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DTSTART;VALUE=DATE:20150904
DTEND;VALUE=DATE:20151018
DTSTAMP:20250806T060948Z
CREATED:20250806T060948Z
LAST-MODIFIED:20250806T060948Z
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SUMMARY:Present Density
DESCRIPTION:About the Exhibition \nExhibition essay by Dan O’Neill  \n“A line is a dot that went for a walk” – Paul Klee \nIt’s an obvious state of affairs\, blanketed as we are under multiple cultural moods\, warmed by communal temperatures and showered by the shifting presence of things; that our senses are replenished in a second to second unfolding of lived events. And it is also an obvious state of affairs that we are carried by uncompromising waves of physical and cognitive tension\, bound together in ever changing minute-to-minute negotiation with all things. \nStoicism communicates universal forces of attraction uniting elements and beings embodied in a word we value\, Sympathy. From that perspective\, it is likely Jolowize continues with a variation of this filtering exercise\, where the influence of elements on the beings in her work\, impart the notion that they may be sympathizing with their situations. She also extends that occasion\, unlocking signs pointing toward mindfulness in favor of empathy\, an analogous force of attraction\, one of deep absorption more accurately aligned perhaps\, to what Jolowicz depicts. We should make every effort to decipher what we see on our own terms. \nAll stimuli calculate action and reaction\, compelling us to take stock of the hour upon hour tide of such cause and effect; lived action leaving indelible traces of multiple encounters\, abundant fleeting moments\, so many remembered expressions. We are a privileged species and for better or for worse\, we are a tectonic mass. Evidently\, her reflections describe some of the shifting sympathies of social tectonics\, a fundamental gesture from Jolowicz\, where she tells us how to dance with the material world. Creative action engraves everlasting furrows into enriched cognitive soil and it is there that Jolowicz sows her thoughtful traces\, the purpose of which intends to cultivate\, harvest and celebrate the thanksgiving of our common experience. This is a major intersection where Gabriela leads us\, compelling us to cross under a mindset of open sympathy; where we’ll recognize in crossing\, that the effects of her image gravity really attracts us in an invitation to gracefully empathize. \nJolowicz imagines streams of retrievable records as our birthright to the past in order to progress in the present\, with a potential view of the future. She preserves compressions of existence; that’s obvious. Mapping perceived excursions\, hiking cultural elevations ripening with communal spaces over which\, through which she moves and harvests; Jolowicz picks up unrehearsed visual cues much like nectar is returned to the hive. One sure result of gathering these reflections accumulated from Jolowicz’s flight path is the guaranteed promise of a sweetness of image incubation\, a human custom in which reminiscences slumber before they are awakened. In its various guises\, memory catnaps well hidden in the honeycombed subconscious and digital memories keep well enough on memory cards\, without appreciable deterioration one might add. Yet as we all know\, it is the image alone no matter how it is conjured\, that will radiate familiar sparks as it is brought to surface\, assuming concrete form. \nBuoyed by the digital\, the present-day analog record keeping Gabriela Jolowicz registers\, sound the facets and fragments of sense perception; the busy-ness of any peculiar day gathered in countless gestures cloaked in an intimate method of image invention. Here at this material intersection\, Jolowicz crosses repeatedly with purpose and ease\, moving to and from her studio work venturing through an open concept social world where details are later nurtured by physical effort; forcing carving blades to link with her observations. This solitary activity never fails to fascinate\, to imagine the larger preoccupation Jolowicz pursues carving stories into graphic voices\, speaking between the wholly analog and the virtual digital.  \nJolowicz shares this preoccupation with a distant methodology\, where conversations talk of public and private records\, filtered from within communal spaces and populated events. It is at this vibrant intersection where Jolowicz crosses\, one that signals a beautiful pertinence in making critical documents\, where action and reaction are married to making images\, incised here and printed several hundred years after the fact. \nThe anomalous spaces Gabriela stores hold the inventions of wanderers\, of locations\, illuminated screens and diagrammatic stations\, and always an avalanche of objects and elements blanketing our telltale associations; faced with multiple compressions she infers intuitively\, depicting less than what one is inclined to feel. With prowess and well positioned\, Jolowicz conveys her moment-to-moment observations where compositional forces take precedent\, succinctly outlining for us that the telling matters most. \nThat tactic is welcomed\, refreshing really. We should never be offered the whole story; we must learn instead to look carefully and consider listening\, to participate in translating whatever telltale hints Jolowiez offers\, expressly in our own terms. \nHow else should we learn to walk with the day-to-day diversions Gabriela presents?
