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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/
CATEGORIES:Exhibition Past,Past
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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/
CATEGORIES:Exhibition Past,Past
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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/
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
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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
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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/
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/
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/
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/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_Sara-Norquay.jpg
END:VEVENT
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/
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/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_brad-necyk.jpg
END:VEVENT
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/
CATEGORIES:Exhibition Past,Past
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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/
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/
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/
CATEGORIES:Exhibition Past,Past
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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/
CATEGORIES:Exhibition Past,Past
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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/
CATEGORIES:Exhibition Past,Past
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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/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Not_Yet_Earth.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180420
DTEND;VALUE=DATE:20180602
DTSTAMP:20250801T202814Z
CREATED:20250801T202814Z
LAST-MODIFIED:20250801T202814Z
UID:10000281-1524182400-1527897599@albertaprintmakers.com
SUMMARY:Makeshift Tales
DESCRIPTION:About the Exhibition\nMakeshift Tales – exhibition essay by Jenn Law \n​​In the story of evolution\, the most successful organisms are the ones most able to adapt to their surroundings. A form of creative problem-solving\, adaptation is a process steered by contact and exchange between diverse species in a shared environment. Evolution cannot be predictably mapped\, however\, but rather develops in often makeshift\, happenstance ways and owes a great deal to random events and mutations. Indeed\, often the most elegant evolutionary advances are the result of accidental\, haphazard or repeated attempts at mediating complex challenges-eyes\, for example\, which independently evolved dozens of times; or feathers\, which did not originally develop for flight\, but were first employed for warmth and display. While makeshift solutions may be imperfect\, they may nevertheless be lauded as strategies of adaptive innovation\, requiring resourceful ingenuity and a creative capacity to adjust\, regroup\, and ultimately resolve seemingly insurmountable problems using the materials at hand. \nIn Makeshift Tales\, Elizabeth D’Agostino embraces improvisational experimentation and adaptive problem-solving in both her technical approach to material making and in the conceptual issues she chooses to engage. Drawing on environmental debates surrounding species extinction\, biotechnology\, genetic engineering\, climate change\, urban expansion and population pressures\, D’Agostino creates a fantastical floating world of miniature architectures and hybrid life forms. Set against a printed backdrop of layered narrative veils illustrating a complex history of sociobiological interactions\, her mixed media prints and sculptural assemblages model evolutionary processes in their very construction\, tapping into print’s historical propensity for adapting and combining rapidly transforming technologies and strategies of mimetic reproduction. \nSemi-transparent layers of silkscreened\, etched\, and mono-printed Japanese washi paper (gampi) are grafted onto wood\, ceramic\, and paper clay surfaces. Tissue-thin\, this delicate paper is sensitive to its surroundings\, becoming gently animated with the shifting movements of the viewer in the gallery space. Though seemingly fragile\, gampi is made with long inner plant-based fibres\, which are stretched rather than chopped and is thus deceptively stronger and more resilient than Western rag or pulp-based papers\, which are made with shorter fibres. \nD’Agostino’s work regularly plays with such material and conceptual contradictions-strength in fragility\, variability in originality\, singularity in multiplicity. \nA natural story teller\, D’ Agostino is inspired by nineteenth century natural history collections\, curiosity cabinets\, and print-based botanical illustrations\, combining empirical data with imaginative elements to construct multiple interconnected story lines. She is a keen observer and collector of the world\, gathering specimens from her surroundings that often make their way\, in one form or other\, into the images that compose her multi-species ethnographies The urban Canadian landscape here serves as the artist’s primary field-site\, the ideal creative laboratory for studying adaptation among competing species in overlapping niches. \nAgainst this backdrop\, D’Agostino combines botanical\, entomological\, ornithological\, and mammalian specimens with manmade forms to create new hybrid structures and organisms\, where nature and culture become at times indistinguishable. In the artist’s hands\, a butterfly wing is repurposed as a door\, foliage masquerades as architectural tiles\, a ladder mimics a DNA chain\, molecular cellular structures become wallpaper. Through the lens of hybridity\, D’Agostino challenges an anthropocentric approach to the world which places humanity at the centre of the universe\, while unveiling the mechanisms by which such illusions are upheld. Rather\, her narratives allow multiple species and object ontologies to intersect and mutually inform one another\, breaking down traditional binary oppositions between human/non-human; nature/culture; fact/fiction.  \nWe have been engineering the world since the beginning of humanity\, but along with great technological advances\, human interventions and adaptations have irreversibly damaged fragile ecosystems\, altered climate patterns\, and decreased the planet’s biodiversity. D’Agostino reminds us that life is a complex entanglement of interlocked agencies and storylines in constant process of shared becoming! In response\, the makeshift becomes the artist’s modus operandi – a type of miniature world-making that finds compromise in adversity\, seeking sympathy in difference. Hers is a strategy of becoming that embraces every adaptation as speculative and every contact as an opportunity for creative collaboration\, allowing for unexpected evolutions to be revealed in the process.  \nAbout the Artist\nElizabeth D’Agostino holds a BFA from the University of Windsor and an MFA from Southern Illinois University\, Carbondale. Her work has been exhibited in Canada and internationally including Iziko: Museum of Cape Town\, South Africa\, Manhattan Graphics Centre\, New York\, and The Print Centre\, Philadelphia. In addition\, D’Agostino’s prints can also be found in many private and public collections including the University of Changchun\, Jilin\, China; Anchor Graphics at Columbia College Chicago\, Illinois\, Department of Foreign Affairs Canada\, and Ernst and Young\, Canada. D’Agostino is the recipient of many awards including the Hexagon Special Projects Fellowship at Open Studio\, Toronto. In 2015\, she was selected by the Department of Foreign Affairs\, Trade and Development Canada to create the custom carpet design for the Ontario Room in the newly renovated Canada House\, London\, England. Elizabeth D’Agostino lives and works in Toronto and is a member of Open Studio FIne Art Printmaking Centre and Loop Gallery. 
