it became best practice to destroy printing plates to make prints artificially rare. I have always been uncomfortable with destroying evidence of labour in favour of rarifying the asset. I reflect on the tension of assimilation and resistance within printmaking\, as a person of Taiwanese and Chinese descent who has been made artificially rare via ongoing exclusionary policies in white dominant spaces. I reclaim printmaking as a tool of abundance and presence. \nVia this work\, I interweave the personal and political\, to strengthen local-global perspectives of colonization’s impact. I share my family’s stories as a frame through which we can better understand one another as different peoples connected through shared struggles—and shared imaginings for something beyond what our stories seem to be.” \nArtist Bio:  \nJenie Gao (they/she) has run an anti-gentrification arts business since 2014\, specializing in printmaking\, public art\, social practice\, and community storytelling. They consult for cultural organizations and the public sector on equity and ethics. \nJenie pulls from experiences as a second generation Taiwanese-Chinese American and a descendant of working class immigrants. Prior to founding their business\, Jenie worked in the museum industry\, public education\, and lean manufacturing. Through their cross section of experiences\, Jenie has become attuned to issues of artists’ labour\, cultural power\, and institutional accountability. They run a paid apprenticeship program and have thus far mentored 25 emerging artists. \nJenie has a BFA in Printmaking/Drawing from Washington University in St. Louis and an MFA from Emily Carr University of Art + Design. Their work is in 40 institutional collections including Bainbridge Island Museum of Art\, Bowdoin College\, Cornell University\, Stanford University\, and the Library of Congress. Their recent exhibits include Museum of Wisconsin Art\, Trout Museum of Art\, Burnaby Village Museum\, Cedarburg Museum\, and South Bend Museum of Art. Their work has been included in publications such as PBS\, Shoutout LA\, and Fête Chinoise. Their art residencies include Women’s Studio Workshop in Kingston\, New York; Art in the Park with Vancouver Board of Parks & Recreation: Decolonization\, Art\, & Culture; Ma’s House in the Shinnecock Reservation in Southampton\, New York; Iowa Lakeside Laboratory in Okoboji\, Iowa; the Bubbler at Madison Public Library in Madison\, Wisconsin; Artist Campaign School in Chicago\, Illinois; Proyecto’ace in Buenos Aires\, Argentina; and Museo de Arte Moderno in Chile. They are a TEDx Madison speaker and gave a talk entitled The Power and Purpose of Creativity. \nJenie Gao is the recently appointed Executive Director of Centre A: Vancouver International Centre for Contemporary Asian Art. They live on the unceded lands of the Musqueam\, Squamish\, and Tsleil-Waututh peoples. \n\n_________________________________\nVisitor Information:\nNew to the A/P space? Welcome! Here’s a helpful guide to visiting the A/P Gallery\, Studio\, and Events \nHours and Location: A/P Main Gallery Hours: Wednesday from 10am – 5pm; Thursday – Saturday from 10am – 5pm (closed Sunday\, Monday\, and Tuesday) Accessibility: \nAccessibility:  \nA/P is located near the 39th Ave. C-Train Station and has free parking stalls located in front with additional street parking nearby.  \nThere is an access ramp at the east end of the building\, and A/P is equipped with a wheelchair accessible\, gender neutral washroom.  \n\nWe do our best to accommodate the needs of our visitors whenever possible. We welcome your questions and are committed to working with our members and guests to have a great visit when you are here!  \nInclusivity and code of conduct: \nA/P’s cultivates an inclusive and collaborative environment to learn about printmaking\, to create printed works\, and to pursue exciting artistic opportunities. \nA/P operates by a code of conduct with an expectation of promoting dignity and respect to all\, and we prioritize individual and community safety.  Any form discriminatory behaviour\, intimidation\, bullying\, harassment or victimization is not tolerated. 
URL:https://albertaprintmakers.com/event/the-integrity-of-a-story-by-jenie-gao/
LOCATION:A/P Gallery and Studio\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/Jenie-Gao-TheDeerGarden-highres-02-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250124
DTEND;VALUE=DATE:20250315
DTSTAMP:20250724T201725Z
CREATED:20241220T201614Z
LAST-MODIFIED:20250724T201725Z
UID:10000185-1737676800-1741996799@albertaprintmakers.com
SUMMARY:NOTICE ME!
DESCRIPTION:Join us for the Opening Reception and Artist Talk!\nWhen: Friday\, January 24th from 7-9pm at A/P.  The artist talk will begin at 7pm\, followed by the reception until 9pm. \nClick here for more reception info and to RSVP \nAbout the Exhibition\nGiving ourselves the space to be soft and silly during these times is a radical act and deserves some attention! HOT 4 THE MOMENT will be taking over the Alberta Printmakers Main Gallery with “NOTICE ME!”\, a printed and quilted construction site. THE FIX-ITS is a parody performance\, and installation work assuming the characters of a multi-talented duo of contract workers who critique systems of oppression and misogyny within professional spaces through hard work\, physical labor and community care. Getting to work as THE FIX-ITS required the proper OHS approved signage\, designating spaces to be soft and silly with yourself. This installation is the accumulation of the FIX-ITS body of work and will consist of the quilted signage used in our FIX-ITS performances\, our constructed light box art crate signs\, screenprints\, and textile work. \nArtist Statement:  HOT 4 THE MOMENT uses printmaking\, performance\, textiles\, sculpture and video as tools to explore labour\, gender\, and friendship. Their work uses humor as a vessel for change and pop-culture as a language to explore difficult topics\, and to break down expectations of “women under the patriarchy”. This often looks at gendered labour and representation in the media. ‘NOTICE ME!”is a playful examination of gendered cultural and social labour norms. This body of work uses imagery of work sites and construction signage to consider what is traditionally valued as paid labour vs. what goes mostly unrecognized and underpaid moving through the world as both artists and women. With their first body of work as HOT 4 THE MOMENT\, Georgia and Drew use playfulness\, humour\, softness and collaboration as an act of resilience and protest against systems of oppression within professional spaces as THE FIX-ITS. Together\, they dissect these themes through dispersing labour and decentering oneself in practice. \nArtist Bios:  Georgia Dawkin and Drew Pardy are the two halves of the friendship heart necklace that is HOT 4 THE MOMENT. A creative collective\, HOT 4 THE MOMENT developed as a way for Georgia Dawkin and Drew Pardy to combine common themes within their work\, and to provide a space for play within their art practices. HOT 4 THE MOMENT has exhibited in Eastern Edge Gallery (NL)\, Neutral Ground Artist Run Centre (SK)\, designed sets for Lawnya Vawnya Music Festival (NL)\, and performed at CB Nuit (NL)\, and the Atlantic Arts Symposium (NB). They were the 2024 Elbow Room Artists in Residence at The Rooms (NL) and the VANL Emerging Artists of the Year in 2024. Both Georgia and Drew are currently based in St. John’s\, NL and have received their BFAs from Grenfell Campus\, Memorial University. \n\n_________________________________\nVisitor Information:\nNew to the A/P space? Welcome! Here’s a helpful guide to visiting the A/P Gallery\, Studio\, and Events Hours and Location: A/P Main Gallery Hours: Wednesday from 10am – 5pm; Thursday – Saturday from 10am – 5pm (closed Sunday\, Monday\, and Tuesday) Accessibility: Accessibility:  \nA/P is located near the 39th Ave. C-Train Station and has free parking stalls located in front with an access ramp at the north end of the building.  \nWe do our best to accommodate the needs of our visitors whenever possible. \n\nThe A/P facility is mostly mobility friendly\, however our washout sink area and single stall gender neutral washroom are not wheelchair accessible.  \nWe welcome your questions and are committed to working with our members and guests to have a great visit when you are here!  \nInclusivity and code of conduct: \nA/P’s cultivates an inclusive and collaborative environment to learn about printmaking\, to create printed works\, and to pursue exciting artistic opportunities. \nA/P operates by a code of conduct with an expectation of promoting dignity and respect to all\, and we prioritize individual and community safety.  Any form discriminatory behaviour\, intimidation\, bullying\, harassment or victimization is not tolerated. 
