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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
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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
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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
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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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Present_Density.jpeg
END:VEVENT
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
END:VEVENT
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
END:VEVENT
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
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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
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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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Wander.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140903
DTEND;VALUE=DATE:20141019
DTSTAMP:20250801T195652Z
CREATED:20250801T195652Z
LAST-MODIFIED:20250801T195652Z
UID:10000278-1409702400-1413676799@albertaprintmakers.com
SUMMARY:Public School
DESCRIPTION:About the Exhibition\nPublic School began in early 2013 as a proposition to generate and sustain shared projects that involve a rotating roster of artists and thinkers spanning great distances. Ardent researchers and itinerant\, multidisciplinary artists in their own right\, Emily Hope and Lea Bucknell have modelled Public School to be a roving forum\, for inquiry and knowledge sharing. By mailing out thematic art kits to participants all over the country and exhibiting the results\, sharing information through the online Public School Newsletter \, and engaging communities with workshops\, artist talks and public forums\, Public School aims to develop a strong ensemble of talented collaborators.   \nCurators\, Lea Bucknell and Emily Hope are multidisciplinary artists with a strong focus on socially engaged projects.  \nArtists included in the exhibition:\nDan Anhorn\, Marnie Blair\, Jennifer Bowes\, Darlene Kalynka\, Andrea Kastner\, Donald Lawrence\, Colin Lyons\, Anna Madelska\, Nate McLeod\, Cassandra Paul\, Jamie Q.\, Sarah van Sloten\, Su Ying Strang\, Tania Willard\, Craig Willms
URL:https://albertaprintmakers.com/event/public-school/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Public_School.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140611
DTEND;VALUE=DATE:20140801
DTSTAMP:20250801T204438Z
CREATED:20250801T194622Z
LAST-MODIFIED:20250801T204438Z
UID:10000277-1402444800-1406851199@albertaprintmakers.com
SUMMARY:You Are Needed
DESCRIPTION:About the Exhibition\nYou Are Needed – Exhibition essay by Jessie Bryant \nEricka Walker’s lithographic prints in her series You Are Needed speak to the viewer across the decades that span early- 20th century wartime to the present day. Like a formidable call to attention\, viewers are invited to come face-to-face with the series’ bold imagery\, powerful imperatives\, and the deeper meanings behind them. \nAlthough Walker’s prints engage in a re-presentation of wartime propaganda posters\, they veer away – in increasingly apparent ways – from mere appropriation. As we perceive the intricate depiction of a horse’s flanks or the fine details of a rocket launcher\, we feel a sense of the artist’s celebratory reverence for machinery\, innovation\, and the lithographic craft itself. At the same time\, a poignant critique of propaganda appears tangibly woven into the display of text and imagery that are juxtaposed in unsettling ways. “Victory\,” reads one print\, “is a question of stamina.” The word “stamina\,” evoking endurance in the face of adversity\, visually sinks into near-obscurity behind ocean waves. This raises the possibility of destabilizing other seemingly sturdy principles in the propaganda vernacular: honour\, duty\, patriotism\, that which is ‘right.’ What are the meanings behind these principles? Are they foundationally sound\, objective and timeless\, or are they propped up by sticks\, and if so\, what would it take to blow them down? Walker hardly proposes a simple answer. \nBinaries course through text and imagery in You Are Needed. Beyond the thematic coupling of animal and machine\, violent and bucolic\, and individual and institution\, we discover other underlying dyads\, such as that between strength and insecurity. Underneath the bold semblance of power and perfection lay tinges of vulnerability\, which leaks through in words like ‘loss\,’ ‘question\,’ ‘demobilized’ and ‘reduced\,’ and in the unusual pairings of slogans and images that invoke inquiry rather than certainty. \nIt is in the occasionally unexpected transaction of these timeworn texts and images that we find the freshness abundant in these works\, and here we discover another binary: novelty within the familiar. In addressing\, but not displaying a preference for\, either aspect of these various relationships\, Walker opens the floor to possibility and even nominates a potential symbiosis of both alternatives within these pairings. As it is said\, the truth is never pure and rarely simple. \nA final relationship to touch upon is that between past and present\, as it is through the very lens of the past that these prints speak to contemporary issues. The use of familiar images and texts taps into the depth of the Western collective unconscious\, providing an eerily recognizable picture with which to highlight the Jungian ‘shadow’ aspects of Western growth: imperialism and war. You Are Needed invites us to confront these remnants of our collective past and their origins that\, though perhaps latent\, may be still present today. \nBecause our past shapes our future\, it is through a careful consideration of our history that we may meet current challenges and move forward conscientiously. You are needed\, as the viewer\, to address the urge to oversimplify complex and challenging issues\, and to reconsider within yourself notions of true and false\, good and evil\, right and wrong. \nAbout the Artist\nErika Walker explores the vernacular history of printmaking to illustrate contemporary relationships between the imagery of industry\, national identity\, familial histories\, nostalgia\, romance\, and war. Recent and upcoming exhibitions include group and solo exhibitions in North America and Europe\, and Walker’s work appears in public and private collections including the Denver Art Museum\, the Jingdezhen Ceramic Institute\, the University of British Columbia\, and the Athens School of Fine Arts. A selection of her Iithographic propaganda prints were recently reviewed in the Spring 2012 edition of Printmaking Today. Walker received a BA from the University of Wisconsin-Madison\, USA\, and an MFA from the University of Tennessee-Knoxville\, USA. She currently lives and works in Halifax\, Nova Scotia\, Canada\, where she is an Assistant Professor of Art at the Nova Scotia College of Art and Design. \n 