URL:https://albertaprintmakers.com/event/makeshift-tales/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Makeshift.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180223
DTEND;VALUE=DATE:20180408
DTSTAMP:20250801T202104Z
CREATED:20250801T201756Z
LAST-MODIFIED:20250801T202104Z
UID:10000280-1519344000-1523145599@albertaprintmakers.com
SUMMARY:Absurd Walls
DESCRIPTION:About the Exhibition\nA room without pictures – exhibition essay by Dan Shipsides  \nA room without pictures. I don’t like the pictures. Why?\nThey are all scary\, so scary.\nHow do you mean?\nDying people and lots of dead bodies and monsters.\nI don’t want to see anymore pictures\, why are they so scary? Well\, I guess it’s a complex set of reasons…\nThey scare me.\nI know. I’m sorry\, I suppose they are meant to be scary. But why?\nHmm. Well\, remember these paintings were made before TV and the\ninternet when there were not so many pictures in the world as there are now.\nI want a room that’s empty. Can we go to a room without pictures?\nThey are so freaky.\nYes\, I know. Spooky and monstrous too.\nAnd lots of naked people\, some of them being chopped up or stabbed. I know. I guess they try to make you imagine the bad things that might happen\, or show the horror of the world then or to fear the spirit world. But why are there pictures of that?\nWell\, they are stories which were made to be very vivid and dramatic so people would remember them and probably then be worried about themselves.\nI think they also show that some people are the winners and that the losers are punished either by god or by the laws made by the winners. So the dead people are bad people?\nThat’s often the idea but sometimes it flips around so the dead people are meant to be the good people but the pictures show that they suffered for their goodness.\nBut it’s so real and those people look poor and weak\, not like baddies.\nAh well\, yes that’s true… \nThe architectural face of the city is designed to mask the horrors of exploitation\, the core business of capital\, often in a morally encoded form of awe\, a surface veneer of sheen\, civility and moral power. ‘Everything here is Normal\, Proper and Right… ‘\, but behind that countenance there’s a sniggering\, lusting\, reveling\, wild heart of darkness that no architectural fac;ade can truly keep at bay. \nYet this masking acts as deception that quick turns to absurdity. Sisyphus is not pushing his rock up the mountain for fun\, it’s because it is the only action allowed to him as a punishment for daring to enact his own will. There’s nothing now he can do to escape his task but acknowledge its absurdity and push on. This absurdity of meaningless agency is an agency that nonetheless shifts responsibility to the individual to deal with the consequences (thank Sigmund and his nephew for that…). \nAbsurdity and its proximity to the grotesque darkness of selfish power is well revealed\, in what is the prototype of the Theatre of the Absurd\, in Alfred Jarry’s Ubu plays. Ubu is the absurd central character who gains power and acts in such a clearly nakedly unveiled manner that it’s impossible not to recognize that any fac;ade is absent. He kills\, steals\, brings upon his subjects a magnificent benevolence and then with equal measure capricious terror. All the acts of a man in power who cares for nothing but the immediate desires and cravenness of the self. He is unmasked and unchecked in equal proportion to the city which is fully masked and apparently ‘in check’. \nIn Huskisson’s compelling images\, gallery installations and urban interventions the darkly absurd is unmasked\, paradoxically often through the wearing of masks(or as human-animalhybrids)\, but it is not unchecked. Rather the work becomes the screening\, surfacing and texturing of our experience. The inner and concealed is openly revealed or acted out on the surface\, above ground\, in the open. But its revealing isn’t unchecked because there lies a level of filtering which synthesizes with humor and craft which is turned to critique\, self-exploration and honesty. A judgement is at play which is finely tuned to the affective so that the viewer is faced with their own subject-hood and implicated as the source or absence of meaning as much as the artist. In Huskisson’s work a sense of the overwhelming or excess is active but here it is not an exercise of power like the city’s architecture or the megalomaniacal behaviour of leader\, the aesthetic power here pitches towards states of unbecoming and draws from a combustible mixture of nineteenth century transcendentalism and from Beckettian animalistic rituals of repetitive failure. \nOf course there’s no room without stories because every wall embeds our desires\, dreams and delusions and even the wide-open wilds populate with our myths\, monsters and morality-traps. \nAbout the Artist\nJacqueline Leigh Huskisson considers herself primarily an artist who draws. Everything she does starts with the lines that lift off the page and evolve into video\, installation\, printmaking\, comics\, and illustration. Her art can be a question\, a reflection or a joke of the human condition and how one perceives our place in the universe. She was born and raised in Calgary and started her artistic career with a B.F.A in 2011 from the Alberta College of art and Design. Looking for a challenge she migrated to the emerald isles\, and in 2017\, earning a M.F.A from the Belfast School of Art. Currently Huskisson pursues a studio practice in Calgary and is awaiting her next adventure.