URL:https://albertaprintmakers.com/event/present-density/
CATEGORIES:Exhibition Past,Past
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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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Creation_Universe.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150107
DTEND;VALUE=DATE:20150222
DTSTAMP:20250806T051348Z
CREATED:20250806T050245Z
LAST-MODIFIED:20250806T051348Z
UID:10000286-1420588800-1424563199@albertaprintmakers.com
SUMMARY:String and Tape
DESCRIPTION:About the Exhibition\nExhibition essay by Scott Baird  \nThe briefest\, most glancing analysis of contemporary drawing practice reveals the obvious variety of work exhibited under the name of “drawing”\, making it increasingly more difficult to define the term. Drawing is traditionally seen as the basis of visual communication\, existing well before the written alphabet or culturally complex language. Within all of its many forms\, the act of drawing retains the most basic systematic process: to observe\, understand\, and record. In his work\, Jeff Kulak takes on the responsibility of facilitating the understanding of complex ideas through graphic\, typographic\, and pictorial elements. \nHis unconventional works challenge the public’s preconceptions about which forms a drawing can take. The experimentation with composition resembles the organization of visual data in diagrams\, mind-maps\, and flow charts. The playful use of such alternative materials as string\, tape\, and vinyl adhesive brings the drawings into a three-dimensional space in which they must respond to the parameters of their environment\, while retaining the two-dimensional characteristics of the geometrically linear\, canonical drawing. \nThese materials betray the perfection of ideal geometry and mi- pose an ephemeral\, temporary nature on the work\, which inspires the artist to further capture the effects of gravity and tension on his drawings. \nString and Tape consists of four silkscreened prints\, a site-specific installation\, and a suite of photographs that describe the artist’s unusual drawing process\, which was developed over the course of three years. The subsequent photographing of his installations\, digital recreation\, and silkscreening all point to an interest in documenting and lengthening the tenure of these temporary compositions. Taking the images further in these mediums extends the depth of play within the artistic practice\, while simultaneously capturing the changes and physical decay of the dynamic drawings. Jeff Kulak has found a working method to create large scale drawings with minimal resources that challenges and extends the traditional concepts concerning the parameters of drawing. \nInterview between Scott Baird and Jeff Kulak:\nQ: How did you begin making these experimental drawings\, and what led you to utilize the printmaking process as a form of documentation for your installations? \n A: I started making the drawings on my apartment walls and usually left them up for a few weeks before trying another composition. The tension of the string against the tape led to \nunpredictable changes in the form of the drawing over the course of its lifespan. Initially when I returned home to find a drawing had lost some of its structure\, drooping or tangled into itself\, I felt a disappointment at the loss of the precision of the original alignment. At some point I recognized this feeling of disappointment as something compelling and inherent to this method of playing with point and line. \nThe prints serve to document this transition from an initial\, intentional composition towards a less controlled state. Using screen prints allowed me to overlay several states of the drawing very precisely\, mapping the trajectory of form as it surrendered to gravity or more deliberate cutting and pulling. In turn\, seeing the overlaid stages in the prints helped me understand the ways in which I could create the initial drawing with their eventual disintegration in mind.  \nQ: Your background in digital illustration and graphic design seems far removed from the tangible\, material nature of this type of drawing. Do you believe these two fields to be disparate? \nA: Finding a balance between the ability to rapidly experiment with alternatives on a computer and a more focused engagement with drawing and physical media is central to the way I approach my work. I think the string drawings tap into the desire to be exceedingly precise and are in many ways a lot like drawing with vectors on a computer. You can create long\, straight lines and very accurate angles.  \nIn a very concrete way\, most of the images I produce digitally are born of a process identical to the way I would approach a silkscreen. In a print I have to be more economical in terms of layering\, but when working digitally I often end up with images with a few hundred layers. \n  \nArtist Bio: By trade and training Jeff Kulak is a graphic designer and illustrator. His responsibility in both roles is to facilitate understanding of complex ideas through the use of graphic\, typographic and pictorial elements. Underlying his practice is an exploration of drawing as the basis for visual communication. What is a drawing? Where is its place today? How can it exist in the world in new ways? \nHe pursues responses to these questions through a process that incorporates chance\, change\, and a playful manipulation of common materials. Tape\, string\, adhesive vinyl\, found Paper and ink converge with digital and analogue printmaking techniques to create works that are mutable\, impermanent and responsive to the physical parameters of their environment.
