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DTSTART;VALUE=DATE:20190913
DTEND;VALUE=DATE:20191020
DTSTAMP:20240424T024739Z
CREATED:20240424T024739Z
LAST-MODIFIED:20240424T024739Z
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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
END:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition_Jonathan-Green.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190112
DTEND;VALUE=DATE:20190223
DTSTAMP:20250802T161213Z
CREATED:20250802T161213Z
LAST-MODIFIED:20250802T161213Z
UID:10000285-1547251200-1550879999@albertaprintmakers.com
SUMMARY:Obscura
DESCRIPTION:About the Exhibition\nClarity through duplicity: On Obscura – exhibition essay by Daniel Harvey \nLet me be blunt: the work in Angela Snieder’s current show\, Obscura\, lies to us. It lies deliberately\, fully aware of its willful duplicity\, while wearing a disingenuous “Who me?” smile. Her photographic prints and sculptural installations alike conspire to draw the viewer in and tell them a story\, one that at first appears indexical and truthful\, but which on deeper inspection reveals itself to be nothing more than a tissue of lies (literally tissue\, in the case of her most recent camera obscura projection). And in this untruth lies the truth of the show’s critique of mimesis\, of the idea that we can uncritically believe the evidence of our eyes\, and its blurring of the distinction between mimeses and anti-mimesis as it plays with the constructed nature of art in general\, and particularly the (presumed) truthfulness of photographic representation.  \nSnieder completed a BFA at York in 2013\, before moving to Edmonton\, AB for her MFA in printmaking (2017). Her thesis show\, which this draws upon and develops\, comprised a series of photopolymer Chine-Colle prints of diorama sculptures\, large-scale digital prints pasted to the gallery wall\, and a camera obscura room with three boxes projecting still images onto the walls. The sculptural elements of the obscurae work through a double inversion: first\, the dioramas inside were built upside down\, so that the images appear right side up when projected on the gallery wall. Second\, where a traditional obscura functioned by introducing an exterior image into an interior space\, in these the interior space of the diorama box inverts into the outside world. Each of the works\, but most strikingly the projected images\, appear almost as windows inviting the viewer to enter otherworldly landscapes. The works play with the idea of natural space\, presenting imagery that appear at once cavernous and claustrophobic\, natural and constructed\, interior and exterior; the images resemble mineshafts\, waterfalls\, barren snowscapes\, mountainsides\, seascapes\, and other spaces with potentially sublime and anxiety-producing affects. There is something uncanny about them\, stemming from the trickery of scale\, so that the images appear to be of a macro\, almost geological scale\, while in fact representing the micro spaces of the diorama boxes. This current iteration of the show extends the uncanny effect by adding elements of movement and sound to the camera obscura piece\, mixing the appearance of video with still images of the ghostly dioramas.  \nConsider\, as an example\, the “Storm” image from this iteration of Obscura. The 4’ by 9’ image appears to show us a vast\, snow-covered waste\, or a cave snaked by tendrils of steam or mist\, or perhaps a smoke and ash filled landscape(of a kind that has become increasingly familiar in the last few years of rampant forest fires). Both fore- and background are indistinct\, the former obscured by shadows resulting from the light entering from either side\, the latter receding into a hazy blackness blurred by fog\, smoke\, or dust. The space feels capacious and naturally occurring\, until the light draws your eye\, and you notice the regularity of its entry points\, the corrugated layers of the wells\, and suddenly the scale tilts as nature evacuates the scene\, and the constructed nature if the space becomes impossible not to recognize.  \nSo. Angela Snieder may not be a liar\, but her work lies. And far from being a weakness\, Obscura’s aesthetic duplicity provides\, for me\, its essential pleasure as art\, and its interest as a cultural artifact of a period in which humans have become a geological force and the very concept of nature as something unaltered or unconstructed by humans seems increasingly naive. This problem –our relationship with\, and impacts upon the environment that surround us– stands as perhaps the most pressing issue we as a species have ever faced\, and while Snieder’s work certainly makes no claims to solve that problem (and really\, what art could?)\, in its deception and its toying with the categories of nature and culture\, of semblance and reality\, it invites us to consider the ways we understand their interrelations\, and our own experience of them. Obscura’s lies seem to me to follow in pattern of deception perhaps best described by Mark Twain in his “On the Decay of the Art of Lying\,” where he enjoins us “to train ourselves to lie thoughtfully…to lie with a good object\, and not an evil one…to lie gracefully and graciously…to lie firmly\, frankly\, squarely\, with head erect…..” Its deceptions are thoughtful ones\, gracefully done\, and in the end\, truthful ones. \nAbout the Artist\nAngela Snieder is an artist and educator living in Edmonton\, Alberta. She received her BFA from York University in Toronto\, Ontario and has recently completed her Masters of Fine Arts in Printmaking at the University of Alberta. She has exhibited her work nationally and internationally\, and has taught both in the University and in the wider community. Her art practice is based primarily in photography methods and photo-based printmaking\, and explores themes of land and place and the relationships between physical and psychological spaces. 