URL:https://albertaprintmakers.com/event/absurd-walls/
CATEGORIES:Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180105
DTEND;VALUE=DATE:20180217
DTSTAMP:20250801T200835Z
CREATED:20250801T200835Z
LAST-MODIFIED:20250801T200835Z
UID:10000279-1515110400-1518825599@albertaprintmakers.com
SUMMARY:Surface to Surface
DESCRIPTION:About the Exhibition\nExhibition essay by Amanda Clyne \nWith every touch\, we leave a trace of ourselves\, intentionally or not. The trace may be so slight that we fail to notice the change we’ve triggered. Whether recorded deep in the annals of memory or physically in the minute wear of the surface we’ve encountered\, our touch never lands without reverberation. Sustained by our material nature\, we imbue our lives with rituals of touch. Personal and unremarkable\, these rituals may grow out of habit\, out of a kinship with the familiar\, or out of struggles with distress. But with each repeated touch\, changes to a surface begin to accumulate\, and the one that touched and the one that submitted both enter a process of transformation. \nThe stark and fragile forms that populate this exhibition were born from such instincts. During a period of grief\, Katie Bruce found herself folding and re-folding her fabric handkerchief. While undergoing a cross-country move\, Christie Kirchner noticed that she was absent-mindedly folding and re-folding discarded papers left in her pocket. Both were captivated by the stories embedded in these intimate gestures. What they could have dismissed as a nervous tic\, they adopted as a source of insight. With each print\, their meditative\, reflective actions became fossilized in the tight grip of the printing press\, delineating the surviving traces of their hands’ (and minds’) occupation on the paper’s thin skin. As printmakers\, they adhered to the wisdom of Agnes Martin who once wrote: ”Experiences recalled are generally more satisfying and enlightening than the original experience.” \nBy re-enacting the simple process of folding and unfolding\, Bruce and Kirchner have transformed small sheets of paper into implicit bodies. Bruce’s figures fold inward\, as fragile walls shield against the viewer’s gaze. In Bruce’s piece ”alternatively”\, they seem to float inside an ethereal force. Each fold results from a protective instinct\, yet with each new edge stressing the delicate surface\, the whole begins to weaken. As if to assess the damage\, Kirchner performs a post-mortem\, unfolding blackened sheets of carbon to reveal dissecting paths. These fissures slice through the dark void\, cracking open the black depths. The fold’s mark is made monumental. \nThe principles of printmaking lie at the heart of this exhibition. Paper is both subject and medium\, each print existing on the threshold of object and image. The repeated act of folding and unfolding echoes in the recurring cycles of the printing process. Shadowy planes and incised lines harken to a prior state\, just as the print testifies to the now lost referent. In form and substance\, the artists harness the generative power of repetition. Every fold\, every line\, every print brings surface to surface.  \nWhen words fail and reason abandons us\, our body can lead us toward renewal and reflection through the smallest of gestures. Guided by the sensations of rhythm and touch\, the body seeks to leave its mark\, to expel and expose a world trapped within. Bruce and Kirchner’s work tells the story of this quiet\, revitalizing process. Gazing into the web of their frail lines and sheer structures\, we witness the passing of time\, the instinct to rebuild\, and the grace and grit of the pursuit of intimacy.
URL:https://albertaprintmakers.com/event/surface-to-surface/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Surface.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171208
DTEND;VALUE=DATE:20171224
DTSTAMP:20250828T215910Z
CREATED:20250828T215910Z
LAST-MODIFIED:20250828T215910Z
UID:10000255-1512691200-1514073599@albertaprintmakers.com
SUMMARY:2017 Not-So-Mini Print Exhibition and Exchange
DESCRIPTION:About the Exhibition\nEach year\, A/P holds a non-juried show and sale to showcase the work of local and international print artists\, and to raise funds towards Alberta Printmakers artistic and educational programming. A/P invites all interested printmakers to submit an edition of ten 8” x 10” prints that relates to the theme of transition for exhibition and exchange in the Artist Proof Gallery. Each participant will receive 8 prints created by other artists\, and A/P will retain 2 works from each edition for sale in our studio and gallery.  \n\nArtists included in the exhibition: \nClare Budke\, Brandon Giessmann\, Jessica Brousseau\, Ian Gregory\, Minca Kidd\, Eveline Kolijn\, Mark Eadie\, Graeme Dearden\, T. Knudsen\, Josh Brien\, Teddi Driediger\, Jacqueline Huskisson\, Bob Thornton\, Shinobu Mitsuhashi\, Richard Torrence\, Sally Reesman\, Emily Mickelsen\, Lisa Valentine\, Tara Williams\, Christina Nalder\, Kellen Spencer\, Deron Sunwall\, Ryan Statz\, Heather Urness\, Tim Van Wijk\, Patience Pearson\, Marzieh Mosavarzadeh\, Trista Simon\, Helen Young\, Katie Merrick\, Alden Alfon\, Stan Laberge\, Kate Baillies\, Sarah Bigelow\, Gabrielle Arrizza\, Carrie Phillips-Kieser\,  Irén Gibson
URL:https://albertaprintmakers.com/event/2017-not-so-mini-print-exhibition-and-exchange/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20170908
DTEND;VALUE=DATE:20171014
DTSTAMP:20250809T160902Z
CREATED:20250806T075035Z
LAST-MODIFIED:20250809T160902Z
UID:10000302-1504828800-1507939199@albertaprintmakers.com
SUMMARY:Taking Stock
DESCRIPTION:About the Exhibition\nExhibition essay by Shaun Crawford \nThe modern global community simultaneously increases the interconnectedness between people around the world\, while also alienating their contextual perspectives. The rise of  globalization has created a world of intimate and unseen relationships between individuals\, their identified place\,and the global systems and institutions that play a significant role in shaping experiences. However\, people rarely see where they fit in that typically inaccessible and enigmatic puzzle. Chad Erpelding provides a platform for people to situate themselves within a systemic global network by representing these systems through data visualization in an accessible and surprisingly appropriate print medium. \nChad Erpelding himself has contributed to the global conversation as a visual artist for more than 20 years. He began his formal studies in 1994 at Central College where he participated in a study abroad program in Wales at Trinity University before receiving his BA in Studio Art from the Central College in Iowa. He later went on to achieve a Masters in Fine Arts at the Southern Illinois University of Carbondale in Illinois in 2006. Throughout that time Erpelding’s work has been seen all over the world in the form of public art and several solo and group exhibitions in places like Japan\, Romania\, South