URL:https://albertaprintmakers.com/event/string-and-tape/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_String_And_Tape-e1754456555357.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140914
DTEND;VALUE=DATE:20181013
DTSTAMP:20250801T205444Z
CREATED:20250801T205444Z
LAST-MODIFIED:20250801T205444Z
UID:10000283-1410652800-1539388799@albertaprintmakers.com
SUMMARY:Wasteland / Wanderland
DESCRIPTION:About the Exhibition\nWasteland / Wanderland  – exhibition essay by Shaun Crawford \nAny soul born from childhood will connect with the universal experience of growing up\, a sensation that Laura Peturson implores with apparent effortlessness – and capitalizes on as a space to draw attention to the world that today’s children are destined to inherit. Within large scale murals\, Peterson immerses her audience in a fantasy land that at first glance seems separate from the adult world. And yet\, there is something looming in the margins. Some hunch that two realms are in a quiet conflict with each other. The innocence of children\, so enchanting in the ease of their wonderment\, is being invaded by the greater\, corruptible\, ever more complicated context that  cradles them. The world we live in now.  \nLaura Peturson is based just outside of North Bay\, Northern Ontario\, a place known as “the gateway” between North and South. And so it is no accident that Peturson’s work also serves as a gateway\, a journey between two worlds. Her journey includes a B.F.A from York University in Toronto in 20011\, followed by an M.F.A from New York Academy of Art in 2005. And for the last decade\, Peterson has given her time as Associate Professor of the Department of Fine and Performing Arts at Nipissing University in North Bay Ontario. She has shared a myriad of exhibitions along the Eastern artistic hubs of Canada and the U.S\, including numerous shows through both Ontario and New York. Those shows have featured Peturson;s printmaking with a focus on relief\, screenprint\, and papercut processes. Though\, like any artist\, describing her simply by her academic history and preferred mediums falls drastically short of capturing her body of work- a narrative- based exploration of the defining experience of childhood and how its imprint and resulting identity interacts and resonates with place. And like many of her themes\, the notion of “place” represented an interconnected series of manifestations\, including geography\, internal space\, familial environments\, a globalized planet\, and no doubt much more than that. For Peturson is an artist that doesn’t seem too concerned with operating inside these constraints.  \nHer work is likewise ungoverned by arbitrary rules or constrained by boundaries\, be they artistic or imposed – most importantly those often self-imposed. And yet\, as much as her work exists in a boundless world\, it also lives on a razor thin edge\, that place that Peturson herself describes as\, “The line between peril and safety\,” a notion echoed in the title of her exhibition\, Wasteland/Wanderland. And “wander” and “wonder” and in doing so blurs the line between each. And wonder most certainly has a place in this exhibition as well. Be prepared to be immersed in an uncanny world\, an experience carrying with it both the familiar and the deliberately unknown. This Wasteland/Wanderland\, most definitely evoking a forest as a totem that immediately conjures a sense of both danger and whimsy\, borrows well from the history of children’s stories. Should anyone have had the good fortune to come across the original images from the wizard of Oz or Alice in Wonderland there will be a familiarity in the artistic style of Peturson’s work\, clearly influenced by earlier print images in children’s books. Within these woods\, overgrown\, dead\, or dying\, there is an instant sense of both nostalgia and fear. Nostalgia for the uninhabited and explorative experience of childhood and fear in the wisdom that burdens adulthood\, the recognition of peril and decay. But the dread that seeps out of every chasm and fissure in every root and every tree\, is still so easy to ignore\, even as it threatens to overtake the children that recall such a sense of enchantment.  \nChildren have been called the world’s most valuable natural resource\, and the irony of that claim is apparent in Peturson’s world\, intended or not. This precious resource\, incumbent with inheritance\, children are unwilling participants in the chapter-book of our collective worlds. Just as we all were once. And now\, in a space where we’re allowed to stand on the edge between that penultimate innocence and the gravitas knowledge we now possess\, what will it mean to each of us? What will we walk away with? What will we leave behind? Because in the answers to those questions\, may be the world that we entrust to the children.  \nAbout the Artist \nLaura Peturson is a printmaker based in Northern Ontario. Her work uses narrative to explore themes of childhood\, gender\, and place. She is interested in the ways the domestic spaces we inhabit as children form our identity and a conception of our place in relation to family\, geography\, and nature. Peterson’s recent work has been exhibited at Flowers Gallery (New York\, NY)\, The Thunder Bay Art Gallery (Thunder Bay\, ON)\, White Water Gallery (North BAy\, ON)\, and Idea Exchange (Cambridge\, ON). In January 2017\, she installed a 9 x 16 ft printmaking mural at the Gladstone Hotel as part of Come Up to My Room\, an exhibit in the Toronto Design Offsite Festival. Her recent curatorial projects include a national artist residency for the creation of site-specific installations in North Bay entitled You are Here: Visualizing Place at the Gateway to the North. Peterson teaches printmaking\, painting\, and drawing at Nipissing University. 