URL:https://albertaprintmakers.com/event/noticeme/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241207
DTEND;VALUE=DATE:20241214
DTSTAMP:20250118T051258Z
CREATED:20241203T183455Z
LAST-MODIFIED:20250118T051258Z
UID:10000179-1733529600-1734134399@albertaprintmakers.com
SUMMARY:2024 Not So Mini Exhibition and Auction!
DESCRIPTION:About the Exhibition\nEach year\, A/P hosts a print exchange and exhibition in conjunction with an exciting sale and silent auction fundraiser. \nParticipants from around the globe submit an edition of ten original 8” x 10” prints (maximum size) to exchange with each other.  Two impressions of each edition are retained by A/P to sell and auction to lucky buyers/bidders at affordable rates. \nThe annual Not So Mini has become our most anticipated event of the year that showcases the work of local and international printmakers\, with all funds raised directly supporting A/P’s community programming. \nThis year we received over 55 editions by artists from: \nCalgary\, AB; Edmonton\, AB; Foothills\, AB; Spruce Grove\, AB; Sherwood Park\, AB; Montreal\, QC; Stukely-sud\, QC; Golden\, BC; Regina\, SK; Halifax\, NS; Astoria\, NY; Brooklyn\, NY; Ambala City\, Haryana\, India; Adachi ku\, Tokyo\, Japan; Sherwood Park\, AB; Draycott\, Derby\, United Kingdom. \nAbout the Online Sale and Silent Auction\nSTEP 1: Register as a bidder online at www.auctria.events/2024NotSoMini \nSTEP 2: Browse through all the prints and swag that are up for grabs \nSTEP 3: Place your bids & claim your winnings! \nThe Auction OPENS on Saturday\, December 7 at 12pm (MST).  Bidding CLOSES on Friday\, December 13 at 9:00pm (MST).
URL:https://albertaprintmakers.com/event/2024-not-so-mini-exhibition/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241004
DTEND;VALUE=DATE:20241123
DTSTAMP:20241203T183849Z
CREATED:20240916T195701Z
LAST-MODIFIED:20241203T183849Z
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SUMMARY:No Place Like Homo
DESCRIPTION:No Place Like Homo brings together screen printed ceramic tile and prints on paper to illustrate a non-linear experience of masculine pregnancy and queer home life. Taking root at the intersection of reproductive justice and queer liberation\, No Place Like Homo draws on themes of choice\, loss\, intention\, and autonomy\, and questions what it means to “conceive of” in the context of conception itself. The exhibition explores contrasting desires for visibility and for safety\, offering a view that is both zoomed in and zoomed out\, tender\, lighthearted\, resolute\, and joyfully mundane. \nK Sarrantonio blends traditional and experimental screenprinting techniques to represent queer domesticity and genderqueer experience. Born in the Hudson Valley in Upstate New York\, K lives and works in Queens\, NY. They have attended residencies at McColl Center\, Women’s Studio Workshop\, Vermont Studio Center\, Crosstown Arts\, Signal Fire Arts\, and Kimmel Harding Nelson Center. They received an MFA from Rhode Island School of Design and a BA from Hampshire College.  \n  \nVisitor Information:\nNew to the A/P space? Welcome! \nHere’s a helpful guide to visiting the A/P Gallery\, Studio\, and Events \nHours and Location: \nA/P Main Gallery Hours: Wednesday from 10am – 5pm; Thursday – Saturday from 10am – 5pm (closed Sunday\, Monday\, and Tuesday) Accessibility: \nAccessibility:  \nA/P is located near the 39th Ave. C-Train Station and has free parking stalls located in front with an access ramp at the north end of the building.  \nWe do our best to accommodate the needs of our visitors whenever possible. \n\nThe A/P facility is mostly mobility friendly\, however our washout sink area and single stall gender neutral washroom are not wheelchair accessible.  \nWe welcome your questions and are committed to working with our members and guests to have a great visit when you are here!  \nInclusivity and code of conduct: \nA/P’s cultivates an inclusive and collaborative environment to learn about printmaking\, to create printed works\, and to pursue exciting artistic opportunities. \nA/P operates by a code of conduct with an expectation of promoting dignity and respect to all\, and we prioritize individual and community safety.  Any form discriminatory behaviour\, intimidation\, bullying\, harassment or victimization is not tolerated. 
URL:https://albertaprintmakers.com/event/no-place-like-homo-by-k-sarrantonio/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240824
DTEND;VALUE=DATE:20240921
DTSTAMP:20240924T203302Z
CREATED:20240504T200636Z
LAST-MODIFIED:20240924T203302Z
UID:10000127-1724457600-1726876799@albertaprintmakers.com
SUMMARY:Lasting Impressions 2024
DESCRIPTION:For the 3rd year running\, A/P is organizing Lasting Impressions\, a non-juried exhibition for A/P members to showcase their work. \n\nThis exhibition is intended to: \n\nCelebrate A/P members while welcoming new and returning members\nFoster community through an inclusive group exhibition\nConnect with local and global printmakers and showcase the breadth and depth of their print-based work\nPromote sales that will support individual artists and raise funds for sustaining A/P’s community programs*\n\n*artworks are not required to be available for sale to participate \n\nWe are now accepting registrations\, with new and returning members welcome!  \nRegistration deadline: July 30\, 2024.  \nFor full details and to register\, visit our Calls for Participation page.  \n 
URL:https://albertaprintmakers.com/event/lasting-impressions-2024/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Lasting-Impressions-Exhibit.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240419
DTEND;VALUE=DATE:20240609
DTSTAMP:20240923T175545Z
CREATED:20240314T172622Z
LAST-MODIFIED:20240923T175545Z
UID:10000070-1713484800-1717891199@albertaprintmakers.com
SUMMARY:Lodestone by Darian Goldin Stahl
DESCRIPTION:Lodestone exhibits our complex encounters with medicine in way that is inviting\, wonderous\, and enchanting. Lodestones are naturally occurring magnets\, a near-magical phenomenon that was eventually harnessed within biomedical imaging technologies like MRI machines \nLodestone does not necessarily depict a happy ending\, but a constant state of journeying and becoming. It is vital to introduce more complex and unsatisfying narratives of illness into oursociety. Neither triumphant nor tragic\, illness and disability are typical and valid ways of moving through the world. Presented as colorful and surreal prints with a hint of lore\, I aim for thisexhibition to take up the visual and material culture of medicine and re-present them with affirming sensibilities that centre the patient perspective. Although this work represents the experiences of a single woman\, opening the imagery through translations of printmaking makes space for anyone to relate to the tales within. \nDr. Darian Goldin Stahl is interdisciplinary printmaker working between topics of medicine\, disability\, and well-being. Her work is based on the lived experiences of her collaborating partner and sister\, Devan Stahl\, as well as her own recent experiences navigating healthcare systems while pursuing parenthood. Darian is a printmaking instructor at the University of British Columbia Okanagan in Kelowna\, where she lives and works on the unceded traditional lands of the Syilx peoples. She is also a Research Associate at the National Collaborating Centre for Indigenous Health. This unconventional mix of employment demonstrates her commitment to championing those who have been marginalized and othered in Western medical systems through advocacy\, research\, and art. \nAfter attaining a BFA in Printmaking from Indiana University Bloomington and an MFA in Printmaking from the University of Alberta  that both engaged healthcare topics\, she then went on to achieve a research-creation PhD in Humanities from Concordia University in 2021 that investigated how artists’ books become multi-sensory archives of illness and disability. This work awarded Darian a Banting Postdoctoral Fellowship at the UNBC Northern Medical Program and Health Arts Research Centre\, where she works with patient groups to create artists’ books about their lived experiences within healthcare systems. Darian has exhibited her work all around the world\, but her most notable achievement was the acquirement of her entire suite of artist’s books by the acclaimed medical art institution\, the Wellcome Collection in London\, where her books continue to evoke health discourses with public audiences.