Korea\, Hungary\, Russia\, and of course\, all over the United States. The international network of his exhibitions is reminiscent of his work itself\, consistently considering our place within the context of systemic global relationships. \nGlobalization has emerged as a result of long-standing political systems\, increasingly powerful corporate institutions\, and a vast\, sprawling network of travel around the world. The current global situation is one of constant interconnection. And while many discussions about people connecting across the world credits social media\, citing something like Facebook for providing global platforms\, Erpelding has identified the evidence of these networks in their footprint of data and information. Through his precision work\, Chard Erpelding calls our attention to the global institutions and systems that truly construct a network of interconnectivity by portraying contextual data visualizations. As Erpelding himself says\, “I am interested in the movement of people\, capital\, business\, and organizations and the effect this has on contemporary perceptions of place.”  \nFor his exhibition at Alberta Printmakers\, Erpelding analyzes data from Canada’s S&P/TSX composite index\, studying its relationship with the Global Economy. These numbers offer a unique glimpse into Canada’s connection with the rest of the world\, and offer the viewer a new platform to consider their own connection with Canada and the globe. It is a relationship that some experts follow closely\, but one that most people dismiss or overlook\, living their everyday lives without examining its effect on them. Erpelding’s work compiles the data in a new way- far from the news report on the radio\, the black and white print in the paper\, or the scrolling numbers on a screen. His pieces provide you with an opportunity to consider this visual data as evidence of global relationships\, a barometer of a place’s relationship to the world and how you are intricately connected to it. \nArtist Bio: Chad Erpelding (b. 1974\, Iowa; MFA Southern Illinois University Carbondale 2016) formed an interest with data and maps through extensive travelling\, including riding a bicycle across North America and hiking the Appalachian Trail. His work has been exhibited throughout the world and he’s been awarded residencies in Argentina\, France\, and Armenia. He is currently a professor of Art and Director of the graduate Program at Boise State University in Idaho. 
URL:https://albertaprintmakers.com/event/taking-stock/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Taking_Stock.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20170818
DTEND;VALUE=DATE:20171014
DTSTAMP:20250806T075503Z
CREATED:20250806T075503Z
LAST-MODIFIED:20250806T075503Z
UID:10000303-1503014400-1507939199@albertaprintmakers.com
SUMMARY:Field Work
DESCRIPTION:About the Exhibition \nExhibition essay by Andrea Williamson \n…A series of book-sized etchings\, true to techniques of the past\, practices of making the past present…Their dark registers and diminutive humanoids approach and conjure some kind of back- looking vision of some kind of primeval action. Vibrational energies swell around a vortex\, carry souls down a river\, hover over a birth of an idea\, assemble tools under a sharp cliff. We remember a time when we measured small and humble in the landscape\, and when the art of technology was our hope of survival. Memories are shrouded in a fertile darkness\, with glimmers and sparks that pierce the distance of time- a spritz of resinous powder on a metal plate. These memories are far away and in their place\, separated by a perfectly achieved gauge\, a threshold that sinks experience into its own place within an otherwise untouched paper. The illuminations hang on a wall above us out of reach like a misty sky of constellations. This dark place- dark skies\, black water\, unrecognizable forms\, and crouching figures- this is where myth lives and works. \nWhile vaporous\, shadowy and shaky qualities of this art form give birth to myth\, the myths themselves portray art making in content\, creating a staircase from one process to another. This time\, in the stories of the pictures\, we’re witnessing a very different kind or use for art\, one that is very close. Stacey talks about living and dying with art pieces- allowing objects to affect us over time. Each framed story is a recollection\, an echo\, of a time when she and others brought alchemical\, cinematic\, otherworldly\, magical art\, directly into the everyday. Why not? The fabrication of a “well for bad wishes” out of paper and wheat glue\, transforming ubiquitous cheap plastic cd covers into a crystal palace of fractal wonder\, reenacting trench warfare\, being enveloped by the darkness of night skies under billowing sails… In these escapades with friends and places\, the artist exercises making life more wonderful without reserve. Superseding everyday aesthetics\, which looks for transcendence in the mundane\, everyday activities such as chores\, these projects say “to hell with the everyday”\, and make each day an epic quest for the sublime. Living with the props and aids to these extra-quotidian experiences means carrying with us reminders of the potential for flight into other realms. Failure is a constant bystander\, as it must be\, when the utopic impulse reaches toward open play\, collaboration and serendipity. \nWhat we must talk about\, or represent\, is what we are not already living. These projects recognize and fulfill the desire to live within the messy blurring of art and life\, of intention and process\, of self and other. And that is where I believe myth comes back in. \nMyths are needed to house everything that is bigger than our conscious understanding and individual lives. They pay tribute to all the experiences of Jungian’s place beyond or below the threshold of consciousness\, which are deeply effective nevertheless. I believe the artist continually seeks encounters with awesome events and forces\, as well as her own humility\, situatedness\, and embeddedness in something bigger. The artist’s printmaking practice extends this figuring of other forces into her process\, in a careful and attentive orchestration alternating technical prowess and welcome surprises. But what the prints offer\, among many things\, is a necessarily distant or aerial view upon these lived events- one which opens up the space to observe the complete mystery and magic that is people sharing dreams. \nArtist Bio: Stacey Watson is a Calgary-based artist. She completed a BFA in Photography and an MFA in Printmaking at the University of Calgary. Her work in photography\, print and sculpture deals with how human imagination is linked to landscape and weather. She also has a collaborative practice with Vancouver artist Justin Patterson and their work was most recently exhibited in the 2017 Alberta Biennial of Contemporary Art. Watson also teaches at ACAD in Calgary. 