URL:https://albertaprintmakers.com/event/wasteland-wanderland/
CATEGORIES:Exhibition Past,Past
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
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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
END:VEVENT
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
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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
END:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Pal_Csaba.jpeg
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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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120905
DTEND;VALUE=DATE:20121014
DTSTAMP:20250801T175625Z
CREATED:20250801T155738Z
LAST-MODIFIED:20250801T175625Z
UID:10000260-1346803200-1350172799@albertaprintmakers.com
SUMMARY:Reclamation: Etchings and Lithographs
DESCRIPTION:About the Exhibition\nCurtis Bartone: Reclamation – exhibition essay by Tracy Wormsbecker \nIn Reclamation\, accomplished American artist Curtis Bartone presents us with a collection of recent works consisting of 18 masterfully executed etchings and lithographs. The works comprise narratives that offer astute and often tense juxtapositions of nature’s flora and fauna with manufactured human artifice. While some works uncover a sense of beauty in this apparent disharmony\, a tense and foreboding sense of loss underscores his work\, highlighting that wilderness has changed from being a real pristine place to a kind of distorted fiction.Through the works presented in Reclamation\, Bartone encourages us to consider difficult questions about our apparent biased and arbitrary classifications of nature that drive our efforts to exert control over it in an attempt to fit the natural world into a human-centered paradigm. \n Formal influences from Italian Renaissance painting\, seventeenth century Dutch still life and nineteenth century scientific illustration are evident throughout Bartone’s decadent and detailed works that simultaneously comprise a contemporary aesthetic. Rich in this visual aesthetic\, Bartone plays with scale and value\, exquisitely rendering his main subjects\, which are often chosen for our aversion to them\, to paradoxically draw us to each work and to entice a deep engagement with their layered meaning. \n In contrast to Bartone’s natural protagonists\, a human presence is implied by destructive manufactured artifices that lurk in the background of the scenes. In a way\, Bartone is setting a stage for us to view these scenes from outside our human-centered perspective and there is no doubt that the subjects of each work\, their placement within each scene\, and their specific pairings are intended to be provocative. \n For example\, works such as Strike and Nocturne that juxtapose plants and animals\, which we instinctively fear\, against backgrounds depicting golf courses and factories\, which in reality pose far likelier threats\,openly hint at our anthropocentric and somewhat arbitrary prejudices. In the large diptych Ora Et Labora\, we may reflect that our actions to control plants and animals are likewise arbitrary and context-dependent.This particular work presents a seemingly clear distinction between “bad\,” pesky weeds and animals on the left that humans typically try to restrict\, and “good\,” beneficial plants and animals on the right that humans typically welcome and encourage. Considering that our perspectives are prone to bias however\, closer examination reveals that each assigned value of good and bad can shift depending on the context. For example\, while we exterminate pesky rats in homes\, they are incredibly valuable and therefore bred for research\, and while roses are considered desirable\, commercially producing such plants often includes harmful pesticides and herbicides. \n Given the tense and noxious subject matter presented\, it seems difficult to imagine regaining a natural harmony and restoring the truly natural places that these works seem to mourn. However\, as the title of this show implies\, Bartone is suggesting optimism rooted in his belief that “there is a drive to reclaim what we have lost places that are mysterious\, unknown\,and pristine.” \n Is there hope of reclaiming the harmonious and real wilderness that we have lost to our attempts to control the natural world? Curtis Bartone certainly invites us to take time engaging with such questions presented in this collection of exquisite prints. \nAbout the Artist\nCurtis Bartone is represented by Printworks Gallery in Chicago\, Illinois.The recipient of several grants\, residencies\, and awards\, his work has been widely exhibited across the United States and internationally\, and is included in multiple permanent collections including the Telfair Museum of Art\, Savannah\, Georgia; Columbia College\, Chicago\, Illinois; and Block Museum of Art\,Evanston\, Illinois.