URL:https://albertaprintmakers.com/event/obscura/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181019
DTEND;VALUE=DATE:20181201
DTSTAMP:20250801T210031Z
CREATED:20250801T210031Z
LAST-MODIFIED:20250801T210031Z
UID:10000284-1539907200-1543622399@albertaprintmakers.com
SUMMARY:Fiercely Open
DESCRIPTION:About the Exhibition \nFiercely Open – exhibition essay by Shaun Crawford \nThe first word that comes to mind upon viewing John Graham’s series\, Fiercely Open is “vulnerability”. His pieces contain such a potent vulnerability that simply viewing them is a vulnerable experience for the audience\, A closer look at the pieces reveal a common theme – the occurrence of relationships in the content and the collages. A character with a tree. A pair of pagan-like figures engaging one another. And in these relationships\, and in these prints\, there is a longing for something. Connection. Discovery. Truth. Sometimes sought after playfully\, and sometimes just yearned for in something like silence. And the fulfillment of that longing is available through the act of openness. And the opening of one’s self is a sensation that lives at the very core of vulnerability. Where most things worth having are found. And that is when it becomes clear that John Graham’s work is indeed printmaking poetry. And that his show could bare no fitter title than Fiercely Open.  \nJohn Graham describes himself as an “ever-diversifying” artist\, and rightly so. His practice ranges from printmaking and painting to installation works and experimental independent films. Graham began his professional career in the world of architecture before transitioning into creative visual art. He matched his Bachelor of Environmental Studies and Master of Architecture from the University of Manitoba with a Bachelor of Fine Art from the University of Oregon. And since that shift into visual art\, Graham has compiled a body of work that includes 7 short experimental films\, screened at over 120 international film festivals and group\, duo\, and solo shows exhibited around the world and too abundant to list. His work can be found in several public and private collections across Canada and the U.S. and he currently teaches Printmaking & Digital Media at the University of Saskatchewan.  \nLook too quickly at the pieces contained in Fiercely Open and it may merely recall imagery from the first season of True Detective\, or serve as a reminder that humans are actually just a different species of animal. But as much as it seems like the human figures are wearing masks – that is actually humanity with the masks removed. Symbolic characters pulled from dreamscapes and mythology. For even upon a short viewing it is clear that John Graham’s work is not of this world. It is conjured by the imagination or rescued from the recess of the subconscious\, a realm so deep and convoluted that Jungians have been the only group brave enough to explore there since early humankind first pressed their palms to stone. Such bravery is required in the viewer. To accept the call\, To open themselves to the underbelly of the psyche\, a place that cannot help but be ruled by truth. And once that threshold is crossed\, perhaps there is nothing to fear at all. Some of these figures almost look inviting\, like a couple of people that would be a pleasure to spend time with – regardless of their animal heads. Because despite superficial first impressions\, and the hidden depths form which they come\, this is a body of work that is so innately human.  \nIn his Artist Statement\, Graham shares his hope\, “that visitors will not try to deconstruct these visions with dismissive rationalizations.” I sincerely hope that this essay has not crossed that line. Not undermined the invitation to imagine. He explains that\, “The experience of this work is not intended to appease the conscious mind but to challenge it.” And there is certainly no solace here. At least none that is easily found. It is an open offer to willingly explore a different world. Not a new world\, but a hidden one. The one we carry deep within\, and within\, and within. A realm where humankind once wandered more freely\, where interpretations were attempted to account for features of this world such as the existence of the wolf or the creation of the sun\, and where we can still contemplate if we choose. In the end\, Graham’s work is a challenge to make one of the most valuable discoveries that our experiences have to offer. What Graham very aptly identifies as\, “the authentic self.”  \nAbout the Artist \nJohn Graham is a multidisciplinary artist based in Saskatoon\, Canada where he teaches Printmaking & Digital Media at the University of Saskatchewan. John started his professional creative life by studying architecture and working as an architect. He later shifted his artistic focus to study and create visual art in multiple media. His ever diversifying art practice includes print media\, artist’s books\, drawing\, painting\, installations\, and independent filmmaking. His visual art has been widely exhibited in North America\, Asia and Europe. His 7 short experimental films have been screened at over 120 international film festivals\, gallery venues and award ceremonies in 26 countries. John has participated in artist residencies worldwide and has been the recipient of multiple awards\, grants\, fellowships and prizes in both visual art and film. His artwork has been acquired by numerous public and private art collections. This includes the art collections of the Art Gallery of Ontario\, Canada Council Art Bank\, Loto-Quebec Corporation\, National Bank of Canada\, National Library of Canada\, and National Library of Quebec. 
URL:https://albertaprintmakers.com/event/fiercely-open/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Fiercely_Open.jpeg
END:VEVENT
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
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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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_God_Love_Brigus_II.jpeg
END:VEVENT
BEGIN:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Air_Fire_Water.jpeg
END:VEVENT
BEGIN:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Threshold-e1754463141265.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160610
DTEND;VALUE=DATE:20160717
DTSTAMP:20250806T064718Z
CREATED:20250806T064718Z
LAST-MODIFIED:20250806T064718Z
UID:10000295-1465516800-1468713599@albertaprintmakers.com
SUMMARY:MRI IN USE
DESCRIPTION:About the Exhibition\nMRI In Use: A Psychological Snapshot – exhibition essay by Heather Caverhill  \nThrough MRI In Use\, Darian Goldin Stahl offers a glimpse into the experience of navigating a medical diagnosis and living with chronic illness. The print-based installation emerged from the ongoing collaboration between the artist and her sister Devan Stahl\, a writer and bio ethicist who was diagnosed with multiple sclerosis in her early twenties. Devan’s research\, her personal accounts\, and her magnetic resonance imaging (MRI) scans are the specific source material for the exhibition. MRI In Use addresses broader\, shared anxieties and uncertainties surrounding medical intervention\, the fallibility of the human body\, and mortality. It calls attention to the rift between the hopes attached to medical science-its potential for discovery and healing-and the bureaucratic and dehumanizing aspects of undergoing diagnosis and treatment. \nThe immersive installation includes a series of life-sized hospital gown prints suspended from the ceiling of the darkened gallery. These worn and wrinkled garments immediately call to mind a patient who is absent. They appear ghost-like\, vulnerable\, and delicate. Goldin Stahl created the works by applying multiple toner transfers to large pieces of waxed ultra- fine silk. The innovative and physically demanding technique accounts for the vibrant colours of the gowns\, which radiate in the dim light of the gallery. The irregularly shaped\, almost transparent prints are highly illusionistic. Viewed from the front\, they appear almost sculptural. Once viewers move through and activate the space\, the diaphanous textiles swing and sway to reveal their flatness. The hovering garments appear as slices of something larger when viewed from the side–a reference to the ways that medical scans reduce the three dimensional form. \nWhile the MRI machine slowly and incrementally documents the body\, patients might remain confined and immobile for hours. Goldin Stahl has constructed a psychological ​​snapshot of this uneasy and claustrophobic environment in the congested space of the gallery. In sporadic intervals\, the sizeable prints are illuminated by projections of actual MRI scan metadata. The intermittent rhythm and repetition of the projector points to both the tedium of the diagnostic imaging procedure and to the stamina required to undergo such an experience. \nThe specialized technical language of medical imaging scans is incomprehensible for most people. Goldin Stahl interrupts this stream of abstract information by interspersing the projections of light and shadows cast by Venetian blinds. For the artist\, the image of sunlight escaping through blinds is at once beautiful and dangerous. They evoke the bright spots that she has observed on her sister’s medical scans\, which represent lesions or scars left by multiple sclerosis. This analogy is a subtle reminder of the complex and unanticipated ways that diagnosis and knowledge of illness may be carried into domestic spaces and everyday life. MRI In Use provides a setting to think about and question the ways that medical science comes into contact with human beings\, and how it is used to interpret the body. \nBy combining and juxtaposing the clinical with the familiar\, the installation endeavours to rehumanize the anonymous and alienating nature of medical imagery and diagnosis. \nArtist Bio: Darian Goldin Stahl has recently completed an eight-month scholarship residency at Malaspina Printmakers in Vancouver\, BC. She will begin her PhD in Fine Art Humanities at Concordia University in Montreal\, QC this fall.
URL:https://albertaprintmakers.com/event/mri-in-use/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_MRI_IN_USE.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160422
DTEND;VALUE=DATE:20160605
DTSTAMP:20250806T073111Z
CREATED:20250806T064247Z
LAST-MODIFIED:20250806T073111Z
UID:10000294-1461283200-1465084799@albertaprintmakers.com
SUMMARY:Landscape Gaze and Breezy Erudition\, and What About Formal Freedom?