URL:https://albertaprintmakers.com/event/you-are-needed/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140416
DTEND;VALUE=DATE:20140601
DTSTAMP:20250801T193740Z
CREATED:20250801T193740Z
LAST-MODIFIED:20250801T193740Z
UID:10000276-1397606400-1401580799@albertaprintmakers.com
SUMMARY:Embroidery of Code Lines
DESCRIPTION:About the Exhibition\nExhibition essay by Stacey Watson \nBy choosing a drastic reduction of form and material\, Hélène Latulippe emphasizes action in her series Embroidery of Code Lines. Comprised of four prints\, made by inking an object and then rubbing paper laid over it\, the work demonstrates the simplest and earliest of printmaking techniques. Viewed from afar the lines depicted stand in orderly stillness\, but close-up they vibrate with inconsistency. \nIndeed if we are to consider that this could be code as the title suggests\, then it is the moments of delineation that require attention. There are the instances of larger trans­gression: where lines are split\, crossed\, paused or ended incomplete. These punctuations are at times made with collage: pasted craft paper causes slight elevations of the surface\, as an embroidery would do. Perhaps there is also a code within a code\, because the subtle meanderings of the lines\, so minute\, are like the grooves in a vinyl record. \nLess important here than a message within the marks is how the code is created. The titles of Latulippe’s prints at times lead the viewer to take note of actions which disturb the order of the lines (Rompre la ligne\, Franchir la ligne\, Point a la ligne). Still\, repetition dominates. In close-up are the details which document a hand at work\, working carefully over and over (again a link to embroidery as is intimated by the exhibition title). One can sense that there is a performative aspect to this work. To link these lines that immediately speak of control to a process of the body is one of the key points of meaning. \nIn the text “The Analysis of Performance Art” by A. Howell\, the author notes that “inconsistency is a primary action\, one of the fundamental poles of action:” He is referring to the repetition of performative acts\, a process in which inconsis­tency is unavoidable. Pure repetition is as impossible as pure inconsistency. Howell goes on to say\, “repetition underpins our inconsistencies:” It is meaningful to dwell further on repetition when looking at Embroidery of Code Lines\, because of a reference to printmaking tradition. \nOne must read works made in the printmaking tradi­tion in a different way now\, as compared to in days gone by. Current technology gives us the ability to repeat an action or duplicate a mark or object to precise exactitude\, with very very minimal inconsistency. The practical function of the early printmaking techniques (to copy image and text for distribution) is potentially an obsolete point in the meaning of a contemporary work made with these same methods. Or perhaps here it is key to meaning\, Hélène Latulippe calls attention to how traditional printmaking vibrated with life while making duplicated works with repeated acts. It is the performance of the artist\, in private or public\, inking and printing over and over\, that Embroidery of Code Lines celebrates. \nAbout the Artist \nHélène Latulippe was born in Quebec. She lives and works in Montreal. She first studied industrial design at the lnstitut des Arts appliques in Montreal (1968). She worked in large office spaces\, establishing the needs and setting functional and technical programs. But she kept visual arts in mind. \nTracking between work and family\, she received a bachelor’s degree in Fine Arts from Concordia University in Montreal in 2012. She also studied in Italy and in France. She has received grants from McGill University in Montreal and from the Conseil des Arts et des Lettres Quebec (CALQ). Her work has been shown in various exhibitions. Her next solo will take place next November at the Galerie d’Art du Pare in Trois-Rivieres\, Quebec.
URL:https://albertaprintmakers.com/event/embroidery-of-code-lines/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140226
DTEND;VALUE=DATE:20140406
DTSTAMP:20250801T190819Z
CREATED:20250801T190819Z
LAST-MODIFIED:20250801T190819Z
UID:10000275-1393372800-1396742399@albertaprintmakers.com
SUMMARY:World Machine
DESCRIPTION:About the Exhibition\nExhibition essay by Skylar Borgstrom  \nHalifax-based artist Mark Bovey uses printmaking techniques from past and present to explore his personal fascination with the ways humans connect\, learn and question place. Bovey presents the collapse of space and time\, known and unknown\, through the multiple layers and varied processes used to create his work.  \nBovey is an artist and Associate Professor at the Nova  Scotia College of Art and Design University who has exhibited both nationally and internationally. His work includes traditional printmaking techniques (intaglio\, lithography\, screen printing and woodcut) and more recent modes of artistic production including inkjet prints and digital video projection. With one foot in printmaking’s oldest and most fundamental technologies\, and the other residing firmly in the present\, Bovey’s work creates a bridge between that which we think we know and that which we seek to understand.  \nPreviously\, Bovey has used a combination of traditional and new media techniques to create installation works like those in Ledge_Suite (2011). Exhibited in “Last Frontier”\, which was curated by Sarah Filmore at the Art Gallery of Nova Scotia\, Ledge_Suite challenges our concepts as virtual as opposed to lived experience through a backlit video projection of century-old documents\, including a ledger from 1895 in works like Plume. For the past five years Mark Bovey has explored the nature of printmaking as a surrogate for the virtual experience and his current body of work is a continuation of his interest in the function of printed media in communication and technologies’ ever expanding nature.  \nFirst impressions of Bovey’s newest 20” x 30” faux slate works in World Machine reveal the use of “trompe-l’œil”\, an optical illusion or trick of the eye\, designed to give the viewer a sense that they are examining an age-old teaching tool and traditional repository or knowledge\, the chalkboard.  \nAs Bovey’s work\, created through multiple technologies and media\, writes\, re-writes and scrapes away the surface\, literally and figuratively\, so too does the traditional chalkboard. If a chalkboard is  a locale of learning and information transfer\, Bovey reveals it also as one of erasure\, repositioning and revised histories.  \nBovey’s critical understanding of printmaking’s varied process allows him to treat “every work as a journey” in which the exploration of a multitude of artistic media creates a forum for open dialogue between artist and viewer. Bovey’s hope is that the works elicits questions about the “evolution of knowledge through technology\,” as viewers are encouraged to evaluate their own relationship to art\, science\, knowledge and technological innovation. By contrasting the concept of “real” and the projection of “real” Bovey affords viewers the opportunity to question history and truth for themselves.  \nIf we agree that what we have been taught as factual history is in a reality a manufactured construct frequently gilded as truth\, and that technology is thought to have a homogenizing effect on culture\, Bovey’s World Machine exhibition attempts to usurp the effects of both “fact” and technology by combining them.  \nAbout the Artist\nMark Bovey is an artist and Associate Professor in the Printmak­ing Area at the Nova Scotia College of Art and Design in Hali­fax Nova Scotia Canada (2004-present). He received his MVA in Printmaking from the University of Alberta in 1992 and his BFA from Queen’s University in Kingston Ontario in 1989. Bovey’s work has represented Canada internationally in juried biennial and triennial exhibitions in 17 nations worldwide. He has exhibited in solo and group exhibitions across Canada including 15 curatorial projects. Bovey’s practice ranges from traditional printmaking (combinations of Intaglio\, Lithography\, screen printing and woodcut) to print installation works incorporating inkjet and digital video projection that reference and incorporate the history of printed forms. His work is in numerous collections\, most recently\, the Cana­dian Foreign Affairs Visual Art Collection\, The Art Gallery of Nova Scotia\, Halifax Canada\, Tama Arts University Tokyo\, and the Danforth Museum\, Boston Massachusetts USA.
URL:https://albertaprintmakers.com/event/world-machine/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_mark_Bovey.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140108
DTEND;VALUE=DATE:20140223
DTSTAMP:20250801T190103Z
CREATED:20250801T190103Z
LAST-MODIFIED:20250801T190103Z
UID:10000274-1389139200-1393113599@albertaprintmakers.com
SUMMARY:Capturing Moments: Tracing the Journey
DESCRIPTION:About the Exhibition\nCapturing Moments – exhibition essay by Sheri Nault \n“As for writing\, most people secretly believe they themselves have a book in them\, which they would write if they could only find the time.” Margaret Atwood\, Negotiating with the Dead \nJimin Lee creates and communicates stories\, through her prints\, of experiences which focus on the physical point of a body and the ways in which that body relates to the space around it. The incredible familiarity of the imagery she utilizes creates a sense of deja-vu\, allowing the viewer to see both a particular moment that Lee herself must have experienced and\, simultaneously\, one which they themselves may have had. Through this familiarity\, repetition\, and open narration Lee transforms brief captured moments into disarmingly familiar narratives about both the artist\, and her viewers. \nIn the past\, Lee has often been recognized for her work dealing with mundane and everyday objects; objects which have a relationship to her body through repetitive acts of touch\, indicative of and referential to lived personal experiences. Capturing Moments: Tracing the Journey is the third solo exhibition of Lee’s more recent series\, in which she has shifted from the physical relationship of the body to objects and\, instead\, considers the position of the body as a focal point within the experience of movement\, migration\, and environment. \nThrough unique and labour-intensive processes\, Lee creates images in which her familiar perspective is the centre of a nostalgic universe. She describes the view from within the containers that hold our bodies\, that we look out from within\, and experience the world through. \nContemporary experience is highly mobile\, it is physically and digitally globalized\, and many day to day activities lack an immediate physical reality\, they are digital\, cyber\, unreal –  there is no scent or smell or sensation of being within them. In contrast to this\, Lee\, through travelling\, began to focus on her experience of the tactile physicality of being in those places. These recent works consider travel\, literally\, through mobility and migration but also metaphorically\, as an experience that moves the individual. \n What is particularly striking about her work is the incredible accessibility of the images she creates. The road\, traffic\, vehicles interlocked in gradual movement\, or the view out the window of a plane are experiences\, tied to daily life\, that almost anyone can relate to. This open quality of her work invites viewers to insert their own stories and narratives into the visual spaces she has created – a potential amplified through manipulations of each image. \nThough the content of Lee’s prints may appear to be as immediate as a photo on instagram\, the process of producing these eerily familiar images includes many steps and translations. Each print may consist of one image or many\, combined through digital processes\, manipulated to create a singular narrative moment. Further\, whether edited minimally or laboriously\, the image must then be adapted to become viable for printmaking. Finally\, the seemingly immediate moment is transformed through the physically laborious process of producing the prints themselves. The effectiveness of Lee’s subtle manipulations is the deception\, translation\, and narration embedded within each of her familiar\, nostalgic images. \nProducing prints is a process that Lee relates to travel itself\, the outcome always uncertain. \nAbout the Artist\nJimin Lee is a Korean-born\, California-based artist. Lee has had solo exhibitions at Anchor Graphics in Chicago; QCC Art Gallery at the City University of New York; Don Soker Contemporary Art in San Francisco; DoART Gallery/Hyundai Gallery in Seoul\, Korea; Shirota Gallery in Tokyo\, Japan; An­ drewShire Gallery in Los Angeles; Megalo Gallery in Canberra\, Australia; Open Studio Gallery in Toronto\, Canada; and Guan­ Ian Original Printmaking Base in Shenzhen\, China. Notable group exhibitions include Crosscurrents: 8 American Contempo­ rary Printmakers at II Quadrato di Omega\, Rome\, Italy; Tradition & Innovation II at Museum Zallerein Halle 6\, Essen\, Germany; and Graphica Creative 2009 at Jyvaskyla Art Museum\, Jyvas­ kyla\, Finland. \nSince 1995 Lee has been living in the San Francisco Bay Area and she is a professor of art and heads the print media program at the University of California\, Santa Cruz\, USA.