URL:https://albertaprintmakers.com/event/field-work/
CATEGORIES:Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170804
DTEND;VALUE=DATE:20170930
DTSTAMP:20250820T220100Z
CREATED:20250820T220100Z
LAST-MODIFIED:20250820T220100Z
UID:10000310-1501804800-1506729599@albertaprintmakers.com
SUMMARY:Analog
DESCRIPTION:Artist Bio: Robert Lemermeyer is a visual raconteur who shares his fascination with people\, places and objects through photography for 25 years. His work has taken him to Russia\, Israel\, South Africa\, China\, Japan\, Ireland and the US. His fascination with screen-printing is rooted in printing his images in a more graphic and adventurous way. \n  \n  \n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/analog/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Analog.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170602
DTEND;VALUE=DATE:20170716
DTSTAMP:20250806T074620Z
CREATED:20250806T074620Z
LAST-MODIFIED:20250806T074620Z
UID:10000301-1496361600-1500163199@albertaprintmakers.com
SUMMARY:disPOSSESSION
DESCRIPTION:About the Exhibition \nExhibition essay by Dana Tosic \nThe setting for Miriam Rudolph’s exhibition disPOSSESSION is the Paraguayan Chaco\, about one quarter of the Gran Chaco Americano\, the second largest forest in South America. This semi-arid\, virgin forest features an astounding level of biodiversity but has come under threat in the 21st century by global-scale agricultural development. Worldwide food shortages\, increased demand for beef and soy\, and low cost of land has brought transnational corporations and the development of large-scale soy farming and cattle ranching to the region\, resulting in the rapid razing of vast areas of the forest. Scientists fear that the forest\, much of which is as yet unexplored\, will be wiped out more quickly than species can be researched and documented while conservationists warn of ecological disaster as deforestation and aggressive farming methods lead to widespread desertification and erosion. The last indigenous tribes to call the Chaco home are no longer able to sustain themselves through traditional means of hunting\, gathering and fishing and as a result\, are being displaced. \nAlthough the context for this exhibition may seem melancholy in tone\, there is a dark beauty to the prints\, expressed in the lyrical quality of Rudolph’s line\, the softness of the figures\, delicate grass pattern\, and painterly dark clouds. Rudolph is rigorous in her approach to printmaking\, using a systematic medium to investigate a systemic problem. What distinguishes printmaking from other media is its reproducibility\, which Rudolph takes full advantage of in creating multi-layered\, narrative images. Using a library of plates\, each etched with images that draw upon specific elements relating to themes of deforestation\, enclosure\, private property\, displacement\, cattle ranching\, soy production\, and indigenous land rights\, Rudolph takes these individual elements (images of forests\, clouds\, fences\, cattle\, and groupings of figures) and prints\, overlaps and flips them\, working intuitively to construct rich narratives. disPOSSESSION includes up to20 printed layers\, resulting in strikingly rich tones. In Advance Rudolph contrasts the encroachment of farming with the retreat of the forest by printing on both sides of the paper\, utilizing its translucency to create not only a sense of distance but also to hint at the passage of time\, revealing traces of the vegetation that has been lost. In Displacement the crisp\, hard-edged imagery of farm equipment\, juxtaposed against the sensuous quality of rich tones in the cloud\, vegetation\, and figures carrying jars for seeds mirrors the contrast between farming technologies developed for large-scale industry\, and local\, traditional farming methods. Hovering in the sky\, farming equipment appears as a symbol of capitalism\, a global power inflicted from on high and imposed on the land and its people who are losing their traditional way of life. \nWorking with multiple plates of varying sizes allows Rudolph to bring an additional element to her images\, that of containment. The Enclosure series of prints uses the repetition of borders\, some literal\, such as the fence\, others metaphorical\, as in the visible edges of the etched plates or rectangular form of grass. This repetition of grid lines reveals the many methods by which a populace may be contained\, restrained\, and controlled. Power relationships are further investigated through the use of scale\, as in Colonization by Cattle\, in which the epic scale of the Deforestation caused by cattle ranching is evoked by using just two plates containing drawings of about twenty-five cattle each\, and printing them repeatedly across seven sheets of paper. The very density and scale of the cattle\, relative to the smallness of the forest\, emphasizes just how much vegetation has been lost. \nThere is an obvious parallel between the encroachment of capitalist industry in Paraguay and its effect on the indigenous population\, and similar problems around the world. Common to all countries in the western hemisphere is a history of colonization\, environmental destruction\, displacement of Indigenous peoples and irreversible change to their way of life. Exploitation of the land\, whether by governments or private enterprise\, serves to enrich the few at the expense of many. But there is hope for the future\, and it is presented in Seeds of Hope\, an installation work featuring a suspended banner consisting of a multitude of layered hands\, reaching down toward a set of porcelain jars. Rudolph describes the gesture of the hands as “blessing from above for the labour of planting and the traditions of saving seeds.” The jars they reach toward depict images of the germination of seeds as they grow into crops. It is here where we may seek solace in the future of the Chaco; as each life cycle dies\, a new one begins\, continuing on in perpetuity.  \nArtist Bio: Miriam Rudolph was born and raised in Paraguay\, South America. In 2003 she moved to Winnipeg to study Fine Arts at the University of Manitoba where she graduated with a Bachelor of Fine Arts Honours in 2007 and a Bachelor of Education in 2010. From 2011-2014 Miriam lived in Minneapolis where she continued to make prints at the Highpoint Centre for Printmaking\, She recently completed the Master of Fine Arts in Printmaking at the University of Alberta\, Edmonton (2017). She was awarded the University of Alberta Graduate Recruitment Scholarship in 2014 and the Joseph-Armand Bombardier Graduate Scholarship (SSHRC) along with the Walter H. Johns Graduate Fellowship and the Alberta Foundation for the Arts Scholarship for Art and Design in 2015. She has shown her work nationally and internationally. In 2016\, she co-won the first prize (Best in Show) at the 5th Biennial International Footprint Exhibition at the Centre for Contemporary Printmaking in Norwalk\, Connecticut. She has shown her work in Asuncion-Paraguay\, at Global Print 2013 in Portugal\, at the International Print Center New York\, at the Highpoint Centre for Printmaking – Minneapolis\, in Washington D.C.\, at Martha Street Studio – Winnipeg\, Toronto\, and Ottawa. 