DESCRIPTION:About the Exhibition \nJoani Tremblay – Landscape Gaze and Breezy Erudition\, and What About Formal Freedom? – exhibition essay by Christie Kirchner \nJoani Tremblay’s work is rooted in the creation of spaces\, both external\, physical spaces to be occupied\, and internal\, psychological spaces of experience. Working in embroidery\, printmaking and drawing\, she creates illusory multi-media environments that weave together imagined places and experienced places\, leading us tenuously along and across the borderline between our outer and inner landscapes. Her installations – often characterized by suspended embroidered drawings interspersed with prints\, sculptural objects\, and even live plants – create spaces that must be physically occupied\, but that also provide an ethereal\, abstract environment\, in which the viewer can project their own backdrop of memories\, fixations\, and fantasies. \nTremblay’s exhibition Landscape Gaze and Breezy Erudition\, and What About Formal Freedom? explores the transfer between the physical experience of a place and the imaginings it conjures by endeavoring to re-create the “feel” of an existing place. In this work\, she is interested in how we connect to and experience the feeling of powerful\, emotionally loaded places – landscapes that have a particular mystical\, ritual or historical significance. This specific installation draws inspiration from the Untermyer Garden in New York state: an elaborate\, century-old garden founded by Samuel Untermyer\, then a prominent lawyer and Jewish-rights advocate\, and designed in the Beaux-Arts style at the turn of the century. Upon Untermyer’s passing\, the gardens were endowed to the state\, abandoned\, and soon fell into neglect\, becoming a neo-renaissance-styled shelter for transient people and a mystical site for conducting occultist rituals. For several days\, Tremblay walked\, sketched\, photographed and collected minerals and flora from the park as source material for her work\, while internalizing a distinct feeling invoked by the esoteric history\, architectural details and abandoned\, outgrown aesthetic of the gardens. \nThe resulting works seek to elicit this affective experience in the viewer – the layers of time\, overgrowth\, and mysticism – through the repetition and layering of imagery. Within her sketches and photos\, Tremblay looked for interesting details and gestural marks that resonated with her inner experience of the landscape. She then reproduced these tiny pieces of the collected garden imagery and re-configured\, repeated and collaged them over and over in her prints and drawings into larger images and onto objects that form the new landscape of the installation. The ore and foliage collected at the site were ground into pigments to make inks from which the resulting imagery is printed\, creating works that capture the feel of the gardens through both formal reflection and materiality. \nRe-contextualizing these elements from their original locale into the layered marks of a maze of drawings\, prints and objects\, Tremblay’s installation creates a parallel space that exists somewhere in between the garden’s actual landscape and its distinct emotional experience. From this distilled essence of its history\, visual details\, and natural elements\, we as viewers are invited construct our personal inner experience of the Untermyer gardens. By triggering a particular feeling or emotional response through our interaction with her constructed space\, Tremblay seeks to explore our internal perception of and connection to the physical landscapes around us\, and how we understand the notion of place. \nArtist Bio: Joani Tremblay is an artist and curator living in Montreal. She is an MFA candidate at Concordia University with an art practice based in print media\, drawing and installation. Tremblay’s work has been shown in Tokyo (3331 Arts Chiyoda)\, New York City (DRAFTspace)\, Denton\, Texas (tAd Gallery) and throughout Canada in Toronto (Open Studio Gallery)\, Montreal (Parisian Laundry)\, Rimouski (Caravansérail) and soon in Calgary (Alberta Printmakers Gallery) and Edmonton (Latitude 53). Tremblay has also done artist residencies in Tokyo and Berlin. Her work is part of the Loto-Québec Collection and numerous national and international private collections. She is the recipient of the Vladimir J. Elgart Graduate Scholarship and a research grant from The Fonds de recherche du Québec – Société et culture. \n 
URL:https://albertaprintmakers.com/event/landscape-gaze-and-breezy-erudition-and-what-about-formal-freedom/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Landscape_Gaze.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160229
DTEND;VALUE=DATE:20160310
DTSTAMP:20250806T063804Z
CREATED:20250806T063804Z
LAST-MODIFIED:20250806T063804Z
UID:10000293-1456704000-1457567999@albertaprintmakers.com
SUMMARY:Blowing In The Wind
DESCRIPTION:About the Exhibition \nApril Dean’s Word Work – exhibition essay by Blair Brennan \nApril Dean is an artist and a writer who transmits messages from her home in Edmonton. In this Alberta Printmakers exhibition\, Dean presents prints and related work that reveals her ongoing interest in the connection between emotions and words. Dean confronts our seemingly inexhaustible need to relate our deepest thoughts and feelings and the misplaced sloganizing that often accompanies our attempts to communicate meaningfully with others. \nThe majority of works in this show are photographic images of text on T-shirts. Dean prints phrases on the T-shirts and photographs them wet on a light table. The final works are digitally printed on transparent Pictorico Film and displayed off the wall by a few inches. These works have the feel of X-rays\, nicely commenting on our need to communicate our innermost desires with this relatively recent fashion item. T-shirts proclaim\, “this is what is inside me”\, whether they say\, “WE ARE ILL-EQUIPPED & UNPREPARED”\, as one of Dean’s works declares\, or “Go Oilers!” \nDean’s phrases are provocative\, sometimes vague\, but consistently open to deeper interpretation about the meaning of these specific words or larger ideas about how living language works. Like a Facebook update\, Dean’s printed T-shirts disclose our current status to the world. In most cases\, Dean’s phrases are assertive announcements in capital letters that begin with a plural pronoun. Nonetheless\, the proclamations express some awkward self-doubt. Dean is interested in how various public platforms are used to express emotional states; however the text’s peculiar evasiveness may reflect Dean’s parallel interest in the things we choose not to share publicly. \nMuch has been written about the benefits and challenges that current technology brings to communication. A recent Globe and Mail article on media scholar Sherry Turkel’s new book Reclaiming Conversation: the Power of Talk in the Digital Age\, suggests that electronic communication may hinder face to face communication. Distracted by technology\, we “move in and out of paying attention\, our conversations become light\, losing much of their empathetic possibility.” Some psychic urgency in Dean’s communications leaves me anxious about the state of language itself. I wonder if words can still elicit genuine empathy. \nIn June 1916\, Hugo Ball stated that it was “imperative to write invulnerable sentences.” When Ball wrote this\, it must have seemed to him and his Dada compatriots that language had been rendered useless in the face of the carnage of the First World War. Nightly performances at the Cabaret Voltaire and other seemingly absurd actions could be interpreted as a ritualized madness for a world gone mad with Ball’s own sound poetry revealing a special kind of trauma-induced linguistic madness. \nContemporary life is difficult (not WWI difficult) although\, on a daily basis\, we negotiate challenging psychic and emotional territory. Without fail\, language is our primary tool in these negotiations. It is a way to communicate with others and\, simultaneously\, the way we discover our own thoughts. April Dean’s oddly self-assured declarations draw attention to the process of language as thought and language as self