URL:https://albertaprintmakers.com/event/capturing-moments-tracing-the-journey/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Jimin_Lee.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20131023
DTEND;VALUE=DATE:20131201
DTSTAMP:20250801T184349Z
CREATED:20250801T184349Z
LAST-MODIFIED:20250801T184349Z
UID:10000273-1382486400-1385855999@albertaprintmakers.com
SUMMARY:Wave Interference
DESCRIPTION:About the Exhibition\nWave Interference – exhibition essay by Keri Macleod \nUK artist Rachel Duckhouse exhibits her print-based artwork in Wave Interference\, a study of Calgary’s water infrastructure and the effects of the recent flooding. This body of work is the continuation of Duckhouse’s exploration of patterning and system map­ping–those familiar with her practice will recognize the delicate pen and ink drawings that highlight her skillful hand. Her work is dynamic- aesthetically it draws parallels to early Op Art in the way she represents rhythm and reverberation. Also present throughout the exhibition is an emotive quality that bridges the abstract with the personal. \nFor the past year\, Duckhouse has served as the Artist in Residence for Watershed+\, a partnership between the city of Calgary’s Public Art Program and its Parks and Utilities departments. Stationed at Ralph Klein Park\, she consulted with civic engineers in developing a visual language to represent the city’s water systems. She also had the opportunity to conduct field research and survey the trajectory of water flow throughout the municipal system. \nHer recent exhibition Only Flow at TRUCK Contemporary Art imagined Calgary’s waterways as if they were architectural elements in their own right- eliminating existing structures such as the riverbed and bridges from the picture plane allowing for the flowing water to take precedence. \nShortly after Only Flow opened\, disaster struck and Calgary’s overflowing rivers affected thousands of residents. Wave Interfer­ ence responds to the flood and serves as a means of continuing a dialogue that unites Calgarians around the subject of our water systems. “On the one hand I felt I had a responsibility to respond to the flood” Duckhouse says\, citing her position as Artist in Residence for the city’s water services\, “though on the other hand it is a very sensitive issue.” \nDuckhouse’s understanding and empathy for those affected by the flood is present in many facets of the exhibition: the large-scale silkscreen depicting an apartment Aoor plan inundated with rushing water pays homage to residents whose homes were wiped out. This particular print was the result of several conversations with a couple who lived in an apartment that had been flooded. \nDuckhouse asked each of them to hypothesize and visualize how the floodwater flowed into their apartment. The violence of the rushing water is startling- waves surge into the apartment and reverberate along adjacent walls creating a chaotic pattern of layered ripples.  \nAlongside this print is an audio piece that serves both as a didactic accompaniment and additional layer of sensory stimulation. The piece features the personal accounts of the aforementioned couple describing what transpired in their apartment. The voices gain momentum\, overlap and then recoil\, mimicking the swell of floodwater. The juxtaposition of objectively surveyed material and personal accounts of the disaster serve as cultural documents and a platform on which to continue the dialogue. \nAttention is also brought to the research component of Duck­ house’s residency with the digital reproduction of her notebook\, giving the viewer a rare opportunity to peer inside the process of artistic production. A trusty companion to many artists\, the ubiquitous Moleskine notebook is easily recognizable- its pages are replicated on a poster-sized print outlining the progression of her research. The print features hand-scrawled notes\, sketches and observations. \nRachel Duckhouse is in the final stages of her residency with Wa­tershed+\, currently hosted by Telus Spark. Upon her return to the UK\, she hopes to enroll in future research-based residencies and continue working in response to environmental elements.  \n Watershed+ Artist Residency Program at Ralph Klein Park is a part­nership between the City of Calgary’s Public Art Program\, Utilities & Environmental Protection \nAbout the Artist\nRachel Duckhouse is a UK-based visual artist specialising in abstract\, geometric etchings and screenprints as well as highly detailed\, labour intensive pen and ink drawings. Her practice is both research based and process led and is often characterised by repeated geometric motifs and arrangements of multi-layered\, sculptural forms in 20. The complex patterns and systems in nature\, architecture and human behaviour form the basis of much of her work either directly as a focus of research\, or indirectly in the processes of production on a more intuitive level. \nRachel explores Calgary’s watershed as a complex\, multi-layered system\, and her research has focused on the living\, moving network of water Aow patterns underpinning every local landscape. \nRachel has exhibited in galleries in Canada\, the USA and the UK\, including the Royal Academy in London and the National Gallery in Edinburgh\, and her drawings\, screenprints and etchings have been acquired by the British Museum in London. \n 