URL:https://albertaprintmakers.com/event/dispossession/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_disPOSSESSION.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170224
DTEND;VALUE=DATE:20170402
DTSTAMP:20250806T073620Z
CREATED:20250806T073620Z
LAST-MODIFIED:20250806T073620Z
UID:10000299-1487894400-1491091199@albertaprintmakers.com
SUMMARY:The Dormant Consciousness/Sleeping Awareness of a Human Within Urban Space
DESCRIPTION:About the Exhibition \nExhibition essay by Shaun Crawford \nThe modern empire of mass media bombards the world with an unending montage of shallow images\, creating a collective hyper reality that blinds its people to the uniqueness of their own critical thinking. This is the time and space that we live in. And this is the world from which Marek Pośpiech sets out to address the collective consciousness and the matrix entwined with it. His series of works titled simply Sign I through Sign VIlI presupposes that people are submerged in this hyper reality\, created by our collective actions and perceptions. \nThe result is a vague pattern of place – a simulation of the urban environment\, reminiscent of all form and meaning. \nPośpiech  hails from Rydułtowy\, Poland where he graduated from the Department of Art in the Studio of Painting at the State Higher Vocational School in Raciborz in 2012. He went on to graduate from the Studio of Letterpress and the Studio of Painting at the Academy of Fine Arts in Katowice in 2014. He utilizes a range of mediums\, working in graphic art\, art installation\, painting\, and drawing. His unique excavation of the human consciousness and its relationship to the modern hyper reality has been experienced in shows and exhibitions all over Poland\, and around the world including Bulgaria\, Czech Republic\, Thailand\, and Canada. \nAt first glance\, Pośpiech’s Sign series of prints appears ambiguous in scale. It is unclear whether the image is seen through the perspective of a microscope or a satellite. Traces of it seem familiar. Is that a brick? A curb? Shards of glass. Each has an uncanny texture and composition. But the ambiguity is Pośpiech’s challenge. In the world he has identified \,Pośpiech suggests that people are overcome by superficial and aesthetically irrelevant visuals\, lured into the hyper reality as their perception and individual capacity for critical thinking are corroded. People are simultaneously influenced by\, existing in\, and also constructing this collective pseudo-world through their determined and sometimes unconscious activities. There is a danger in such an absentminded existence. A danger that Pośpiech calls to our attention. \nHis pieces exist deep beneath the hyper real. They are demanding of their audience. Citizens of the “Internet Empire” as Pośpiech calls it\, must tap into a greater reservoir of perception\, of consideration – of critical thought. In some ways\, his show is an awakening. A quick *snap* of the fingers calling you to action to look here \,and look closely. But his work is also an invitation to the viewer to create their own meaning. Its substance is defined less by what exists within it\, and more by what someone brings to it. Marek Pospiech’s precisely titled\, The Dormant Consciousness/ Sleeping Awareness of a Human Within Urban Space is a collection of work that’s not just seen\, it is developed in the moment; its true intention exists in the viewer’s own realm of conscious thought. It is a trigger. A catalyst. And as art often can\, it reflects our world. The one we create. And the one we sometimes fail to see. \nArtist Bio: Marek Pośpiech was born in 1990 in Rydułtowy. He graduated from Department of Art – Kazimierz Cieślik’s Studio of Painting – at the State Higher Vocational School (Państwowa Wyższa Szkoła Zawodowa) in Racibórz in 2012. Between 2012 and 2014 he studied at the Academy of Fine Arts in Katowice\, graduating from the studio of Letterpress under the supervision of professor Kaziemierz Cieslik. He practices graphic art\, artistic installation\, painting and drawing. 