examination. \nArtist Bio: April Dean is a visual artist living and working in Edmonton\, Alberta. She has a diploma in photographic technology from the Northern Alberta Institute for Technology (NAIT)\, a Bachelor of Arts Degree with distinction from The University of Alberta with a major in Art &Design (Printmaking) and a minor in English. In 2012 she was granted a Master of Fine Arts Degree in Fine &Media Arts from the Nova Scotia College of Art &Design (NSCAD University) in Halifax\, Nova Scotia. Her graduate thesis research was funded by the Social Sciences and Humanities Research Council of Canada. Her work is held in both public and private collections and has been purchased by the Alberta Foundation for the Arts. In 2012 Her work was selected to represent contemporary Canadian print media in the Novosibirsk International Triennial of Contemporary Graphic Art and the International Printmaking Biennial Of Douro in Alijó\, Portugal. Her creative practice incorporates all forms of print and print related media\, video\, installation and text-based expressions of humanness. In her spare time she is the Executive Director of the Society of Northern Alberta Print-Artists (SNAP)\, a non-profit and artist-run centre in Edmonton\, Alberta. \n 
URL:https://albertaprintmakers.com/event/blowing-in-the-wind/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Blowing.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160108
DTEND;VALUE=DATE:20160221
DTSTAMP:20250806T063302Z
CREATED:20250806T063302Z
LAST-MODIFIED:20250806T063302Z
UID:10000292-1452211200-1456012799@albertaprintmakers.com
SUMMARY:Spread
DESCRIPTION:About the Exhibition\nExhibition essay by Kristina Arnold \nMarilee Salvator’s work is deceptively beautiful. Entering one of her room-sized installations\, the viewer is drawn into a candy-coated world. A riot of jewel-toned circles bursts across the walls and cascades to the floor\, shiny\, plastic and playful. Forms tumble and spill\, coalescing into patterns both lacy and bold. There are no frames on the wall\, meticulously crafted editions or flat paper surfaces. Instead\, thousands of single-color clusters are relief printed onto transparent film\, each then painstakingly cut out by hand. In overlapping layer upon layer\, nearly buzzing with life\, each piece is pinned to the wall\, seemingly to prevent it from escaping. The addition of lighter\, less intense ghost prints\, the introduction of neutral greys to the work’s palette\, and the shadows created through the clear print surface provide a counterbalance\, and give a physical and temporal depth to the work. \nSpread’s process and materials reference both traditional “women’s work” and the more traditionally male space of the factory. Visual elements strongly rooted in the feminist-inspired Pattern and Decoration movement\, traditional quilts and children’s coloring books are paired with manufactured plastic film and an industrially-inspired process for creating multiples. Cloth piecework and mechanical die cutting are equally/visually present. The individual artist’s hand is concealed- through the intervention of the machine to create image\, and at the same time revealed – by altering each piece individually (via cutting it with scissors) once it comes off the press. \nEncountering Salvator’s dense work we wonder: is this a jungle or a seascape? Has our scale shifted\, and we are instead navigating the space under a microscope? We could be observing flora or fauna: breeding\, morphing\, mutating\, and taking over a space. In her print project\, Salvator harnesses the potential energy that lies latent within a process of multiples. A single building block\, used over and over\, stacks\, fills\, and masses. One cell divides\, and these daughter cells divide\, exponentially covering space. \nSalvator’s shapes and layers reference the build-up of time – both metaphorical and actual. We navigate the rain forest and smell the sweet overgrowth of decay; we snorkel through the accretion of barnacles and sealife on a long- ago sunk ship. We marvel at the dramatic complexity that is our body magnified many times over. One component is\,by itself\, beautiful\, healthy and desirable. But\, when repeated obsessively\, a small piece metastasizes\, becoming toxic to its body host\, or envelops its environment completely and becomes dangerously claustrophobic. Beneath the gleeful\, colorful surface lies a darker significance. Perhaps it is that the plastic film\, though attractive\, is busily proliferating in oceanic trash islands\, suffocating the very sea life it depicts. Maybe the jungle vines\, brought to a new environment and planted to share their beauty\, are now reproducing out of control\, choking out the native landscape. Or the lifestyle we enjoy is barraging our bodies with daily toxicities that eventually add up to cancer. \nLest the viewer despair\, our fears of what may lie behind the curtain are balanced by Salvator’s sheer positive visual energy. We are cautioned of the consequences of our indulgences\, but are ultimately left with a gift. Like the proverbial kids in the candy store\, we have immersed ourselves within her transformed fantasy world\, have consumed our fill\, are satiated and slightly sick. We are richer for the experience\, and if given the chance\, we would do it again. \nArtist Bio: Marilee Salvator is an Assistant Professor of Printmaking and Design at Western Kentucky University in Bowling Green Kentucky. Her work has been exhibited in over 100 exhibitions throughout North America\, South Korea\, China\, Japan\, Portugal\, Serbia\, Ireland\, Scotland\, Poland\, Italy\, New Zealand and Romania. Her work is included in over 25 collections including JCI University\, Jiangxi\, China and Sakmi Art Museum\, Okinawa Prefecture\, Japan.
URL:https://albertaprintmakers.com/event/spread/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Spread.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151205
DTEND;VALUE=DATE:20151224
DTSTAMP:20250801T204636Z
CREATED:20250730T035146Z
LAST-MODIFIED:20250801T204636Z
UID:10000254-1449273600-1450915199@albertaprintmakers.com
SUMMARY:2015 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: \nKate Baillies\, Alison Frank\, Margot Van Lindenberg\, Lillianne Daigle\, T. Knudsen\, Brandon Giessmann\, Carole Bondaroff\, Mahwish Ahmed\, Kaitlin Reckord\, Randie Feil\, Gabrielle Arrizza\, Nicole Edmond\, Mark Eadie\, Tara Cooper\, Jennifer Byrnes\, Tee Kundu\, Raegan Little\, Ainsley Dack\, Claire Coutts\, kathryn Dutchak\, Oliver Dunbar\, Boenish Gilles\, Melissa Rae Huapaya\, Paul Hammacott\, Max Gregory\, Ryan Ericksen\, Bethany Drake\, John Charles Cox\, Carrie Phillips-Kieser\, Alden Alfon\,  Robert Pugh\, Anne Petrie\, Emily Thomas\, Catherine Tam\, Jesse Wardell\, Sofia Roy\, Nadine Simec\, Andrew McKay\, Angela Smyth\, James Michele\, Kale Vandenbroek\, Mitsuko Sakurada\, Marzieh Mosavarzadeh\, Elmira Sarreshtehdari\, Shinobu Mitsuhashi\, Sumi Perera\, Lisa Molvig\, Richard Steiner\, Marg McArdell\, Hannah Raper\, Darby Womack
URL:https://albertaprintmakers.com/event/2015-not-so-mini-print-exhibition-and-exchange/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/Scan-37-rotated.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20151023
DTEND;VALUE=DATE:20151126
DTSTAMP:20250806T061409Z
CREATED:20250806T061409Z
LAST-MODIFIED:20250806T061409Z
UID:10000291-1445558400-1448495999@albertaprintmakers.com
SUMMARY:Terminal Work