URL:https://albertaprintmakers.com/event/wave-interference/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Rachel_D.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20130904
DTEND;VALUE=DATE:20131020
DTSTAMP:20250801T182855Z
CREATED:20250801T182855Z
LAST-MODIFIED:20250801T182855Z
UID:10000272-1378252800-1382227199@albertaprintmakers.com
SUMMARY:Falling Angels
DESCRIPTION:About the Exhibition \nIn Light or In Darkness – exhibition essay by Lizzie Carr \nPrintmaking is an ever evolving artistic medium with techniques differentiating from one geographic region to the next. Print collaborates with the traditional and the modern\, using basic techniques with experimental and contemporary trends. Its technical diversity has broadened the concept and definition of print in the 21st century\, and artists working within this medium continue to push the boundaries and foster new possibilities for the art of printmaking. \nGuy Langevin is a remarkable artist who has made a distinct impression on printmaking in Canada. Through his skills in drawing\, lithography\, and mezzotint\, Langevin has become one of the most acclaimed Canadian print artists He has participated in more than 300 group exhibitions including 80 international biennials and juried exhibitions\, and has had more than 60 solo exhibitions in Canada\, U.S.A\, France\, Belgium\, Portugal\, China and Germany. \nLangevins’ solo exhibition\, Falling Angels\, at the Alberta Printmakers’ Society’s Artist Proof Gallery\, is a continuation of a former series. The exhibition consists of figurative mez­ zotint prints and digital prints. Using the human form as his subject\, Langevin’s mezzotints present a struggle between light and shadow\, between abstraction and realism. Moving on from his earlier works which display a dark background with light projecting from the human figure\, this series pres­ ents a clear background causing the figure to become less identifiable\, and thus wraps the human figure in it’s own darkness. \n‘Based on the duality between fugitiveness of light and moment*’\, Langevins’ work navigates between exactitude and blurry images to exaggerate this duality. The human figures portrayed\, twist and become disfigured\, modified by his ephemeral light\, which in turn rests itself upon a metaphor of man’s consciousness of his own death. The belief of the eternity of one’s spirit or soul\, or the attempt to make an existence appear longer in the memories of others\, becomes representative in the ambiguous movement of the human figures. \nAlthough in unascertainable positions\, the figures are falling. Yet no recognizable place\, no ground\, no safety net\, nothing that identifies reality besides the body placed on the paper\, is apparent. It is here\, in this realization\, that the viewer can decide and interpret where the figure is falling; in light\, or in darkness. There is a subtle yet constant aura of death\, which is only announced through the perceptible play of light and time in these prints. The human bodies moving throughout the space of the work become a material\, not a model. The body\, ‘is the image\, creates the image; it is not only a part of it.*’ By forming the human body without concrete identification\, the viewer is allowed to create their own pronouncement of the represented figure\, and develop his/ her own relation to the work. \nAbout the Artist\nGuy Langevin is an award-winning print artist based in Trois­ Rivieres\, Quebec. Originally from Chicoutimi\, Langevin moved. to Trois Rivieras to study art at the University of Quebec in the 1970s. He is an extremely accomplished artist who has been presented with many awards which include the Trois-Rivieres sans Frontieres Award in 2010\, the Guanlan International Print Prize\, Guanlan\, China in 2009\, and the Grand Prize of Bharat Bhavan Art Print Biennial\, Bhopal\, India in 2006. His work resides in multiple collections including the Musee du Quebec\, the lnstuto per la culture e I’ arte\, Catania\, Italia\, the City of Clamecy\, France\, and Teoartis Gallery\, Evora\, Portugal.