URL:https://albertaprintmakers.com/event/lodestone/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/03/Exhibition_Lodestone-expecting-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240126
DTEND;VALUE=DATE:20240316
DTSTAMP:20240406T200816Z
CREATED:20240310T003835Z
LAST-MODIFIED:20240406T200816Z
UID:10000061-1706227200-1710547199@albertaprintmakers.com
SUMMARY:Even With Sharp Teeth You Can't Bite Water
DESCRIPTION:Even With Sharp Teeth You Can’t Bite Water is an exhibition of new works investigating The Diasporic Imaginary and the complications of self-fashioning while still in the midst of grappling with a fraught inheritance. The print works presented as part of this solo exhibition use abstraction and fragmentation as entry points to meditate on the spatialisation of diasporic consciousness and the utility of remaining within spaces of opacity\, unknowability and in betweenness. Through their avoidance of closure\, the works create an opening for re-spatializing the pluralistic\, multi-directional and multi-temporal scope of diasporic identity. With open linear geometries and unfixed topographies the prints utilise a sort of pragmatic ambiguity to foreground the slippery nature of witnessing\, the entangled relationship between place and placelessness and the fugitive\, emancipatory potential of a diasporic imaginary where belonging is allowed to exist not as an either/or\, but rather\, as an all at once. \n  \n\nNura Ali is a visual artist\, writer and curator\, living and working in Calgary\, Alberta. She received a BFA in Visual Art from Emily Carr University of Art and Design\, a BA in English Literature\, Art History and Italian from the University of Leicester and a BA in History from Goldsmiths College\, University of London. Her wide-ranging practise investigates the linguistic and cognitive scaffolding underpinning the ways we create meaning. Nura has shown her work across Canada and internationally\, received numerous awards and grants; most recently from the Canada Council for the Arts\, The Arts Canada Institute\, Calgary Arts Development and the Rozse Foundation and has taken part in various national and international residencies. When she is not curled up with a book or pottering around her garden\, Nura is dreaming up ways to dismantle oppressive structures and for this reason became one of the founding members of the Vancouver Artists Labour Union; a unionised workers cooperative whose mission it is to transform labour practises in the arts sector and create fair\, equitable and sustainable working conditions for artists and cultural workers.
URL:https://albertaprintmakers.com/event/even-with-sharp-teeth-you-cant-bite-water/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/03/Nura-Ali_Exhibition.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231209
DTEND;VALUE=DATE:20231217
DTSTAMP:20240406T201235Z
CREATED:20240310T011533Z
LAST-MODIFIED:20240406T201235Z
UID:10000062-1702080000-1702771199@albertaprintmakers.com
SUMMARY:2023 Not So Mini Exhibition
DESCRIPTION:About the Exhibition\nEach year\, A/P hosts a print exchange and exhibition in conjunction with an exciting sale and silent auction fundraiser. \nParticipants from around the globe submit an edition of ten original 8” x 10” prints to exchange with each other.  Two impressions of each edition are retained by A/P to sell and auction to lucky buyers/bidders at affordable rates. \nThe annual Not So Mini has become our most anticipated event of the year that showcases the work of local and international printmakers\, with all funds raised directly supporting A/P’s community programming. \nThis year we received 74 editions by artists from: \nCalgary\, AB; Edmonton\, AB; Spruce Grove\, AB; Sherwood Park\, AB; Saskatoon\, SK; Regina\, SK; Fruitvale\, BC; Kimberly\, BC; Lake Country\, BC; Nanaimo\, BC; Vancouver\, BC; Magog\, QC; Astoria\, NY; Asheville\, NC; Denton\, TX; Oxford\, MS; Moab\, UT; San Luis Potosi\, Mexico; Cuernavaca\, Mexico; Buenos Aires\, Argentina; Wonthella\, Australia; Ljubljana\, Slovenia; Brandenberg\, Germany; Tokyo\, Japan; and Viña de Mar\, Chile. \n  \n 
URL:https://albertaprintmakers.com/event/2023-not-so-mini-exhibition/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/03/Not-so-mini-2023-exhibition-photo-web.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231013
DTEND;VALUE=DATE:20231202
DTSTAMP:20240407T144756Z
CREATED:20240310T013515Z
LAST-MODIFIED:20240407T144756Z
UID:10000063-1697155200-1701475199@albertaprintmakers.com
SUMMARY:Centenary
DESCRIPTION:“What you see is a vacant space left by a rider who has crossed the desert!” \nBahman Mohasses – Iranian Contemporary Artist (1931-2010) \nThe main technique I have used to create this series of work is Mezotint. Mezzotint is a labor-intensive printmaking process which begins with the inky blackness of a fully textured or “rocked” copper plate\, and by burnishing and scraping the plate I create smooth places where the ink does not stick. Using the same plate\, Mezzotint allows for the reduction of tones to make new images and forms while the plate is inevitably erased by its own process; as a metaphor for life of an artist who leaves part of his existence into the works that outlive him. \nAs the main theme of these works is “life and its undeniable result: Death\,” this reductive process is a good reflection of the way that I consider the most inevitable happening in the Human being’s life. Rauschenberg’s “Erased De Kooning Drawing” had a major impact on forming this process. To take this concept further\, I have destroyed some of the physical prints by scratching\, burning\, pouring some concealing material and using other impromptu ways to further destroy them\, as I believe not every artist is lucky enough to have all of his artworks preserved. \nMehdi Darvishi was born in the summer of 1988\, coinciding with the Iran – Iraq peace resolution. In his war-stricken hometown\, Mehdi grew up unexposed to art galleries and museums. In 2007 he left home to earn a BFA in Painting at the University of Tehran where he learned basic printmaking techniques such as relief and intaglio. After receiving his degree in 2011\, his interest in printmaking grew into a life’s pursuit. He has since exhibited in over 30 countries and has participated in more than two hundred global exhibitions\, competitions\, residencies\, and as a visiting artist. His works have been widely collected by museums such as the China Printmaking Museum\, the Ekaterinburg Museum of Fine Art\, Jyvaskyla Museum of Fine Arts\, the Tehran Museum of Contemporary Art\, and the US Library of Congress. He is the recipient of the Southern Graphics Conference Fellowship as well as the Pritzker fellowship from the Arts Institute of Chicago. He is also a finalist for the prestigious award “Mario Avati” that takes place in the fall of 2023 at the Academie Des Beaux-Artes in Paris.
URL:https://albertaprintmakers.com/event/centenary/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/03/exhibition-image-Mehdi-Darvishi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230609
DTEND;VALUE=DATE:20230722
DTSTAMP:20240407T150549Z
CREATED:20240407T150012Z
LAST-MODIFIED:20240407T150549Z
UID:10000087-1686268800-1689983999@albertaprintmakers.com
SUMMARY:Fuel
DESCRIPTION:About the exhibition \nIn the summer of 2022\, Nat Cann participated in a residency with the Calgary Allied Arts Foundation’s (CAAF) to find what fuels the sprawling city of Calgary\, Alberta\, a bustling place of quiet modernity within western Canada and the traditional territories of the Blackfoot Confederacy (Siksika\, Kainai\, Piikani)\, the Tsuut’ina\, the Îyâxe Nakoda Nations\, the Métis Nation. This was to be a new body of work entirely separate from current material\, something livelier than the current lonesomeness of the Atlantic. Not that Nat was seeking a relationship to the east coast as the city is far too big to pinpoint anything that particular. What blossomed\, perhaps in vain\, was a similarity to previous projects wherein towering pillars of residence\, commerce and capitalised prospect were found to be upheld by the local establishments and a startling amount of coffee. Using the very same products used to fashion these buildings both in construction and décor\, Fuel is an inspection of glass pillars built atop localized establishments and the people\, things\, and actors who dwell between such venues.  \nFuel was made possible by the Calgary Allied Arts Foundation’s (CAAF) national residency program\, as well as ArtsNB’s assistance funding. \nAbout the artist \nNat Cann (he/him) is an Atlantic Canadian based printmaker whose work hones upon the haunting of lands—relentless industries keeping afloat Canadian notions of colonialist heritage\, intentions which often find themselves misguided and victim to degradation by nature\, time\, economics\, and shifts in our understanding. Nat’s residencies and exhibitions have taken him from coast to coast where he’s gratefully acted as a mentor\, instructor\, and technical assistant to numerous students and professionals unversed in printmaking. His recent print projects have been intertwined with a variety of publications\, exhibitions\, and research grants\, and his efforts in these endeavors has been consistently supported by ArtsNB’s funding programs and the Canada Council for the Arts. Nat obtained his BFA from Mount Allison University (2012) and now resides in Moncton\, New Brunswick\, an Acadian colonial city which sits on the unceded territory of the Wolastoqiyik (Maliseet) and Mi’kmaq Peoples.