DESCRIPTION:About the Exhibition\nExhibition essay by Daniel Cleghorn  \nBloom\, Fade\, Repeat \nAs a flower is bound to bloom\, it is also bound to fade; coinciding with the promise of one’s end is another’s creation- a spark in the dark. From the blooming flower comes the promise of honey\, a nutrient to other wildlife and ourselves. From this donation of nectar comes the collapse of the petal’s peak and the brewing of a renaissance. We have become dependent on the blossom\, the bees\, and the cycle of fading and rebirth of the flower. As small as the flower is\, we are largely unaware of our need for beauty to survive. Much like the flower\, our hearts work in a rhythmic sequence; as one cavity blooms\, the other fades\, cycling through the blood\, completing the revolution and transporting nectar to the rest of the body. The beauty of any cycle is not recognized until almost lost.  \nMarnie Blair experienced a cardiac arrest at the young age of nineteen\, which led to her being diagnosed with Long QT Syndrome\, a condition that affects the heart’s electrical system. As a result\, Blair had to have surgery to implant a cardiac defibrillator. Her personal experience with her heart condition and defibrillator led her to become aware of the inherent beauty within the heart’s cycle. Now partially dependent on an technological alien force to continue the rhythm of her heartbeat\, Blair creates installations and images with print media derived from derelict industrial and medical sites as a reflection on fragility and resilience; the biological and the artificial; the private and public; decay and resuscitation. \nA motif and design strategy found throughout her exhibitions is the application of juxtaposition to create a visual cycle and enhance the physical nature of the work. While this can be said about many artists\, Blair goes beyond the obvious employment of direct contrast to heighten the qualities of a pair; she succeeds in creating a conversation between the material\, her thematic concepts\, and a powerful personal history. The strength of the work lies in understanding the intimate relationship between her and the media; within this same strength\, however\, exists a possible detriment to the work- the deeply personal meaning can distance the viewer or cause confusion. Once we become intimately familiar with Blair’s past\, we can truly be immersed in the \nexhibition and be overwhelmed in the best possible manner\, finding abstract and beauteous ways to relate and empathize with her work. Considering the physical nature that Blair’s work takes\, there is an obviously intentional interplay between the duality of the natural and the controlled/manufactured. This relationship ultimately ties back to her personal story and experiences\, but is subtle enough to be open to further interpretation by her audience. Marnie Blair’s examination of her personal history\, the relationship between the technological and the biological\, and her exploration of print media materials engages the viewer and encourages an immersive experience. \nArtist Bio: Marnie Blair has a BFA from Lakehead University and an MFA from the University of Calgary. She studied at the Royal College of Art in London\, UK\, the Studio Art Centers International in Florence and has interned at Manhattan’s Lower East Side Print Shop. She presently teaches Printmaking at Red Deer College.
URL:https://albertaprintmakers.com/event/terminal-work/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Terminal_Work.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150904
DTEND;VALUE=DATE:20151018
DTSTAMP:20250806T060948Z
CREATED:20250806T060948Z
LAST-MODIFIED:20250806T060948Z
UID:10000290-1441324800-1445126399@albertaprintmakers.com
SUMMARY:Present Density
DESCRIPTION:About the Exhibition \nExhibition essay by Dan O’Neill  \n“A line is a dot that went for a walk” – Paul Klee \nIt’s an obvious state of affairs\, blanketed as we are under multiple cultural moods\, warmed by communal temperatures and showered by the shifting presence of things; that our senses are replenished in a second to second unfolding of lived events. And it is also an obvious state of affairs that we are carried by uncompromising waves of physical and cognitive tension\, bound together in ever changing minute-to-minute negotiation with all things. \nStoicism communicates universal forces of attraction uniting elements and beings embodied in a word we value\, Sympathy. From that perspective\, it is likely Jolowize continues with a variation of this filtering exercise\, where the influence of elements on the beings in her work\, impart the notion that they may be sympathizing with their situations. She also extends that occasion\, unlocking signs pointing toward mindfulness in favor of empathy\, an analogous force of attraction\, one of deep absorption more accurately aligned perhaps\, to what Jolowicz depicts. We should make every effort to decipher what we see on our own terms. \nAll stimuli calculate action and reaction\, compelling us to take stock of the hour upon hour tide of such cause and effect; lived action leaving indelible traces of multiple encounters\, abundant fleeting moments\, so many remembered expressions. We are a privileged species and for better or for worse\, we are a tectonic mass. Evidently\, her reflections describe some of the shifting sympathies of social tectonics\, a fundamental gesture from Jolowicz\, where she tells us how to dance with the material world. Creative action engraves everlasting furrows into enriched cognitive soil and it is there that Jolowicz sows her thoughtful traces\, the purpose of which intends to cultivate\, harvest and celebrate the thanksgiving of our common experience. This is a major intersection where Gabriela leads us\, compelling us to cross under a mindset of open sympathy; where we’ll recognize in crossing\, that the effects of her image gravity really attracts us in an invitation to gracefully empathize. \nJolowicz imagines streams of retrievable records as our birthright to the past in order to progress in the present\, with a potential view of the future. She preserves compressions of existence; that’s obvious. Mapping perceived excursions\, hiking cultural elevations ripening with communal spaces over which\, through which she moves and harvests; Jolowicz picks up unrehearsed visual cues much like nectar is returned to the hive. One sure result of gathering these reflections accumulated from Jolowicz’s flight path is the guaranteed promise of a sweetness of image incubation\, a human custom in which reminiscences slumber before they are awakened. In its various guises\, memory catnaps well hidden in the honeycombed subconscious and digital memories keep well enough on memory cards\, without appreciable deterioration one might add. Yet as we all know\, it is the image alone no matter how it is conjured\, that will radiate familiar sparks as it is brought to surface\, assuming concrete form. \nBuoyed by the digital\, the present-day analog record keeping Gabriela Jolowicz registers\, sound the facets and fragments of sense perception; the busy-ness of any peculiar day gathered in countless gestures cloaked in an intimate method of image invention. Here at this material intersection\, Jolowicz crosses repeatedly with purpose and ease\, moving to and from her studio work venturing through an open concept social world where details are later nurtured by physical effort; forcing carving blades to link with her observations. This solitary activity never fails to fascinate\, to imagine the larger preoccupation Jolowicz pursues carving stories into graphic voices\, speaking between the wholly analog and the virtual digital.  \nJolowicz shares this preoccupation with a distant methodology\, where conversations talk of public and private records\, filtered from within communal spaces and populated events. It is at this vibrant intersection where Jolowicz crosses\, one that signals a beautiful pertinence in making critical documents\, where action and reaction are married to making images\, incised here and printed several hundred years after the fact. \nThe anomalous spaces Gabriela stores hold the inventions of wanderers\, of locations\, illuminated screens and diagrammatic stations\, and always an avalanche of objects and elements blanketing our telltale associations; faced with multiple compressions she infers intuitively\, depicting less than what one is inclined to feel. With prowess and well positioned\, Jolowicz conveys her moment-to-moment observations where compositional forces take precedent\, succinctly outlining for us that the telling matters most. \nThat tactic is welcomed\, refreshing really. We should never be offered the whole story; we must learn instead to look carefully and consider listening\, to participate in translating whatever telltale hints Jolowiez offers\, expressly in our own terms. \nHow else should we learn to walk with the day-to-day diversions Gabriela presents?