URL:https://albertaprintmakers.com/event/reclamation-etchings-and-lithographs/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/11_Curtis_Bartone.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120613
DTEND;VALUE=DATE:20120729
DTSTAMP:20250801T154742Z
CREATED:20250731T223746Z
LAST-MODIFIED:20250801T154742Z
UID:10000259-1339545600-1343519999@albertaprintmakers.com
SUMMARY:Exempla
DESCRIPTION:About the Exhibition\nExempla – exhibition essay by Nicole Boyce \nCombining artistic tradition with contemporary mythos\, Wendy Tokaryk’s Exempla examines spirituality in a morally ambiguous age.Inspired by Albrecht Durer’s moral allegories\, the collection uses color and movement to evoke a tranquil\, meditative mood\, coaxing the viewer into moral contemplation.Though graceful and understated\, the collection shares with Durer’s work a rich symbolism; through gentle iterations and soft\, natural tones\, Exempla leads the viewer through a process of spiritual discovery. \nIn the collection’s multi-print pieces\, the viewer sees the same theme repeated in several forms.The shapes are organic\, reminiscent of sunbursts\, plant cells\, organs rendered in gentle strokes.The colors are soft yet ripe; warm\, yolky yellows\, blush pinks and hushed\, minty greens create a spring-like palette\, suggesting an awakening or rebirth – something on the cusp of discovery. \nContrasting softness with vibrancy\, Tokaryk drags the viewer’s eye across the work\, making us aware of our processes of seeing and interpreting. In doing so\, she constructs a gentle provocation\, suggesting a question but not imposing an answer. The work is thought-provoking but unobtrusive;we feel not alienated but absorbed\, invited to join in the contemplative process. \nEven at their boldest – a vacuous blue sphere\, a color palette becoming darker and more constrained – Tokaryk’s pieces are tempered by soft edges and a quiet\, almost dream-like pace. Never melodramatic\, merely vivid and evocative\, they swell along their natural course\, coaxing the viewer through a personal journey. \nThe total effect is introspective and ethereal. Balanced and subtle\, the prints glow with an almost sublime light.Indeed\, the artist envisioned the prints as halos\, symbolic references to meditation\, illumination and enlightenment.While some areas are vivid and sharp\, others remain vague and tenuous\, suggesting notions pondered but not yet excavated. \nIn this way\, Exempla leads its viewers through a philosophical exploration\, asking us to examine our morality in the context of social ideals.The collection’s name has dual meaning: ‘exempla\,’ in the plural\, means pattern.The singular form – exemplum – means anecdote or sermon. Indeed\, these pieces are both patterns and anecdotes. In their movements and repetitions\, we feel an idea threaded\, looped\, frayed and amended – a notion under quiet but diligent inspection.  \nAs with all meditations\, Exempla is as much about process as enlightenment. The images give the sense of ripening and shifting within their own identities – although contained by borders\, they are not restricted from growth and discovery. The colours seem to distill and become aware of themselves before drifting back into a haze. There is a sense of moral ambiguity here – the search for truth portrayed as constant flux. \nAsking not just “are you good?” but ” what is goodness?”. Exempla is confident yet esoteric. The collection provides a catalyst for reflection\, marrying traditional engraving techniques with modern metaphysical questions. In doing so\, Tokaryk creates art both fresh and retrospective\, shedding new light on humanity’s search for meaning. \nAbout the Artist \nAn acclaimed print and paper artist\, Wendy Tokaryk has exhibited across Canada and Japan. With collections at the University of Calgary and The Glenbow Museum\, she is a significant presence in Alberta’s printmaking landscape.