URL:https://albertaprintmakers.com/event/fuel/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition-Nat-Cann.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230331
DTEND;VALUE=DATE:20230520
DTSTAMP:20240407T151945Z
CREATED:20240407T151232Z
LAST-MODIFIED:20240407T151945Z
UID:10000089-1680220800-1684540799@albertaprintmakers.com
SUMMARY:My Data Body
DESCRIPTION:About the exhibition \nMy Data Body is a collaborative\, multimedia installation that includes sculptures\, video projection\, large scale prints\, an artist book\, a zine\, and a virtual reality artwork. My Data Body brings together different forms of personal data such as medical scans\, social media\, biometric\, banking and health data in an attempt to make visible and manipulable our many intersecting data corpuses so that in VR they can be held\, inspected and dissected. In My Data Body\, the medically scanned\, passive\, obedient\, semi-transparent body becomes a data processing site that can be pulled apart\, de- and re-composed or as Yuval Harari warns ‘surveilled under the skin’.  \nWhen developing the My Data Body VR project\, Oliver recognized the potential of the VR medium as a compositional and layering space where digital assets can be spatially arranged and then captured and exported as separate image layers. In this exhibition\, Oliver explores this affordance to create a series of large scale laser engraved images into spray paint on paper\, and a large artist book comprised on neon woodcut and screen prints.  \nMy Data Body is an interdisciplinary and collaborative project made as part of the research project Know Thyself as a Virtual Reality (KTVR). Collaborators include Marilène Oliver (visual art)\, Scott Smallwood (sound)\, J.R. Carpenter (poetry) and Stephan Moore (sound).  \nAbout the artist \nMarilène Oliver is an associate professor of printmaking and media arts at the University of Alberta. Marilène works at a crossroads between new digital technologies and traditional print and sculpture\, with her finished objects bridging the virtual and the real worlds. Oliver uses various scanning technologies\, such as MRI and CT to create artworks that invite us to materially contemplate our increasingly digitized selves and better understand what sociologist Deborah Lupton terms our\, human-data assemblages. Marilene’s print works have been featured in several high-profile printmaking books including Installations and Experimental Printmaking by Alexia Tala and Printmaking: a Contemporary Perspective by Paul Coldwell.
URL:https://albertaprintmakers.com/event/my-data-body-2/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/03/My-Data-Body-Installation-2-test.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230120
DTEND;VALUE=DATE:20230304
DTSTAMP:20240407T151859Z
CREATED:20240407T151859Z
LAST-MODIFIED:20240407T151859Z
UID:10000090-1674172800-1677887999@albertaprintmakers.com
SUMMARY:Residue
DESCRIPTION:About the exhibition \nAndrew Testa and Guillermo Trejo are interested in the in-between spaces of printmaking. In their individual practices they see collaboration as necessity (not necessarily collaborating with one another but collaborating with materials\, the studio\, the ground\, etc.). They are interested in the lost and found relationships in print as translation (an imprint of an encounter between two or more things). Andrew creates images through gestures of walking and moving slowly while Guillermo creates through a resourcefulness and responsiveness to the print studio itself. Seeing both artists’ work together\, there is a presence of something that is slow (a long walk documenting many small marks on an intaglio plate being bumped and pulled)\, and something that is quick (a gesture towards space/studio becoming a monoprint). This exhibition explores in-betweenness\, collaboration\, and translations. It questions what becomes residue\, imparting a question of the encounters each artist explores together and apart.  \nAbout the artists \nAndrew Testa (he/him): Andrew Testa is an artist\, writer and educator currently living and working in Ktaqmkuk\, also known as Newfoundland. He has been awarded numerous grants including ArtsNL and a VP Grenfell Research Grant\, has exhibited nationally and internationally\, and has participated in residencies and conferences across Canada. Testa is the Chair of the Board of Directors at St. Michael’s Printshop and is an Assistant Professor in printmaking at Grenfell Campus\, Memorial University of Newfoundland. \nGuillermo Trejo is a Mexican/Canadian Artist based in Ottawa. He completed his BFA at the National School of Painting Sculpture and Engraving in Mexico City with a specialization in printmaking and moved to Canada in 2007. The experience of immigration and distance has shaped Trejo’s work. Since moving to Ottawa\, he has earned an MFA from the University of Ottawa and has been an active member of the artistic community.
URL:https://albertaprintmakers.com/event/residue/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2023/11/IMG_1780.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221209
DTEND;VALUE=DATE:20221217
DTSTAMP:20240407T153641Z
CREATED:20240407T153640Z
LAST-MODIFIED:20240407T153641Z
UID:10000091-1670544000-1671235199@albertaprintmakers.com
SUMMARY:2022 Not So Mini Exhibition
DESCRIPTION:About the Exhibition\nEach year\, A/P hosts a print exchange and exhibition in conjunction with an exciting sale and silent auction fundraiser. \nParticipants from around the globe submit an edition of ten original 8” x 10” prints to exchange with each other.  Two impressions of each edition are retained by A/P to sell and auction to lucky buyers/bidders at affordable rates. \nThe annual Not So Mini has become our most anticipated event of the year that showcases the work of local and international printmakers\, with all funds raised directly supporting A/P’s community programming. \n2022’s Not So Mini collection includes 51 editions by artists from: \nCalgary\, AB; Cochrane\, AB; Edmonton\, AB; St. Alberta\, AB; Stoney Plain\, AB; Saskatoon\, SK; Almonte\, ON; Surrey\, BC; Trail\, BC; Kamloops\, BC; Vancouver\, BC; Magog\, QC; Ogden\, QC; Verdun\, QC; Oakland\, CA; Astoria\, NY; Manhattan\, NY; Philadelphia\, PA; Derby\, UK London\, UK; Gloucestershire\, UK; Wechsel\, Austria; Enmore\, Australia; Ljubljana\, Slovenia; Nedelja\, Slovenia; Tokyo\, Japan; and Madrid\, Spain \n  \n 
URL:https://albertaprintmakers.com/event/2022-not-so-mini-exhibition/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/2022-Not-So-Mini-exhibition.jpg
GEO:51.01761791002;-114.05259348668
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=A/P Gallery 460 42 Avenue SE Calgary Alberta T2G 1Y5 Canada;X-APPLE-RADIUS=500;X-TITLE=460 42 Avenue SE:geo:-114.05259348668,51.01761791002
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221007
DTEND;VALUE=DATE:20221126
DTSTAMP:20240407T160809Z
CREATED:20240407T160151Z
LAST-MODIFIED:20240407T160809Z
UID:10000092-1665100800-1669420799@albertaprintmakers.com
SUMMARY:Found in oblivion
DESCRIPTION:About the exhibition \nFound in oblivion is an exhibition in praise of lost places and people. It is an attempt to revive those memories which might have been forgotten over time\, a contemporary interpretation of historical images by bringing attention to old family photographs of Iranians. \nThis exhibition consists of four projects: \nDistorted memories includes old photographs of children folded in transparent papers with printed the pattern of Persian handwriting “Do you remember?” which is borrowed from the text that had been written at the back of one of the photographs. Using the transparent papers refers to the sheeting papers used in old family albums to protect the photos. \nWanderers series is an attempt to bring life back to abandoned houses\, it is a combination of contemporary photos of demolished and abandoned houses and the ghostlike figures of people taken from old family photos that have been printed on transparent papers. \nA letter to… is the embossment of texts and letters that were written at the back of photos and postcards on white papers in transparent envelopes that alludes to the concept of emerging and disappearing of memory and history at the same time. \nDisplacement a series of double layered frames shows people detached from their surrounding environment and places without people. It is an invitation to touch\, observe and discover memories and stories of distance and displacement. \nAbout the artist \nMelika Forouzan Pour was born in Tehran\, Iran in 1986. She graduated in the bachelor of Fine arts and Master of Arts in photography from the University of Tehran\, Iran. She took her second Master in Fine Arts from the University of Calgary. Over the years her focus shifted from photography to painting and printmaking. She explores place attachment and memory in her works. Her art pieces has been presented in exhibitions in Iran\, Britain and Canada. She has also published some articles in the field of family photography and collective memory in different\nIranian Art Journals. Melika has been living in Calgary since February 2021 and her pronouns are she/her.