URL:https://albertaprintmakers.com/event/present-density/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150619
DTEND;VALUE=DATE:20150802
DTSTAMP:20250809T160753Z
CREATED:20250806T060452Z
LAST-MODIFIED:20250809T160753Z
UID:10000289-1434672000-1438473599@albertaprintmakers.com
SUMMARY:Aleksandar Mladenovic and Robert Truszkowski
DESCRIPTION:About the Exhibition\nEssay by Elizabeth Chorney-Booth \nMusic is often a reflection of the values and emotional make- up of a culture\, but how does it directly influence other artistic pursuits? Music has long been an inspiration for visual artists working in a number of mediums – the sound of a serene classical piece\, a searing jazz trumpet improv\, or the roar of a thundering rock band all evoke different colours and forms\, but the role that music plays in shaping our values and memories can also provide valuable artistic fodder. Aleksandar Mladenovic Leka and Robert Truszkowki are from different places\, have different cultural perspectives\, and are influenced by the effects of different genres of music\, but each create work that echoes their respective inspiration in complex and thought-provoking ways. \nSerbian artist Aleksandar Mladenovic Leka describes his process as “avant-garde jazz classical Visual Art\,” a reference not to the great experimental jazz musicians\, but to British post-punk cult hero Vini Reilly of the band Durutti Column. Leka uses the term to describe his own spirit of experimentalism\, which he combines with the traditional artistic methods and values that also inform his work. Combining classic and digital techniques\, figural depictions meshed with abstract symbolism\, and mixed media in his prints\, Leka’s work combines historical themes with modern sensibilities to create work that is both contemplative and cheeky. \nAnd going back to themes of music and popular culture – Leka’s flair for cultural nostalgia is a reoccurring theme in his work. Making literal references to everything from pioneering filmmakers the Brothers Lumieres to ’70s English punk bands The Slits and Sham 69\, Leka also evokes that feeling of time passing with his boldly familiar imagery and the juxtaposition of the old and the new. Regina’s Robert Truszkowski also skillfully brings together seemingly contradictory pop culture references\, but his work differs from Leka’s in both the source inspiration and the feel of the finished prints. While Leka does use some text in his work\, lettermarks take centre stage with Truszkowski’s striking prints. Fascinated with the way in which printing has shaped human culture and communication\, Truszkowski takes the responsibility of his role as a communicator seriously and is cognizant that his medium of choice is about something much more powerful than merely putting together words and pictures. \nTruszkowski uses that medium to create images that draw on themes of pervasive religion\, pop culture\, and other culture shaping forces that have traditionally utilized the power of print. Whereas Leka is drawn to punk music\, Truszkowski is a fan of that other deeply revolutionary music that grew out of the ’70s and ‘80s rap. Whether he’s placing Notorious B.I.G. or Jay-Z lyrics next to delicate illustrations of birds or making a statement about quantum electrodynamics through stylized text\, Truszkowski’s prints are dealing with the power of the information that is being thrown at us via the reams of print that we all sift through every day. \nMusic\, like visual art\, is both a reflection of our humanity and a force that influences how we live. The way that these two artists use music culture in their printmaking offers two differing\, but complementary\, takes on how ingrained both music and visual art are in the way we navigate through our shared experiences. \nArtist Bios: Aleksandar Mladenovic Leka is a practicing printmaker and painter\, associate professor at Faculty of Fine Arts in Belgrade. He has participated in a one man exhibition and over 300 group exhibitions. He has won several awards and prizes for printmaking in his country and abroad. His works are in public collections in Serbia\, Canada\, Spain\, Greece\, France\, USA\, Germany\, China. Robert Truszkowski earned a BA from Queen’s University in 2000 and a MFA from Concordia University in 2004. He has exhibited and lectured internationally\, winning awards and recognition as an important artist working in contemporary Printmaking. He is currently Associate Professor of Print Media at the University of Regina.
URL:https://albertaprintmakers.com/event/aleksandar-mladenovic-and-robert-truszkowski/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Two_Artists.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150424
DTEND;VALUE=DATE:20150607
DTSTAMP:20250806T055945Z
CREATED:20250806T055945Z
LAST-MODIFIED:20250806T055945Z
UID:10000288-1429833600-1433635199@albertaprintmakers.com
SUMMARY:Gathered Mass
DESCRIPTION:About the Exhibition\nExhibition essay by Christie Kirchner  \nRooted in printmaking\, multidisciplinary artist Audrey Hurd’s practice explores the notion of the trace\, and the meaning that is inherent in the gestures of making. As we move through the world\, following cycles of growth\, movement\, sorrow and joy\, marks are left upon us and we leave our own traces on the other people\, places and objects we encounter. Documenting the marks and gestures invoked in the careful creation\, archiving\, and ultimate disassembly of three amorphous sculptures\, Hurd’s work in the exhibition Gathered Mass is centered on the physicality\, intimacy\, and tangibility of the traces that are around us and within us\, and how they act as a material echo of human experience. \nCreated from the slow\, meticulous layering of ephemeral domestic materials such as paint\, stucco and wallpaper\, the sculptures in Gathered Mass were gradually grown from tiny cores into dense\, weighty objects that belie the lightness and delicacy of their constituents. With the intimate\, time consuming ritual of growing the masses daily in her studio\, the addition of each new layer of material became a trace of a gesture\, of a moment\, and of a thought for Hurd\, all held within the object and sealed between each carefully applied coating. As each new strata of material was applied\, what is underneath was concealed\, and yet that material history is held within the sculpture and is inherent in its form – as each layer shapes that which came after it. The physical formation of the masses and the traces of the thoughts and gestures retained within them give a heavy\, tangible physicality to the intangible weight of the reflections and emotions carried by the artist throughout their creation. \nHurd further emphasizes the importance of the act of making and physical transformation of these objects by chronicling their progressive development through a set of three photo- based lithographs that accompany the sculptures in this exhibition. The three prints document the sequential growth of the sculptures by layering images of the masses in various stages \nof completion\, providing a visible archive of the now invisible gestures of creation. Resembling three giant\, haunting irises\, the layered prints accentuate Hurd’s interest in the act of making by looking backwards in time to recount the history of each sculpture’s creation. Once fully formed and documented through the accompanying prints\, the dense\, visceral sculptures were then slowly deconstructed until all that remained was a small\, cross-sectioned piece of each mass that can easily fit in the palm of one’s hand. This cathartic act of carving\, chipping and tearing the masses apart reduced them to piles of their material elements\, which Hurd once again photographed and printed as four-colour separation lithographs. Conjuring images of piles of ashes or other lifeless remains\, the residual traces of the heavy\, burdensome objects and the prints that depict them again give a physical tangibility to the incorporeal\, emotional process of letting go. Shown together\, the prints and sculptures in Gathered Mass offer a material and gestural narrative that speaks to the cyclical nature of life\, death\, and transformation\, and the deep impressions such experiences leave upon us.  \nArtist Bio: Based in St.John’s Newfoundland\, Audrey Hurd approaches a variety of media from the perspective of a printmaker\, interested in both the act of and motivations behind the creation of an impression. She has a BFA from NSCAD University and has participated in residencies and exhibitions in Canada and the US.