URL:https://albertaprintmakers.com/event/the-dormant-consciousness-sleeping-awareness-of-a-human-within-urban-space/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_The_Dormant.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170106
DTEND;VALUE=DATE:20170219
DTSTAMP:20250806T073040Z
CREATED:20250806T073040Z
LAST-MODIFIED:20250806T073040Z
UID:10000298-1483660800-1487462399@albertaprintmakers.com
SUMMARY:God Love Brigus II
DESCRIPTION:About the Exhibition \nExhibition essay by Tracy Wormsbecker \nWorking under the moniker Weather Girl\, Tara Cooper has been building an impressive body of work that encompasses a multifaceted exploration of weather. In both process and presentation\, she employs a scientific exploration of weather as a meteorological phenomenon while thoughtfully integrating a reflective approach that also considers the personal impact of weather as it is experienced. Straddling this interface\, she combines rigorous on-site field research with creative non-fiction to create work that amalgamates multiple art forms such as print media\, sculpture\, illustration\, writing\, artifact\, and video. This visually results in work that poetically embeds scientific methodologies of observation\, categorizing and archiving within personal and historical narrative and vice versa. \nIn God Love Brigus II\, Cooper presents an alluring representation of personal\, historical and weather research that she collected during a 3 week residency with Landfall Trust at a 200-year-old cliff side cottage in Brigus\, Newfoundland. In line with other Weather Girl explorations\, this exhibition continues to blend a scientific perspective of weather with the human experience of it. Particularly noteworthy in this collective work\, is that a discernable dichotomy between the two is almost entirely removed. In a way\, Cooper is drawing us in\, inviting us to vicariously experience and consider Brigus fully\, as a “landscape where nature is at the helm\,” and as a unique place where “fog lies thick on the harbor” and a clear distinction between history\, weather and daily experience is notably obscured. \nIn the center of the gallery\, her thorough fieldwork manifests as a tactile arrangement of sculpture\, print\, text and illustration laid out atop a long table to be explored. In no particular order\, viewers slowly encounter and consider the array of visual research that rests upon the table. Sculptures suggesting cloud formations\, weathered sea vessels and other seafaring paraphernalia are dispersed throughout the display. Settled in among them\, photographs\, prints and drawings are presented along with weather-specific phrases of varying severity from “saltwater rainbow” to “weather the storm” to “lost at sea.” Multiple arrows appear\, some revealing atmospheric forces and weather systems\, while others direct attention to curious historical belongings and artifacts\, eliciting further investigation. While the connections may not all be immediately clear\, each component appears both independent and unified with an apparent shared significance. \nSurrounding the table\, screen-printed banners of written text and other images adorn the walls\, embedding the display within a rich narrative context to be discovered. Some of the encompassing writings read as a personal diary of Cooper’s encounters with the landscape\, weather\, and local residents. Others reveal seemingly outlandish tales\, like those of the infamous Captain Bob Bartlett\, that were discovered through Cooper’s historical research and even directly from residents who maintain personal connections to these stories\, only a few generations removed. Captain Bob is a particularly captivating character who is known for his formidable arctic expeditions that were fraught with such astonishing anecdote and bleak peril that they would seem pure folklore were it not for the dangerous climatic reality that Cooper has nestled throughout the exhibition. Weather remains the true protagonist here\, the common denominator that blends science and subjectivity and bridges past and present. \nIn its entirety\, the exhibition is truly engrossing. Each encounter with an object\, image\, or written text encourages the next as lines are drawn to elicit a deeper experience of this place. Cooper describes her work as visually poetic. Indeed\, the installation that comprises God Love Brigus Il itself serves as a comprehensive field journal describing Landfall and Brigus. Though this description of the exhibition hints at its allure\, it is no substitute for experiencing the installation\, and in a way\, Brigus\, in person. \nArtist Bio: Tara Cooper works in a range of mediums from print\, photography and video to installation and book arts. Her teaching experience encompasses time-based media (video\, sound\, animation). All-print related media (lithography\, serigraphy\, relief\, intaglio\, book arts and digital imaging)\, as well as contemporary art issues and theory. As an educator\, she has worked with the following institutions: OCAD University\, Sheridan College\, the Canadian Art Foundation and the Art Gallery of Ontario. Currently she works as an assistant professor in the Department of Fine Arts at the University of Waterloo. 