URL:https://albertaprintmakers.com/event/found-in-oblivion/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition-Melika-Forouzan-Pour.jpg
GEO:51.01761791002;-114.05259348668
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=A/P Gallery 460 42 Avenue SE Calgary Alberta T2G 1Y5 Canada;X-APPLE-RADIUS=500;X-TITLE=460 42 Avenue SE:geo:-114.05259348668,51.01761791002
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220401
DTEND;VALUE=DATE:20220514
DTSTAMP:20240407T161230Z
CREATED:20240407T161230Z
LAST-MODIFIED:20240407T161230Z
UID:10000093-1648771200-1652486399@albertaprintmakers.com
SUMMARY:Zones / Indicators
DESCRIPTION:About the exhibition \n“My practice as an artist begins with the study and research of parallel places and ecosystems. I observe and identify how they mirror each other’s function and form\, and how\, through their similarities they are able to exhibit uniqueness. Studying these sites is especially important in the face of climate change\, as highly sensitive places like islands and alpine areas become more vulnerable to fluctuating temperatures\, rising lake and sea levels\, which in turn impacts the survival of flora and fauna in these vulnerable landscapes. Specifically\, awareness of the presence of indicator species such as the American Pika\, or the distribution of the Purple Pitcher plant demonstrate the geographic range of ecological connectivity\, as well as indicate the zonal shifts within a warming climate. \nReferencing my own experiences traveling through altitudinal zones to alpine areas\, and across latitudinal lines\, I create work which connects geographically disconnected landscapes focusing on their shared ecologies: how each site is connected through climatic shifts\, soil qualities\, and habitat range. I repetitively rework traditional copperplate matrices\, often in combination and collage with photo-lithography\, and photography to extract observations\, uncovering cultural and natural histories.” \nAbout the artist \nElizabeth Claire Rose was born in Central Illinois and grew up exploring natural areas of the midwestern United States\, which cultivated her creativity and interests in ecology\, biogeography\, and the ecological value of varied landscapes. Rose received her MFA in Printmaking from Tyler School of Art and Architecture at Temple University and a BA in Fine Art with a minor in Wilderness Studies from the University of Montana. Rose is an alumna of the Fulbright Program in Poland (2019-2020) where she was awarded a research grant in printmaking.
URL:https://albertaprintmakers.com/event/zones-indicators/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition-Elizabeth-Claire-Rose.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220114
DTEND;VALUE=DATE:20220305
DTSTAMP:20240407T162151Z
CREATED:20240407T162151Z
LAST-MODIFIED:20240407T162151Z
UID:10000094-1642118400-1646438399@albertaprintmakers.com
SUMMARY:WYSIWYG
DESCRIPTION:About the exhibition \nWhat is so new about “new media”? The original definition of “media” meant “material” (wood\, bronze\, ink\, and so on). How ironic is it that new media (or digital media) is viewed as holding an immaterial existence? The digital image is “made” of light and a language of binary code\, not ink and paper. But why is this shift towards immaterialism an important distinction between our original definitions of media? As printmakers\, we know why the adoption of new forms of media marks important cultural shifts\, having intimately studied the implications of the printing press. With the birth of print media\, radical changes in fundamental concepts such as originality\, ephemerality\, identity\, and time were forced to suit the existing media models. We are now once again faced with an epistemological and ontological crisis of the image in contemporary times. \nMaterials such as dust are known for their strong connection to the passage of time and human indexicality. However\, through the works in this exhibition\, many fundamental concepts of being are defamiliarized through subtle digital manipulations of familiar materials and surfaces. \nAbout the artist \nAlex Linfield is a multidisciplinary artist\, newly based in Mohkinstsis/Calgary. Linfield holds an MFA from NSCAD University and a BFA from the University of Alberta.
URL:https://albertaprintmakers.com/event/wysiwyg/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2023/11/IMG_0744.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210917
DTEND;VALUE=DATE:20211106
DTSTAMP:20240409T023728Z
CREATED:20240407T163733Z
LAST-MODIFIED:20240409T023728Z
UID:10000095-1631836800-1636156799@albertaprintmakers.com
SUMMARY:Basic Social Unit Hierarchies
DESCRIPTION:About the exhibition \nBasic Social Unit Hierarchies focuses on matriarchal and patriarchal elements within a basic social unit – a family. I study the distinction between these two models\, based on my and my partner’s genealogical histories. I investigate the generational (three generations) and ethnographic (Slavic and Acadian) differences and transformations regarding gender-imposed roles within studied families. I hope that the process\, along with the installation culminating my research will\, to some extent\, elucidate my position and identity as a woman in my own family.  \nThe work consists of two pillars. The first one depicts the dynamics between matriarchal and patriarchal elements within my family. The second one is a graphic representation of these dynamics in my partner’s family. The inspiration for this project was my curiosity to find out how our (my and my partner’s) different histories and experiences have impacted our understanding of the partnership in a domestic context. I want to be aware of any behavioral tendencies we both might have inherited into our home life. I hope for this piece to also inspire my audience to revisit the homes where they come from and to analyze how the domestic models that they have experienced influence their current relationships.  \nInspired by the 18th century Toile de Jouy\, my pieces are printed on canvas in monochromatic blues and reds. The motifs of traditional Toile de Jouy depicted idyllic scenes of every-day life. My drawings of family life might seem to be pleasant at first\, but after a closer look\, they also show loneliness\, neglect\, boredom\, and anxiety.  \nAbout the artist \nKasia Koralewska is a textile-based artist and art educator currently living in Calgary\, Canada. She received her education at the Alberta College of Art & Design in Calgary\, Canada and Academy of Fine Arts in Lodz\, Poland (Master of Fine Arts 2009). She presently teaches in the Fibre program at the Alberta University of the Arts.  \nHer research focuses on various techniques and processes that transform the surface of the cloth. Her artistic practice involves creating large-scale silkscreen printed\, dyed\, and painted textiles\, wearable objects\, drawings\, and installations.  \nHer work has been exhibited in Poland\, Germany\, Czech Republic\, and Canada. 
URL:https://albertaprintmakers.com/event/basic-social-unit-hierarchies/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition-kasia-koralewska.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201002
DTEND;VALUE=DATE:20211121
DTSTAMP:20250718T200110Z
CREATED:20240408T222335Z
LAST-MODIFIED:20250718T200110Z
UID:10000096-1601596800-1637452799@albertaprintmakers.com
SUMMARY:Citizen of the World
DESCRIPTION:About the exhibition \n“Citizen of the World is an exhibition of 6 x 6 inch linocut portraits portraying 300 individual members of our human collective (society) in an extended present tense. It is a portrait of humanity but the individual portraits reveal diversity within the collective. As our identities are bound up with our ideas of difference and uniqueness\, these prints challenge the viewer’s biases. Even though a photograph is often considered to be “more true” than a picture in another medium\, all mediums contribute their own visual quality to the interpretation of a subject. Some viewers have said the portraits capture more than physical features and the subjects themselves had a say in how they were portrayed as they chose or approved of the photograph used to make the linocuts. \n\n  \n\nThe interpretive nature of the viewer’s relationship to each subject adds to the discussion of what these portraits mean together and individually. We see the work through the lens of our personal\nexperiences\, ideas and culture. For me\, the portraits bring forth memories and emotions attached to each of the subjects. Each is someone I know or have spent time with\, even if only for a single\nconversation. It is my interaction with each individual that I think about while cutting the plate. To be thought about by others is a kind of blessing. I hope the accumulative acts of making and view-\ning contributes to the energy of goodwill in the world.” \nAbout the artist \nSara Norquay – Born in Edmonton\, raised in Toronto\, and employed as a free-lance Opera Equity Stage Manager during her twenties while living in Alberta\, Sara attended the Alberta College of Art in the mid-70s. After receiving a B.A. in English from the University of Toronto and a B.Ed from Queens University in the 80’s\, she married and went to live in Santa Barbara\, California. There she raised children\, taught\, and exhibited prints and artist books before moving back to Edmonton in 2009. She is known in Alberta for her Lino portraits\, large woodcuts\, and artist books.