URL:https://albertaprintmakers.com/event/gathered-mass/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Gathered_Mass.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150227
DTEND;VALUE=DATE:20150412
DTSTAMP:20250806T051421Z
CREATED:20250806T051421Z
LAST-MODIFIED:20250806T051421Z
UID:10000287-1424995200-1428796799@albertaprintmakers.com
SUMMARY:The Creation of the Universe
DESCRIPTION:About the Exhibition\nEssay by Nathan Flaig  \nThe work of Montreal-based artist Emmanuelle Jacques explores the reflexive nature of urban space\, the expansive potential of territory\, and human reflection upon these structures. Presented through ever-evolving projects\, the content of her work reflects the process from which it is birthed; excitingly transformative and speculative\, projects like The Creation of the Universe mediate the boundlessness of possibility\, randomness\, and the limitations of the mind. Jacques’ projects have been exhibited across Canada and she has hosted an abundance of creative workshops that continue the explorative nature of her practice. Her art book Lieux communs: Commonplaces is an emotive rendering of cartography\, which recalls psychogeographic explorations of space. This work highlights the wonder in the mundane\, echoing the sentiments of the Situationists in its emotive reorientation of utilitarian space. Similarly\, The Creation of the Universe recasts this wonder in a spectacular fashion\, positioned outward to the cosmos. \nWith beginnings in 2010 during a residency at Open Studio in Toronto\, The Creation of the Universe draws inspiration from Jorge Luis Borges’ The Library of Babel. Jacques’ process mimics the method described in the story\, which describes a vast library that resulted from an alphabet of only 25 characters. Jacques created her own characters by engraving 25 blocks\, each with “the motif of the stars standing for the infinite possibilities\,” thereby assembling a cosmic alphabet from which 15 625 possible permutations could be derived (Jacques\, 2012). Using a typographic press and maintaining a limit of three matrices per image\, Jacques printed 1250 of these permutations with process colour inks of yellow\, magenta\, and cyan. By employing the primary triad of colour\, Jacques evokes the elemental construction of matter\, suggesting that simple beginnings can result in a multitude of diverse creations. Such a process lends itself to the print medium\, which allows for the mechanical reproduction of works with subtle variation\, commenting on both the innovation of the work while hinting towards the infinite. The projects exhibited in a dual fashion\, utilizing both time and space as indicators of vastness and the limits of human comprehension. By displaying the printed pieces in a repetitive manner\, the subtlety of the process is highlighted\, while also confronting the viewer with a near overwhelming volume of permutations. The contradictive feeling produced on one hand signals comprehension\, while alluding to that which cannot be conceived. The physicality of the printed works forms a spatial relationship between the viewer and boundlessness\, while the adjoining video piece situates the mutations in time\, with variations moving in succession before the viewer’s eyes. \nArtist Bio: Emmanuelle Jacques’s practice is rooted in drawing and the print media. Her work is presented in various forms such as installations\, artist books\, videos\, relational art or other manoeuvres. She develops her work by way of projects\, some of which have been unfolding in parallel for several years. In pursuing repetitive\, even endless tasks\, she creates contexts that are conducive to lengthy reflection\, which allows her to articulate ideas and make her work meaningful. Having been influenced by the philosophy of the absurd\, she views the world with both a sense of wonder and\, due to the impossibility of finding meaning in it\, one of revolt. Her recent projects explore notions of space and territory\, whether it be through their appropriation by individuals or communities (Une cartographie subjective\, Les chemins de traverse)\, their poetic and political resonance (Lieux communs: Commonplaces) or their imaginary dimension (La création de l’univers\, Cartographies spontanées). \nEmmanuelle Jacques lives in Montreal where she earned a BA at UQAM in 2004. She has presented her work\, given work- shops and carried out residency projects in Montreal\, Toronto\, Vancouver\, Winnipeg\, Moncton\, SaintJohn’s\, Baie-Comeau\, Natashquan and the Iles-de-la-Madeleine. Her artist book Lieux communs: Commonplaces was a finalist in the Artist Book of the Moment competition at the Art Gallery of York University (Toronto\, 2012). An active member of her milieu\, she was the president of Arprim’s board of directors and for 5 years she took part in the organization’s transformation into an artist-run centre dedicated to the dissemination of contemporary print- related art practices.
URL:https://albertaprintmakers.com/event/the-creation-of-the-universe/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Creation_Universe.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150107
DTEND;VALUE=DATE:20150222
DTSTAMP:20250806T051348Z
CREATED:20250806T050245Z
LAST-MODIFIED:20250806T051348Z
UID:10000286-1420588800-1424563199@albertaprintmakers.com
SUMMARY:String and Tape
DESCRIPTION:About the Exhibition\nExhibition essay by Scott Baird  \nThe briefest\, most glancing analysis of contemporary drawing practice reveals the obvious variety of work exhibited under the name of “drawing”\, making it increasingly more difficult to define the term. Drawing is traditionally seen as the basis of visual communication\, existing well before the written alphabet or culturally complex language. Within all of its many forms\, the act of drawing retains the most basic systematic process: to observe\, understand\, and record. In his work\, Jeff Kulak takes on the responsibility of facilitating the understanding of complex ideas through graphic\, typographic\, and pictorial elements. \nHis unconventional works challenge the public’s preconceptions about which forms a drawing can take. The experimentation with composition resembles the organization of visual data in diagrams\, mind-maps\, and flow charts. The playful use of such alternative materials as string\, tape\, and vinyl adhesive brings the drawings into a three-dimensional space in which they must respond to the parameters of their environment\, while retaining the two-dimensional characteristics of the geometrically linear\, canonical drawing. \nThese materials betray the perfection of ideal geometry and mi- pose an ephemeral\, temporary nature on the work\, which inspires the artist to further capture the effects of gravity and tension on his drawings. \nString and Tape consists of four silkscreened prints\, a site-specific installation\, and a suite of photographs that describe the artist’s unusual drawing process\, which was developed over the course of three years. The subsequent photographing of his installations\, digital recreation\, and silkscreening all point to an interest in documenting and lengthening the tenure of these temporary compositions. Taking the images further in these mediums extends the depth of play within the artistic practice\, while simultaneously capturing the changes and physical decay of the dynamic drawings. Jeff Kulak has found a working method to create large scale drawings with minimal resources that challenges and extends the traditional concepts concerning the parameters of drawing. \nInterview between Scott Baird and Jeff Kulak:\nQ: How did you begin making these experimental drawings\, and what led you to utilize the printmaking process as a form of documentation for your installations? \n A: I started making the drawings on my apartment walls and usually left them up for a few weeks before trying another composition. The tension of the string against the tape led to \nunpredictable changes in the form of the drawing over the course of its lifespan. Initially when I returned home to find a drawing had lost some of its structure\, drooping or tangled into itself\, I felt a disappointment at the loss of the precision of the original alignment. At some point I recognized this feeling of disappointment as something compelling and inherent to this method of playing with point and line. \nThe prints serve to document this transition from an initial\, intentional composition towards a less controlled state. Using screen prints allowed me to overlay several states of the drawing very precisely\, mapping the trajectory of form as it surrendered to gravity or more deliberate cutting and pulling. In turn\, seeing the overlaid stages in the prints helped me understand the ways in which I could create the initial drawing with their eventual disintegration in mind.  \nQ: Your background in digital illustration and graphic design seems far removed from the tangible\, material nature of this type of drawing. Do you believe these two fields to be disparate? \nA: Finding a balance between the ability to rapidly experiment with alternatives on a computer and a more focused engagement with drawing and physical media is central to the way I approach my work. I think the string drawings tap into the desire to be exceedingly precise and are in many ways a lot like drawing with vectors on a computer. You can create long\, straight lines and very accurate angles.  \nIn a very concrete way\, most of the images I produce digitally are born of a process identical to the way I would approach a silkscreen. In a print I have to be more economical in terms of layering\, but when working digitally I often end up with images with a few hundred layers. \n  \nArtist Bio: By trade and training Jeff Kulak is a graphic designer and illustrator. His responsibility in both roles is to facilitate understanding of complex ideas through the use of graphic\, typographic and pictorial elements. Underlying his practice is an exploration of drawing as the basis for visual communication. What is a drawing? Where is its place today? How can it exist in the world in new ways? \nHe pursues responses to these questions through a process that incorporates chance\, change\, and a playful manipulation of common materials. Tape\, string\, adhesive vinyl\, found Paper and ink converge with digital and analogue printmaking techniques to create works that are mutable\, impermanent and responsive to the physical parameters of their environment.