URL:https://albertaprintmakers.com/event/falling-angels/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Guy_L.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20130612
DTEND;VALUE=DATE:20130728
DTSTAMP:20250801T182325Z
CREATED:20250801T181952Z
LAST-MODIFIED:20250801T182325Z
UID:10000271-1370995200-1374969599@albertaprintmakers.com
SUMMARY:A Knight Move ou Petites Histoires Racontées Par Moi
DESCRIPTION:About the Exhibition \nProliferations of the Senses  – exhibition essay by Melinda Topilko \n“A line\, a tone\, is not really important because it records what you have seen\, but because of what it will lead you on to see”  – John Berger\, On Drawing. \nUsing ‘writing and drawing in space’ Pascaline Knight has created A Knight move ou Petites Histoires Racontees Par Moi; an installation composed of a variety of pieces that utilize not only traditional printmaking techniques\, but also collage\, embroidery\, sculptural elements and text. The title of the work references the game of chess\, one of strategy and anticipation of another’s motives; the transformative action of butterfly from larval (or child) stage to adulthood; and the deeply personal subject matter of the underlying theme of the exhibition – death by suicide. \nReferencing the daily and mundane details of life – often through a child-like lens – allows an access point to the work\, and a glimpse into the invisible behind the visible that inspires Knight’s practice. This fragile reality\, both intimate and shared\, is communicated through a non linear narrative about death and grief created by the images\, position of the objects and the use of text within the installation. \nThe centrepiece of the installation is the book A Knight Move ou I’Émergence de la Chrysalide. The silkscreened work is a combination of images and texts – in both French and English – taken from Knight’s personal journals\, themselves a daily exploration of ideas through drawing and writing\, and are presented alongside. \nThe wall works are a collection of smaller pieces that can be read individually and as a whole. Installed in a tight group\, some with threads leading between and over each other\, these pieces demonstrate Knight’s sensitivity for line and attention to detail. The images used and created are at once familiar and foreign\, resulting in both clarity and ambiguity of meaning that allows the ‘mind to fill in the gaps\, and make up its own storyline.’  \nExtending the dialogue\, Knight has created cement sculptures engraved with the letters R – E – G – R – E – T\, surrounded by small envelopes. Inviting viewers to write down a regret about a person lost\, and then place it within one of the envelopes to leave behind\, speaks to the universality and terrible uniqueness found in grief. \nAcknowledging the impossibility of knowing an individual’s inner emotions and thoughts\, Knight not only allows for\, but cultivates and anticipates\, the viewer’s unique and personal interpretation of the objects present both singularly and as a whole. Within the framework of Death\, Knight creates a space both physical and conceptual that plays with the tension created by our denial of the inevitable. In this way\, she is also speaking to the universality and unifying possibilities of the processes of grief and loss\, and how ‘our senses are perforations that allow experiences to leak between us’. \nThe artist would like to thank the Canada Arts Council and the Quebec Arts Council as well as IPOLC for their support in the realisation of this installation. \nAbout the Artist\nBorn in 1969\, Pascaline Knight lives and works in Montreal. She received her Bachelor of Fine Arts from Concordia University. She was selected by David Uss for an exhibition in Galerie VAV at Concordia in 1996. She studied and practiced abroad at the University of Philadelphia in Rome\, Italy\, a four month study in India\, a residency at the Printers Guild of Leith in Edinburgh\, Scotland and at the Lama Foundation in Taos\, New Mexico. Upon return to Montreal in 2001\, she developed silkscreen interventions with which she performed while directly printing phrases\, questions (what makes the irreversiblet). These interventions take diverse forms\, including the exhibition Aux Bons Plaisirs Fugace/ Sans Nom at Dare-Dare in Montreal.  \nKnight received grants from CALQ and CAC to write and publish the book A Knight Move. In 2011 she collaborated with Guillaume Brisson-Darveau with whom she has completed several residencies across Canada. Together they continue to explore the possibilities of silkscreening\, sculpture and performance\, which ore brought together through installations. \nShe is currently pursuing an artistic practice that comprises of performance\, drawing\, writing and collage.
URL:https://albertaprintmakers.com/event/a-knight-move-ou-petites-histoires-racontees-par-moi/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Knight.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20130417
DTEND;VALUE=DATE:20130602
DTSTAMP:20250801T181046Z
CREATED:20250801T181046Z
LAST-MODIFIED:20250801T181046Z
UID:10000270-1366156800-1370131199@albertaprintmakers.com
SUMMARY:Modus
DESCRIPTION:About the Exhibition\nPál Csaba – exhibition essay by Concetta Zurzolo  \nHungary has a rich history of art that lives alongside its’ vibrant contemporary art scene. It is often called the “Paris of the East” and is known for its stunning architecture. What a wonderful place to emerge as an artist\, an environment that all at once embraces the new while the old is still preserved and visible; a place where art is nurtured and has a welI-rooted presence. \nPál Csaba is a Hungarian artist based in the bustling capital city of Budapest. Csaba makes work using a variety of techniques and a wide range of subject matter. He says that the subject is often determined by the technique whether it’s printmaking\, paintings\, installation or digital prints. Inspiration for his most recent work is derived from the continuous conflict between our external world and our innermost dreams and desires. The viewer can clearly see this conflict when looking at the works. The harsh lines seem to embody this struggle. The question that Pál wants the viewer to answer is\, “what is real and what is our inner response to this reality?” \n“The human soul is full of unconscious desires and emotions and these often run counter to the desires of the external world. The opposition between what we feel and what we see causes conflict between our unconscious and conscious minds\, so that finally the desire to expel these incompatible forces overwhelms us. I want to express these unconscious elements (of the human psyche) in my work” -Pál Csaba \nPál’s images are not intended to represent nature\, but rather the focus is on the creative process\, its stratification and the construction of the absolute and the possibility to impress upon these images a sense of time. Each piece is titled with dates\, and the significance of these dates is meant to serve as a record of (human) experience.