URL:https://albertaprintmakers.com/event/god-love-brigus-ii/
CATEGORIES:Exhibition Past,Past
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DTSTART;VALUE=DATE:20161021
DTEND;VALUE=DATE:20161127
DTSTAMP:20250806T065740Z
CREATED:20250806T065740Z
LAST-MODIFIED:20250806T065740Z
UID:10000297-1477008000-1480204799@albertaprintmakers.com
SUMMARY:Air\, Fire\, Water
DESCRIPTION:About the Exhibition \nExhibition essay by Joanne Fung \nlan Brown’s work\, Air\, Fire\, Water\, interrogates both the transient nature of the photographed subject and the mutability of the photo- graph through the work’s multiplicities. The repetitive depiction of the three elementals heightens their unstable presence in the natural world\, and emphasizes the constant inconsistency of the climatic phenomena. When one photograph portrays the forcefulness of water leaping across rocks\, so does another find the water stable and certain in its moment of capture. In the multiple representations of the natural events\, Brown highlights their significance as being ultimately mutable and impermanent. However\, the multiplicities in Brown’s work do not only explore the transient nature of the photographed climactic phenomena\, but also work in tandem with the photographed subject to call the audience’s attention to the mutability of the photograph itself. \nRevolving around Brown’s work is an exploration of how different photomechanical processes influence an audience’s interpretation of the images. The mutable nature of texts is evidenced through Brown’s disassembling of the original image into expositions of the various processes and layers\, with each multiple producing a unique image that is as transient and changeable as the subject matter it portrays. Depicted are the three elementals in their momentary\, but significant forms. With each image uncovering yet another layer of photo processing\, and contextualized with the subject matter of the images\, Brown hints towards each process shown as momentary\, but significant. Viewing the images that are a display of the processes that the original went through\, we are asked to reexamine the way we view texts that have projected the world we live in. There is the question of whether the original image is an accurate representation of the climatic phenomena depicted. How often do we glance over the processes used to create different texts\, and in what way does the text become an entirely different text based on the stage of process it is in? Brown’s exposition of the various geometric shapes\, harsh lines\, shades\, hues\, etc. that are a part of the photomechanical processes are a stark reminder of this oversight. Too often do we forget that within each image\, video\, or film\, there are various mechanisms that have produced the final text. However\, through the enlargement of these mechanisms in his work’s images\, Brown demonstrates that texts are often as mutable and transient as the subject they portray. \nBrown purposefully disassembles the original texts\, dissecting and uncovering each surprising layer. His work questions the lenses that have fallen between the world and a reader’s eyes. However\, it is ultimately the experience of the audience that determines the significance of the photomechanical processes that have mediated the relationship between the natural world and the reader. In the moment of viewing the multiple images and acknowledging the often forgotten processes\, the reader is asked to reexamine their own interpretations. Thus\, Brown’s exploration of the photograph becomes one that is rooted in an audience’s interpretation of the varying images produced through photomechanical processes. \nArtist Bio: I​​an Brown is an artist from England. His current interest is in natural climatic phenomena\, and specifically the transient nature of these incidents. He uses material from a variety of sources\, his own photographs\, the internet\, video\, as well as images that have already passed through the print process. As a print maker\, he is interested in process\, the range of photomechanical deliveries that lie behind the way an image is presented on paper. The repeated testing of the visual protocols that freeze or fix a moment in time\, and the consequent impact on the reading of the image\, underpins all his work. \n 
URL:https://albertaprintmakers.com/event/air-fire-water/
CATEGORIES:Exhibition Past,Past
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DTSTART;VALUE=DATE:20160909
DTEND;VALUE=DATE:20161009
DTSTAMP:20250806T065259Z
CREATED:20250806T065245Z
LAST-MODIFIED:20250806T065259Z
UID:10000296-1473379200-1475971199@albertaprintmakers.com
SUMMARY:Threshold
DESCRIPTION:About the Exhibition\nExhibition Essay by Gina Freeman \nLaura Wider describes her work as “a quiet act of defiance in a digital age.” The Kelowna-based artist finds herself living in tension with our connected/dis-connected world. She seeks to celebrate the physical and handmade in an era of glossy tablets and storing memories on a cloud. These memories are permanent\, and yet subtly impermanent. While they may never be lost\, they are easily changed and altered. Hand-made\, physical objects\, however\, are not so easy to change. They carry with them the histories of their making – the errors and triumphs of their creation. \nIn the linocut process\, Widmer finds a living world of greys between the black and white. Each cut gives life and depth to her subjects – bringing them away from the simple binary. There is a tension within the linocut process itself. Though it is gradual and time consuming\, there is a certain immediacy in cutting: every gouge is lasting\, and will appear in the final print. We live with the imperfections of the physical type. Each cut is permanent\, made in a moment\, persisting forever. In our push towards digital perfection we lose these moments and the history entwined in them. \nThreshold’s large-scale prints present glimpses of a shifting\, sensual world. Heads\, hands and torsos are cropped\, abstracted. Strings of pearls are grasped tightly and held dear\, freely offered and willingly accepted\, tangled throats and fingers\, and draped lovingly around shoulders. There is an ambiguity in the moment captured. Without knowing what came before or what will come after\, the viewer cannot know whether the pearls are being offered or received. The exact nature of the moment remains enigmatic. Widmer encourages the viewer to interact with the images\, to create their own narratives and find the stories hidden in their histories. \nThere are many hidden\, parallel histories captured within each of Widmer’s images. There is the history of the person: a lifetime filled with sudden and gradual changes\, negotiations between shifting states. Each pearl contains its own history as well. Starting out as an irritant – a parasite or grain of sand within the shell of an oyster – each pearl accumulates value over years until it becomes something that is sought after and treasured. Finally there is the history of the print itself: cuts captured in proofs and stages\, contemplated and recut. The creation of a body of work\, like the creation of a pearl or a personal history\, is a slow and solitary process. With Threshold\, Wider explores these private narratives and presents a fleeting glimpse of them to the viewer. \nIn Threshold Widmer takes intimate moments and makes them public. She catches a brief\, shifting instant and makes it eternal through a slow and meditative process. With accumulated cuts and gouges she carves out a moment of time. In her work Widmer explores contrasts between black and white\, permanence and impermanence\, intimacy and openness\, and finds a vibrant world between opposing forces. This tension makes her work alive and animated\, like the string of pearls featured in Threshold: pulled taut\, thrumming with energy.  \nArtist Bio: Laura Wider earned her Fine Arts degree with a concentration in printmaking from the University of British Columbia’s Okanagan campus. In 2014 she completed a residency at The Banff Centre and returned to a long-standing interest in hand papermaking\, which she has since incorporated into her print-based practice. Laura regularly exhibits her work within Canada and internationally. Her work has been shortlisted twice for the Open Studio National Printmaking awards\, earning First Prize in 2010 and Honourable Mention in 2014. She was also awarded the Muskat Prize at the 2011 Boston Printmakers North American Print Biennial.
URL:https://albertaprintmakers.com/event/threshold/
CATEGORIES:Exhibition Past,Past
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