URL:https://albertaprintmakers.com/event/string-and-tape/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_String_And_Tape-e1754456555357.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140914
DTEND;VALUE=DATE:20181013
DTSTAMP:20250801T205444Z
CREATED:20250801T205444Z
LAST-MODIFIED:20250801T205444Z
UID:10000283-1410652800-1539388799@albertaprintmakers.com
SUMMARY:Wasteland / Wanderland
DESCRIPTION:About the Exhibition\nWasteland / Wanderland  – exhibition essay by Shaun Crawford \nAny soul born from childhood will connect with the universal experience of growing up\, a sensation that Laura Peturson implores with apparent effortlessness – and capitalizes on as a space to draw attention to the world that today’s children are destined to inherit. Within large scale murals\, Peterson immerses her audience in a fantasy land that at first glance seems separate from the adult world. And yet\, there is something looming in the margins. Some hunch that two realms are in a quiet conflict with each other. The innocence of children\, so enchanting in the ease of their wonderment\, is being invaded by the greater\, corruptible\, ever more complicated context that  cradles them. The world we live in now.  \nLaura Peturson is based just outside of North Bay\, Northern Ontario\, a place known as “the gateway” between North and South. And so it is no accident that Peturson’s work also serves as a gateway\, a journey between two worlds. Her journey includes a B.F.A from York University in Toronto in 20011\, followed by an M.F.A from New York Academy of Art in 2005. And for the last decade\, Peterson has given her time as Associate Professor of the Department of Fine and Performing Arts at Nipissing University in North Bay Ontario. She has shared a myriad of exhibitions along the Eastern artistic hubs of Canada and the U.S\, including numerous shows through both Ontario and New York. Those shows have featured Peturson;s printmaking with a focus on relief\, screenprint\, and papercut processes. Though\, like any artist\, describing her simply by her academic history and preferred mediums falls drastically short of capturing her body of work- a narrative- based exploration of the defining experience of childhood and how its imprint and resulting identity interacts and resonates with place. And like many of her themes\, the notion of “place” represented an interconnected series of manifestations\, including geography\, internal space\, familial environments\, a globalized planet\, and no doubt much more than that. For Peturson is an artist that doesn’t seem too concerned with operating inside these constraints.  \nHer work is likewise ungoverned by arbitrary rules or constrained by boundaries\, be they artistic or imposed – most importantly those often self-imposed. And yet\, as much as her work exists in a boundless world\, it also lives on a razor thin edge\, that place that Peturson herself describes as\, “The line between peril and safety\,” a notion echoed in the title of her exhibition\, Wasteland/Wanderland. And “wander” and “wonder” and in doing so blurs the line between each. And wonder most certainly has a place in this exhibition as well. Be prepared to be immersed in an uncanny world\, an experience carrying with it both the familiar and the deliberately unknown. This Wasteland/Wanderland\, most definitely evoking a forest as a totem that immediately conjures a sense of both danger and whimsy\, borrows well from the history of children’s stories. Should anyone have had the good fortune to come across the original images from the wizard of Oz or Alice in Wonderland there will be a familiarity in the artistic style of Peturson’s work\, clearly influenced by earlier print images in children’s books. Within these woods\, overgrown\, dead\, or dying\, there is an instant sense of both nostalgia and fear. Nostalgia for the uninhabited and explorative experience of childhood and fear in the wisdom that burdens adulthood\, the recognition of peril and decay. But the dread that seeps out of every chasm and fissure in every root and every tree\, is still so easy to ignore\, even as it threatens to overtake the children that recall such a sense of enchantment.  \nChildren have been called the world’s most valuable natural resource\, and the irony of that claim is apparent in Peturson’s world\, intended or not. This precious resource\, incumbent with inheritance\, children are unwilling participants in the chapter-book of our collective worlds. Just as we all were once. And now\, in a space where we’re allowed to stand on the edge between that penultimate innocence and the gravitas knowledge we now possess\, what will it mean to each of us? What will we walk away with? What will we leave behind? Because in the answers to those questions\, may be the world that we entrust to the children.  \nAbout the Artist \nLaura Peturson is a printmaker based in Northern Ontario. Her work uses narrative to explore themes of childhood\, gender\, and place. She is interested in the ways the domestic spaces we inhabit as children form our identity and a conception of our place in relation to family\, geography\, and nature. Peterson’s recent work has been exhibited at Flowers Gallery (New York\, NY)\, The Thunder Bay Art Gallery (Thunder Bay\, ON)\, White Water Gallery (North BAy\, ON)\, and Idea Exchange (Cambridge\, ON). In January 2017\, she installed a 9 x 16 ft printmaking mural at the Gladstone Hotel as part of Come Up to My Room\, an exhibit in the Toronto Design Offsite Festival. Her recent curatorial projects include a national artist residency for the creation of site-specific installations in North Bay entitled You are Here: Visualizing Place at the Gateway to the North. Peterson teaches printmaking\, painting\, and drawing at Nipissing University. 
URL:https://albertaprintmakers.com/event/wasteland-wanderland/
CATEGORIES:Exhibition Past,Past
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