URL:https://albertaprintmakers.com/event/modus/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20130227
DTEND;VALUE=DATE:20130407
DTSTAMP:20250801T180204Z
CREATED:20250801T180204Z
LAST-MODIFIED:20250801T180204Z
UID:10000269-1361923200-1365292799@albertaprintmakers.com
SUMMARY:Paul Mitchell
DESCRIPTION:About the Exhibition\nSo Close Yet So Far: Paul Mitchell’s Transmedia Yearning – exhibition essay by Mario Trono  \nWhen philosopher Slavoj Zizek looks for meaning in a horror film\, he suggests we should ignore whatever specifically causes the horror. Only then can we see the real content—the real horror—of the film’s story.This critical maneuver yields interesting results: Psycho becomes a film about women’s lives in a woman-hating society\, Alien a piece about exploited workers under capitalism\, and The Cabin in the Woods a treatise on humanism dying under consumerism. \nIt’s an interesting test for art of any type. \nSo. What happens if one disregards the ostensible or most obviously apparent contents of Paul Mitchell’s prints—the fragments of faces and bodies\, the letters limned by a line of ink\, the cartoon fang\, the facade of a house\, the tangle of trees and fencing? \nAnswer: Evidence of the intaglio printmaking process itself having taken place\, the scoring of surfaces and the subsequent insertion of ink into the resultant cavities\, a materially intimate act. And it is that act—the forceful and intentional manipulation of media to get one thing into another—that reflects the broader theme of this exhibition\, which is the restless\, transmedia urge to explode out of form\, content\, representation\, and materiality to forcibly (desperately? humanly?) connect with the Viewer-Other to ask\, “ls this Darkness in you too?” \nThe other formal elements of this exhibition\, beyond the prints\, inscribe and express a hunger to enter into a state of co­-consciousness with Beholders of the work\, as if a benevolent demon yearned to redeem possession and elevate it to sublimity\, but\, unable to bridge space and time\, had to turn to art and was trying everything! The exhibition’s various forms of expression attempt collectively to vault the Void ‘twixt self and other.The abstraction of the prints and their associative transmogrification of the mundane muck of urban dwelling attempts to draw you into the mystery of an Other’s psyche. Text whispers here\, and there\, evoking typographic language and the auditory register in ghostly fashion\, and since Word always implies Reader\, it is another call to you\,Viewer-Other\, from the hungry demon beyond the representation\, beyond the paper that stretches from ceiling to floor\, ensuring you maybe see Him\, maybe glimpse a shadow beyond surfaces\, as light from windows and spots plays its games\, the light of world paradoxically suggesting the dark of disconnection. \nThis transmedia\, itinerant\, and restless yearning for You finds further expression in the conceptual enactment provided by Amanda Schoofs\, an enactment that underscores the show’s theme of graphical-textual dissemination as a form of yearning for connection. Her costume is “composed” of the exhibition’s versions of this theme\, and since it materially spills onto the floor that the gallery-walking Other treads\, it reveals itself as another bid to traverse the gap between representation and represented\, and thus\, between viewed and viewer.That the costume remains as a relic of that effort is another echo that a Self was here\, moving in\, through\, and around the art\, a Self calling to you through materiality made significant. Be not fooled by Schoofs’ mock\, staged reading from The Plinth-Propped Book That Purports to Mean. (How could such meaning be stable when the “reading” is improvised?) Her performance is finally indeterminate in meaning because latent content is not the point.The overall exhibition is not about the yearning for connection\, for the inauguration of the co­-consciousness that art desperately hopes can come into being. It is a debris field of signification that provides evidence of an attempt to make it happen. \nCan it ever happen? Were it to\, art would disappear\, for there would be no need anymore to express oneself to other—Other would finally be Self. Today\, here\, now? We are at least able to embrace the consolation of Mitchell’s art\, art that at least lets you know that the Other is thinking of you.
URL:https://albertaprintmakers.com/event/paul-mitchell/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Paul_Mitchell.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20130109
DTEND;VALUE=DATE:20130217
DTSTAMP:20250820T221800Z
CREATED:20250820T221800Z
LAST-MODIFIED:20250820T221800Z
UID:10000268-1357689600-1361059199@albertaprintmakers.com
SUMMARY:The Invention Moves in
DESCRIPTION:About the Exhibition\nThe Invention Moves in – exhibition essay by Tracy Wormsbecker  \n“An invention starts as a curiosity\, extra to what seems necessary. We may regard it at first from a mental distance of amusement or amazement\, as something bizarre or exotic. Then\, if successful\, the invention moves in\, bringing pandemonium. Like a rearrangement of our furniture\, it treacherously alters familiar terrain. It disrupts habits\, roughs up values\, and generally remould us- drastically\, like the automobile; subtly like the microchip – into different people in a different kind of world.” – Peter Schjeldahl\, “The Instant Age\,” in Legacy of Light\, ed. Constance Sullivan.  \nAlthough it was written to introduce a book celebrating the Polaroid instant photograph as “the climax of the invention cycle” and “one of photography’s most extraordinary advances\,” this passage\, which is perhaps more relevant in today’s digital terrain\, echoes through Michelle Brownridge’s current exhibition. Since the advent of digital technology\, the rate of technological advancement and its pervasive role in contemporary life seems to be accelerating dramatically. Amidst the quickening cycle of new replacing the old. The Invention Moves In invites us to take pause. Through her thoughtful selection of media and subject matter\, Brownridge artfully underscores the outdated within a contemporary context and invites us to re-examine our understanding of the obsolete and its perceived value in the modern world.  \nIn her process\, Brownridge uses both an iPhone and original Polaroid instant film to capture the images shown throughout this exhibit. While the result is similar\, a more conspicuous comparison is achieved through contrasting modern and antiquated printing techniques by layering each digitally enlarged image and printed photograph with stone lithography. Although we may initially be drawn to the digitally printed photographic images\, it is the lithographed patterns sourced from security envelopes\, which cover each scene that lends a distinct and authentic aesthetic quality to each piece. Demonstrating the influential presence that modern digital technology has in print media\, Brownridge compels us to engage with the traditional method and successfully illustrates that while it may be considered obsolete in comparison\, it continues to share this presence.  \nHer carefully chosen imagery likewise incites an alluring engagement with the obsolete. By depicting scenes and objects that are readily identified as outdated and technologically archaic by modern standards\, Brownridge entices us with nostalgic sentiment for a previous time and place. But when can we confidently locate these images in time? It may be reasonable to assume that they were photographed several years\, even decades ago\, yet digital processes including iphone photography reveal that they actually exist in a current time and place. Brownridge aims to elicit this confusion and by doing so\, suggest biased perceptions of contemporary life that are skewed towards the latest invention\, which\, as the opening quote states\, “alters familiar terrain” into what we come to interpret as a “different kind of world.” The modern and outdated tend to be seen as mutually exclusive – the former belonging to the contemporary; the latter belonging to the past – and not residing in the same contemporary context. As Brownridge illustrates however\, they do indeed coexist.  \nAs the old continues to give way to what is newer and often viewed as more exciting\, the world and our perceptions of it are indeed rearranged and remoulded. What was once new quickly becomes outdated and subsequently seems to carry an inherent quality of loss. Disregarded as obsolete\, the outdated may therefore not be considered relevant in a contemporary context. Through this exhibition\, Brownridge reminds us that the outdated coexists with the contemporary and retains a certain siginific=gancer and appeal; as invention continues to move in\, the obsolete and its influence persist.  \nAbout the Artist\nMichelle Brownridge studied print media at the University of Regina. She has participated in print exchanges across North America including Miami\, Chicago\, Buffalo and Seattle\, and has exhibited in a number of group shows in Canada. Her work is also represented in permanent collections at the University of Regina\,as well as the PrintZero Studios Collection in Seattle. This is her first exhibition in Calgary. 
URL:https://albertaprintmakers.com/event/the-invention-moves-in/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Michelle_B.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20121017
DTEND;VALUE=DATE:20121125
DTSTAMP:20250801T160444Z
CREATED:20250801T160444Z
LAST-MODIFIED:20250801T160444Z
UID:10000261-1350432000-1353801599@albertaprintmakers.com
SUMMARY:Accidental Poetry
DESCRIPTION:About the Exhibition \nAccidental Poetry – exhibition essay by Loren Spector \nAccidental Poetry presents a selection of ultraviolet screen prints by Briar Craig. Craig’s prints invite consideration of the varied and sundry fragmented visual experiences that signify moving through one’s day in a society teeming with visual debris\, and invite us to question if and how we consciously or unconsciously make connections that give meaning to the messages.  \nBriar Craig is a printmaker\, a screen printer in particular. He has said that\, “one of the reasons [he is] an ardent printmaking advocate is for its ability to amalgamate and synthesize diverse imagery\, materials\, and approaches to art-making.” The evolution of Craig’s work across the last twenty-some years conceals entirely where the techniques and materials of printmaking inform his work\, and where the content of his imagery necessitates choosing printmaking for its materialization. But the synthesis within Craig’s work is incomplete – in the best possible way. \nA duality bordering on contradiction lurks about the edges of a Briar Craig exhibition\, Accidental Poetry being no exception. His pieces raise questions\, and only half-heartedly suggest clues towards answers. They ask us to examine the relationship and the separation/space between form and content\, between media and message\, between art and gallery space\, between the personal and the public\, and between viewer and art. \nIt is typical\, when approaching “printmaking” in a gallery setting\, to move in close to the work\, nose-to-glass as it were\, in order to better read the fine marks\, layers and intricacies of the piece. While Craig’s prints are certainly intricate\, the extensive layers of translucent colour\, tactile surface qualities and myriad nuances and subtleties generated by the photographic process uncharacteristically lead the viewer to step back – to take in a broader view of the work and perhaps to seek a context that distance might provide. \nThese are narrative images that read very successfully as abstract work – an esthetic that will happily usurp the minor impetus of theory within\, should the viewer allow that to happen. \nAh\, but what of those unanswered questions? One can lose oneself in the attraction of the ink for only so long\, before returning to the beguiling nature of the narrative/poem presented. Yet a theorized reading of the images does not determine a foregone conclusion of meaning therein. Craig marries Dada and absurdist thought with a Pop Art sensibility. Can an object at once have meaning provided by the context of its reception\, and also be so commonplace as to lose all significance except as a symbol of how well we know it? (i.e. is an image of a National Geographic magazine cover a place­ holder for associations with the wild\, untamed corners of the Earth\, or an ironic reference to boxes stored in musty garages?) \nCraig writes\, “Whether we are walking down a street\, listening to a radio\, surfing television channels\, or reading a newspaper each of us will be individually drawn to specific things for specific and personal reasons... My frequent use of hand written texts and of weathered objects is an attempt to appeal to the viewer on the most basic and ‘human’ of levels. The texts and objects I use are often the ‘clues’ we leave behind that reveal who we are and the kinds of things that occupy our lives.” \nIn the works shown at the Artist Proof Gallery\, Craig employs a principle of chance to bring found words together in what he calls accidental poetry. Words that might not typically be connected are juxtaposed for their provocative and evocative potential\, to invite interpretation. But Craig’s evident choice of just exactly what words will be juxtaposed is an aware and artful mischief that challenges viewers to interpret the clues he leaves behind in his text/object-pairings to deduce an intended meaning\, all the while instinctively aware of our own individual meaning-making practices.
URL:https://albertaprintmakers.com/event/accidental-poetry/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/12_BriarCraig.jpeg
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