URL:https://albertaprintmakers.com/event/citizen-of-the-world/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_Sara-Norquay.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200306
DTEND;VALUE=DATE:20200418
DTSTAMP:20240409T025511Z
CREATED:20240409T025511Z
LAST-MODIFIED:20240409T025511Z
UID:10000097-1583452800-1587167999@albertaprintmakers.com
SUMMARY:Anthology of Mourning
DESCRIPTION:About the exhibition \nThe works in this exhibition explore the expanded notions of mourning; meaning not confined to the loss of loved ones\, but includes displacement\, loss of identity\, community\, ideals\, and loss of self. More specifically\, mourning is examined from an ethnological perspective\, reflecting on how our heritage\, belief systems\, genealogy\, effects or guides our experiences of grief. In Anthology of Mourning\, these ideas are explored through printed works and drawings\, often referred to as still-lifes and tapestries. The works are created from the assemblage of an extensive collection of imagery and visual lexicon that I have been building and referencing throughout my practice. \nThere is a strong presence of textile designs and traditions in the works. My family working in this industry\, fabric has always been part of my visual landscape evoking notions of labour\, class and cultural identity. In my own translation of textile work\, I’m interested in exploring cloth as a fleshy extension of the body. Cloth and patterning becomes a communicative adornment\, expressing something the body cannot. It’s a means of hiding the self but also revealing the self. Through cryptic language\, repetition and the appropriation of traditional motifs\, the works act as pictograms using patterning as text\, revealing a desire to establish a dialogue between past and present\, seeking to keep what as left alive. \nAbout the artist \nStephanie de Couto Costa is a visual artist and writer in Montreal\, Canada. Interested in process driven material practices\, her work encompasses different media such as printmaking\, textiles\, drawing and installation. She has participated in a number of international exhibitions and residencies\, including a research and creation project in Lisbon\, Portugal.  She completed a MFA in Studio Arts from Concordia University\, where she works as an Assistant Professor in the division of Print Media.
URL:https://albertaprintmakers.com/event/anthology-of-mourning/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition_Stephanie-de-Couto-Costa.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200110
DTEND;VALUE=DATE:20200229
DTSTAMP:20240424T023826Z
CREATED:20240409T031505Z
LAST-MODIFIED:20240424T023826Z
UID:10000099-1578614400-1582934399@albertaprintmakers.com
SUMMARY:Telling Stories Otherwise
DESCRIPTION:About the exhibition \n“Over the past four years\, I have been co-creating art in collaboration with people living with illness in communities across Canada. I have been working with recent transplant patients\, head and neck cancer patients\, suicide survivors in the Arctic\, and psychiatric patients at the Centre for Addiction and Mental Health. In this exhibition\, embedded in artworks\, you will see the works we co-created as I spent time with these individuals and in their communities. You will also see my own illness experiences and how they weave and knot with the work\, as well as insights created with patients. Illness is a vital meaning-making event in people’s lives\, and the stories we use to narrate our illness to others and ourselves matter deeply. I aim to tell stories about the experience of illness with the hope that this might increase our confidence and vocabulary to discuss\, experience\, and express these meaningful events.” \nAbout the artist \nBrad Necyk is a multimedia artist and writer in Canada whose practice engages with issues of medicine\, mental health\, and precarious populations and subjects. His works include drawings and paintings\, still and motion film\, sculpture\, 3D imaging and printing\, virtual reality\, and performance. He recently completed a research-creation PhD in Psychiatry and was awarded the Governor General’s Gold Medal.
URL:https://albertaprintmakers.com/event/telling-stories-otherwise/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_brad-necyk.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20191025
DTEND;VALUE=DATE:20191130
DTSTAMP:20240409T030506Z
CREATED:20240409T030506Z
LAST-MODIFIED:20240409T030506Z
UID:10000098-1571961600-1575071999@albertaprintmakers.com
SUMMARY:Borough Burrow
DESCRIPTION:About the exhibition \n“When I consider my prints\, it is always in the context of the city; the lived realities of its inhabitants\, the politics of displacement\, the concept of home\, and the trauma of constant change and restructuring. My work critically engages with aspects of urban development and displacement; considering how wildlife is dislodged by expanding metropolitan areas\, as well as how gentrification acts as an extension of colonialism. I focus on the changing concept of what it means to live in cities\, as well as what cities should be\, and for whom they should be designed. \nMy recent work consists of printed installations\, ranging in size from ten-meter long murals to small pieces\, which are collaged on-site to form immersive environments. Currently\, I am developing a series of black and white wood- cuts that\, by virtue of their dimensions and verticality\, emulate buildings in high density urban landscapes\, forming a cityscape that is both familiar and\nanomalous. Manipulating photographic images collected at sites of urban development\, I superimposed images of wildlife into these spaces\, creating strange and unnerving scenes. I also place printed wildlife back into the city by wheat-pasting it in areas where urban spaces become overgrown\, where plants meet concrete.” \nAbout the artist \nChristeen Francis is a printmaker\, musician\, and activist based in Montreal. She is committed to print that engages with local communities and the public at large. Her research interests include urban wildlife and the homogenization of cities and culture. She has exhibited in Canada\, the United States\, Germany\, and Iceland.
URL:https://albertaprintmakers.com/event/borough-burrow/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_christeen-francis.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190913
DTEND;VALUE=DATE:20191020
DTSTAMP:20240424T024739Z
CREATED:20240424T024739Z
LAST-MODIFIED:20240424T024739Z
UID:10000108-1568332800-1571529599@albertaprintmakers.com
SUMMARY:In Bloom or in Doom
DESCRIPTION:About the exhibition \n“In Bloom or in Doom reimagines contemporary narratives from major online news sources that overflow our vision with images of consumerism\, politics\, and war. The exhibition focuses particularly on the human body\, shopping carts\, and drones\, which I consider the most iconic symbols of today’s visual culture. The body is the container of our individual vision of the world\, the shopping cart is the container of our desires and needs\, and the drone stands for our collective “omnipresent” digital vision. \nDigitally reproduced images are constantly changing/moving\, defining our living space and catching our eyes with emotion and shock value. However\, I feel that due to the current era of image oversaturation\, we become more desensitized in reflecting how the symbolic meaning of these images actually affect our view of the world. For this reason\, I turn to medieval\, “slow-paced” media as egg tempera and relief printing for “really looking” at scenes that define our society and questioning if we are thriving or heading towards an imminent downfall.” \nAbout the artist \nAdrian Gor’s work combines writing\, egg-tempera painting\, relief printing\, and hand crafted organic materials. His medieval-inspired multi-processed techniques of line making and gilding drives him to question todays symbols of human desire and containers of truth in our visual culture. Adrian completed his PhD in the Humanities (Interdisciplinary) Program at Concordia University (2015) combining studies in Theology/Philosophy\, Art History\, and Studio Arts. He also has an MFA in Drawing/Painting from the School of Visual Arts\, Univer- sity of Windsor (2010). \n 
URL:https://albertaprintmakers.com/event/in-bloom-or-in-doom/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_adrian-gor.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190426
DTEND;VALUE=DATE:20190608
DTSTAMP:20240424T030059Z
CREATED:20240424T025900Z
LAST-MODIFIED:20240424T030059Z
UID:10000109-1556236800-1559951999@albertaprintmakers.com
SUMMARY:Traversing the line\, with no fixed point
DESCRIPTION:About the exhibition \nEssay by Sally McKay – \nBriana Palmer’s multi-layered installation might appear whimsical at first glance – a miniature world designed for entertainment and delight. But her references to trains\, toys and childhood all have deeper\, troubling meanings. Palmer grew up in Revelstoke\, BC\, a small city near the western edge of Canada’s colonial frontier. The railway passed through town. Towering trestles featured in everyday life. At night\, the sound of rail cars crashing over the tracks soothed children to sleep in their beds. For Palmer it was a comfortable life. Troubling terms like “settler” and “colonial” only emerged for her after she left Revelstoke\, gained more life experience\, and began to question what she calls the “white bread” assumptions of her upbringing. \nIn Canada’s dominant mythology\, the railway brought the nation together and fostered economic wealth. But Palmer’s train disrupts this narrative. It chugs along from place to place\, not a symbol of prosperity\, but a vehicle of disruption. Palmer wants us to consider colonizers’ displacements of Indigenous communities that severed their embodied connections with the land; as well as the forced labour of Chinese and Italian immigrants\, many of whom died while building the railway\, and all of whom were subjected to racist violence on the project. Model trains\, invented in the late 19th century\, had become a popular toy for middle-class boys by the 1950s. Palmer asks\, “Historically\, who gets to play with model trains? Who creates these miniature Utopian worlds\, constructing their own idealized versions of society?” Palmer’s diorama does not present a comprehensible social order\, but rather a world of floating and disjointed biomorphic forms in which absurdist juxtapositions defy structured\, Western narratives of home and place. \nPrints and wall drawings further extend Palmer’s critique. Trained as a print-maker\, she conceptually connects the printing press and the railway because both disseminate Western ideologies. The Gutenberg Press was used for the first mass-produced Bibles\, spreading literacy but also imposing top-down models for social behaviour in a burgeoning capitalist economy. Further probing her own “white bread” upbringing\, Palmer uses print-making to repurpose nostalgic illustrations from children’s encyclopaedias. She disrupts their familiar narratives with quotes from racist micro-aggressions that she has personally witnessed in her daily life. A large\, black and white woodcut banner spans the gallery walls. While aesthetically sumptuous\, the imagery of barbed wire and ruined landscape speaks of war and devastation. During a recent residency in Slovenia\, Palmer was struck by a stone road made by Russian POWs in WWI\, thousands of whom lost their lives. “Now\,” she says\, “it’s just a route for tourists hiking up a mountain to a park.” The barbed wire also resonates with a Canadian war-time context. “Slocan\, one of Canada’s biggest internment camps\, was just down the road from where I grew up\,” Palmer explains. Again\, Palmer invokes a sense of home\, but\, no longer comfortable and complacent\, this home is fraught and troubled with the settler-inflicted violence of Canada’s colonial past. \nAbout the artist \nBriana Palmer’s lives in Hamilton Ontario\, and teaches in the studio arts program at McMaster University. Originally from the west coast Briana received her BFA from the Alberta Collage of Art and Design and her MFA from the University of Alberta. Her primary practice is in printmaking\, sculpture and installation; creating works that reflect an intersection between perception\, experience\, and social ideologies taken from her own cultural practices\, up-bringing and daily experiences. Her works have been exhibited in Canada\, U.S and Europe. Her prints are in the collections of the Alberta Foundations of the Arts\, Southern Graphics Print Council\, and University of Alberta. \n 
URL:https://albertaprintmakers.com/event/traversing-the-line-with-no-fixed-point/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/03/Past-exhibition_Briana-Palmer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190301
DTEND;VALUE=DATE:20190413
DTSTAMP:20250731T221148Z
CREATED:20240424T031528Z
LAST-MODIFIED:20250731T221148Z
UID:10000110-1551398400-1555113599@albertaprintmakers.com
SUMMARY:Make or Break
DESCRIPTION:About the Exhibition\nDeep Time Laid Bare – exhibition essay by Matthew R. Hills \nI write this text from the west coast of Newfoundland\, properly known as Ktaqmkuk\, traditional unceded Mi’kmaw territory. Jon Green is from and of Newfoundland. He is a treasured son of this glorious island\, departed to the main with the oft-murmured hope that he will one day be compelled to return. \nWestern Newfoundland\, Gros Morne in particular\, is a designated UNESCO World Heritage site. The Long Range Mountains on the west coast of Newfoundland offer rare examples of the process of continental drift\, where deep ocean crust and the rock strata of the earth’s mantle both lie exposed on the surface. Deep time laid bare. Being in the presence of this geologic phenomenon underscores that the earth is ancient. Almost unfathomably so. 18th-century geologist James Hutton developed the concept of “deep time” to counter the commonly held notion that the Earth was 6\,000 years old and not the approximately 4.5 billion years\, that he estimated. Through this geologic lens\, human’s time on earth seems momentary. In spite of being a relative blip\, we have entered the epoch of the Anthropocene\, registering human’s catastrophic affect on global ecosystems. A bleak reality dawning with consequences for all. \nMountains are constants in the series of mixed-media prints featured in Make or Break. Green combines personal documentation of\n“wilderness” with appropriated and recovered images from historical travelogues and wilderness survival guides. These natural monoliths are interweaved with provisional man-made structures or supports. Dovetail cabins\, lean-to shelters\, hoarding\, and half-constructed walls are fleetingly insubstantial containers and supports for the jagged peaks carved over many millennia. \nWith the sketchy incomplete rendering of these structures\, Green imbues the prints with a generative ambiguity. Are these man-made incursions into mountain environments failed projects? Ambitious beginnings? Are they meant to support and preserve? Or are they fool-hardy attempts to contain and conquer? There provisional and insubstantial nature in the face of the overriding enduring mountainscape is the only clarity we receive. \nIn sourcing image from historical exploration documents and 18th–century wilderness survival guides\, Green actively effaces colonial narratives of conquering and possessing nature. Camping is central to Green’s larger practice\, and here\, through these provisional structures\, serves as urging that our efforts to live on this planet need to be light and are inherently temporary. \nIn opposition to Green’s source material\, humans are not directly depicted in these prints\, a shift that effectively privileges the natural over a man-centered understanding of our world. Beyond providing speculative platforms for divining a new relationship to the natural world\, Green’s prints carve out a future possible path in which the environment is understood as primary and existence within it is conditionally responsive. A sketchy blueprint that doesn’t ignore history\, the failings\, and misapprehensions that have propagated so much destruction\, but instead reclaims and recasts what is of use in the past towards greater potential and a better understanding of our relative place in deep time. We may yet find our way. \nAbout the Artist\nJonathan S. Green is of Mi’kmaq and Inuit\, and Settler heritage from Labrador City\, Newfoundland and Labrador. Green earned an MFA in Printmaking from the University of Alberta\, and a BFA from Memorial University of Newfoundland. He has been a recipient of grants from the Canada Council\, the Alberta Foundation for the Arts\, and the Edmonton Arts Council. Green has been an artist in residence at the University of Alaska Anchorage\, SNAP Printshop (Edmonton\, Alberta)\, and St. Michael’s Printshop (St. John’s\, Newfoundland). He currently resides in Anchorage\, Alaska. \n 
URL:https://albertaprintmakers.com/event/make-or-break/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition_Jonathan-Green.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190112
DTEND;VALUE=DATE:20190223
DTSTAMP:20250802T161213Z
CREATED:20250802T161213Z
LAST-MODIFIED:20250802T161213Z
UID:10000285-1547251200-1550879999@albertaprintmakers.com
SUMMARY:Obscura
DESCRIPTION:About the Exhibition\nClarity through duplicity: On Obscura – exhibition essay by Daniel Harvey \nLet me be blunt: the work in Angela Snieder’s current show\, Obscura\, lies to us. It lies deliberately\, fully aware of its willful duplicity\, while wearing a disingenuous “Who me?” smile. Her photographic prints and sculptural installations alike conspire to draw the viewer in and tell them a story\, one that at first appears indexical and truthful\, but which on deeper inspection reveals itself to be nothing more than a tissue of lies (literally tissue\, in the case of her most recent camera obscura projection). And in this untruth lies the truth of the show’s critique of mimesis\, of the idea that we can uncritically believe the evidence of our eyes\, and its blurring of the distinction between mimeses and anti-mimesis as it plays with the constructed nature of art in general\, and particularly the (presumed) truthfulness of photographic representation.  \nSnieder completed a BFA at York in 2013\, before moving to Edmonton\, AB for her MFA in printmaking (2017). Her thesis show\, which this draws upon and develops\, comprised a series of photopolymer Chine-Colle prints of diorama sculptures\, large-scale digital prints pasted to the gallery wall\, and a camera obscura room with three boxes projecting still images onto the walls. The sculptural elements of the obscurae work through a double inversion: first\, the dioramas inside were built upside down\, so that the images appear right side up when projected on the gallery wall. Second\, where a traditional obscura functioned by introducing an exterior image into an interior space\, in these the interior space of the diorama box inverts into the outside world. Each of the works\, but most strikingly the projected images\, appear almost as windows inviting the viewer to enter otherworldly landscapes. The works play with the idea of natural space\, presenting imagery that appear at once cavernous and claustrophobic\, natural and constructed\, interior and exterior; the images resemble mineshafts\, waterfalls\, barren snowscapes\, mountainsides\, seascapes\, and other spaces with potentially sublime and anxiety-producing affects. There is something uncanny about them\, stemming from the trickery of scale\, so that the images appear to be of a macro\, almost geological scale\, while in fact representing the micro spaces of the diorama boxes. This current iteration of the show extends the uncanny effect by adding elements of movement and sound to the camera obscura piece\, mixing the appearance of video with still images of the ghostly dioramas.  \nConsider\, as an example\, the “Storm” image from this iteration of Obscura. The 4’ by 9’ image appears to show us a vast\, snow-covered waste\, or a cave snaked by tendrils of steam or mist\, or perhaps a smoke and ash filled landscape(of a kind that has become increasingly familiar in the last few years of rampant forest fires). Both fore- and background are indistinct\, the former obscured by shadows resulting from the light entering from either side\, the latter receding into a hazy blackness blurred by fog\, smoke\, or dust. The space feels capacious and naturally occurring\, until the light draws your eye\, and you notice the regularity of its entry points\, the corrugated layers of the wells\, and suddenly the scale tilts as nature evacuates the scene\, and the constructed nature if the space becomes impossible not to recognize.  \nSo. Angela Snieder may not be a liar\, but her work lies. And far from being a weakness\, Obscura’s aesthetic duplicity provides\, for me\, its essential pleasure as art\, and its interest as a cultural artifact of a period in which humans have become a geological force and the very concept of nature as something unaltered or unconstructed by humans seems increasingly naive. This problem –our relationship with\, and impacts upon the environment that surround us– stands as perhaps the most pressing issue we as a species have ever faced\, and while Snieder’s work certainly makes no claims to solve that problem (and really\, what art could?)\, in its deception and its toying with the categories of nature and culture\, of semblance and reality\, it invites us to consider the ways we understand their interrelations\, and our own experience of them. Obscura’s lies seem to me to follow in pattern of deception perhaps best described by Mark Twain in his “On the Decay of the Art of Lying\,” where he enjoins us “to train ourselves to lie thoughtfully…to lie with a good object\, and not an evil one…to lie gracefully and graciously…to lie firmly\, frankly\, squarely\, with head erect…..” Its deceptions are thoughtful ones\, gracefully done\, and in the end\, truthful ones. \nAbout the Artist\nAngela Snieder is an artist and educator living in Edmonton\, Alberta. She received her BFA from York University in Toronto\, Ontario and has recently completed her Masters of Fine Arts in Printmaking at the University of Alberta. She has exhibited her work nationally and internationally\, and has taught both in the University and in the wider community. Her art practice is based primarily in photography methods and photo-based printmaking\, and explores themes of land and place and the relationships between physical and psychological spaces. 
URL:https://albertaprintmakers.com/event/obscura/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181019
DTEND;VALUE=DATE:20181201
DTSTAMP:20250801T210031Z
CREATED:20250801T210031Z
LAST-MODIFIED:20250801T210031Z
UID:10000284-1539907200-1543622399@albertaprintmakers.com
SUMMARY:Fiercely Open
DESCRIPTION:About the Exhibition \nFiercely Open – exhibition essay by Shaun Crawford \nThe first word that comes to mind upon viewing John Graham’s series\, Fiercely Open is “vulnerability”. His pieces contain such a potent vulnerability that simply viewing them is a vulnerable experience for the audience\, A closer look at the pieces reveal a common theme – the occurrence of relationships in the content and the collages. A character with a tree. A pair of pagan-like figures engaging one another. And in these relationships\, and in these prints\, there is a longing for something. Connection. Discovery. Truth. Sometimes sought after playfully\, and sometimes just yearned for in something like silence. And the fulfillment of that longing is available through the act of openness. And the opening of one’s self is a sensation that lives at the very core of vulnerability. Where most things worth having are found. And that is when it becomes clear that John Graham’s work is indeed printmaking poetry. And that his show could bare no fitter title than Fiercely Open.  \nJohn Graham describes himself as an “ever-diversifying” artist\, and rightly so. His practice ranges from printmaking and painting to installation works and experimental independent films. Graham began his professional career in the world of architecture before transitioning into creative visual art. He matched his Bachelor of Environmental Studies and Master of Architecture from the University of Manitoba with a Bachelor of Fine Art from the University of Oregon. And since that shift into visual art\, Graham has compiled a body of work that includes 7 short experimental films\, screened at over 120 international film festivals and group\, duo\, and solo shows exhibited around the world and too abundant to list. His work can be found in several public and private collections across Canada and the U.S. and he currently teaches Printmaking & Digital Media at the University of Saskatchewan.  \nLook too quickly at the pieces contained in Fiercely Open and it may merely recall imagery from the first season of True Detective\, or serve as a reminder that humans are actually just a different species of animal. But as much as it seems like the human figures are wearing masks – that is actually humanity with the masks removed. Symbolic characters pulled from dreamscapes and mythology. For even upon a short viewing it is clear that John Graham’s work is not of this world. It is conjured by the imagination or rescued from the recess of the subconscious\, a realm so deep and convoluted that Jungians have been the only group brave enough to explore there since early humankind first pressed their palms to stone. Such bravery is required in the viewer. To accept the call\, To open themselves to the underbelly of the psyche\, a place that cannot help but be ruled by truth. And once that threshold is crossed\, perhaps there is nothing to fear at all. Some of these figures almost look inviting\, like a couple of people that would be a pleasure to spend time with – regardless of their animal heads. Because despite superficial first impressions\, and the hidden depths form which they come\, this is a body of work that is so innately human.  \nIn his Artist Statement\, Graham shares his hope\, “that visitors will not try to deconstruct these visions with dismissive rationalizations.” I sincerely hope that this essay has not crossed that line. Not undermined the invitation to imagine. He explains that\, “The experience of this work is not intended to appease the conscious mind but to challenge it.” And there is certainly no solace here. At least none that is easily found. It is an open offer to willingly explore a different world. Not a new world\, but a hidden one. The one we carry deep within\, and within\, and within. A realm where humankind once wandered more freely\, where interpretations were attempted to account for features of this world such as the existence of the wolf or the creation of the sun\, and where we can still contemplate if we choose. In the end\, Graham’s work is a challenge to make one of the most valuable discoveries that our experiences have to offer. What Graham very aptly identifies as\, “the authentic self.”  \nAbout the Artist \nJohn Graham is a multidisciplinary artist based in Saskatoon\, Canada where he teaches Printmaking & Digital Media at the University of Saskatchewan. John started his professional creative life by studying architecture and working as an architect. He later shifted his artistic focus to study and create visual art in multiple media. His ever diversifying art practice includes print media\, artist’s books\, drawing\, painting\, installations\, and independent filmmaking. His visual art has been widely exhibited in North America\, Asia and Europe. His 7 short experimental films have been screened at over 120 international film festivals\, gallery venues and award ceremonies in 26 countries. John has participated in artist residencies worldwide and has been the recipient of multiple awards\, grants\, fellowships and prizes in both visual art and film. His artwork has been acquired by numerous public and private art collections. This includes the art collections of the Art Gallery of Ontario\, Canada Council Art Bank\, Loto-Quebec Corporation\, National Bank of Canada\, National Library of Canada\, and National Library of Quebec. 
URL:https://albertaprintmakers.com/event/fiercely-open/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Fiercely_Open.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180608
DTEND;VALUE=DATE:20180703
DTSTAMP:20250801T204322Z
CREATED:20250801T204322Z
LAST-MODIFIED:20250801T204322Z
UID:10000282-1528416000-1530575999@albertaprintmakers.com
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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