URL:https://albertaprintmakers.com/event/exempla/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/10_WendyT.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120425
DTEND;VALUE=DATE:20120603
DTSTAMP:20250801T160642Z
CREATED:20250731T222935Z
LAST-MODIFIED:20250801T160642Z
UID:10000258-1335312000-1338681599@albertaprintmakers.com
SUMMARY:Transmutation of Being
DESCRIPTION:About the Exhibition\nMariana Moranduzzo-Static Processist – exhibition essay by Mario Trono \nMany artists allege a philosophical status for the meanings of their works. It‘s easy to do in artist statements\, and you can’t blame artists for trying. After all\,good work that is also compellingly theorized by its creator remains the ne plus ultra of the more stellar exhibitions. Since contemporary modes of art criticism long ago eschewed affect in favour of ontology\, and since the reports ofTheory’s demise are not so much greatly exaggerated as they are a kind of desperate\, wishful thinking\, we will continue to see some artists’ statements clogged by abstruse language and abortive argument\, tacked onto work that bears few traces of the claims made for it. \nYou will see precisely the opposite of this state of affairs in a show by visiting Portuguese artist Mariana Moranduzzo entitled Transmutation of Being. She offers an artist’s statement that I hope most viewers read after seeing (as I did) her etchings\, woodcuts\, and drawings on paper. The statement\, read after\, will most likely evince thinking congruent with your own. \nPresented many times in the work itself is the unmistakable contour of an object most figuratively akin to rock\, that most blunt symbol of materiality (and\, to the old existentialists\, of the burdens of consciousness). In a few of her counterpoint works\, the shape figures less prominently in what feel like desultory responses to those other clearer shapes\, a response that seems a type of thought. If architecture is frozen music\, then the abstractions of art are static thought. It feels to me like Moranduzzo‘s images\, collectively\, are thinking.  \nAnd they got me thinking. The rock-like object appears to float at times\, something that only suggests an experiential unlikelihood if one forgets physics. The earth itself is a weightless rock in space. But it has mass.The more mass (concentrated or otherwise) a body in space possesses\, the more gravity it has\, and as physics now tells us\, time itself will slow down near large celestial bodies. Rocks in space exist not in but are the very essence of the universe’s being.  \nBut as we all know\, paper covers rock; I wasn’t looking at rocks when I beheld these images but at paper. And so are/will you inside the exhibition space\, and that fact brings human perception into the equation that Einstein worked so hard to create in order to explain existence in space. Art\, more than other human creations\, needs to account for its own being\, especially complex art that ever sits-because of its complexity-at a cultural remove. The savviest art accounts for itself by drawing your being into a consideration of its being. This occurred to me as I beheld Moranduzzo’s “Earth Memory”wherein the rock-like object reminds one of a human skull. Gazing out of one’s skull is\, by its very nature\, a contemplative act\,and the contemplator is always deeply implicated in the contemplated. To perceive a rock or a piece of art when both you and what you look at exist together-in space and time inside never ending processes that govern existence-well\, that is itself a process. \nMoranduzzo’s work seems to suggest this\, or at the very least gets it. It’s like her images limn the contours and outlines of process ​​philosophy which holds that something we might call the Real is best understood not in terms of things but of processes. When you gaze at art\, you are in process with it\, inside the larger fold of gallery space and gallery hours\, inside the still larger phenomena of universal space and time. \nIn this sense\, Moranduzzo’s work is the real deal. Ironically\, she is a process-ist expressing herself in what is only ostensibly a static medium. Nothing is static. Not even the typographically set sequences of her and any other artist’s statement. After you’ve read my words\, and hers\, both she and I-and then you too-will move towards new and different meanings attributed to this art and what will soon become our earlier thoughts. In an unending process of meaning attribution. All our minds are one and the same as those rock-like objects-that is\, we are evidence of a coalescing in space and time of some… thing.
URL:https://albertaprintmakers.com/event/transmutation-of-being/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/09_MarianaM.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120229
DTEND;VALUE=DATE:20120415
DTSTAMP:20250731T222137Z
CREATED:20250731T222137Z
LAST-MODIFIED:20250731T222137Z
UID:10000257-1330473600-1334447999@albertaprintmakers.com
SUMMARY:Hybrid Figures
DESCRIPTION:About the Exhibition\nYuji Hiratsuka: Hybrid Figures – exhibition essay by Carrie Phillips-Kieser \n“Living only for the moment\, turning our full attention to the pleasures of the moon\, sun\, the cherry blossoms and the maple leaves\, singing songs\, drinking wine\, and diverting ourselves just in floating caring not a whit for the pauperism staring us in the face\, refusing to be disheartened like a gourd floating along with the floating world” – Asai Ryoi\, Tales of the Floating World. \nThis passage refers to the floating world of Ukiyo-e prints during the Edo era of the 17th century in Japan\, but it could just as easily be referring to the celebration of life depicted in Yuji Hiratsuka’s current exhibition. His etchings are of figures caught in full bloom of bleeding rose-reds\, indigo\, and rich lacquer black\, they are filled with intricate patterns and designs\, playful textures and layers; they awaken our senses and call our attention to heightened emotional tensions through their dramatic articulated gestures. The over articulated gestures of the figures are like actors arranged in synchronized poses of dance\, or moments frozen in contemplation and pleasure. \nUndeniably echoing the Barque exaggerations of past Japanese prints depicting actors from the Kabuki theatre\, particularly those of the artist Sharaku (fl. 1794-5) whose wood block prints depict contemporary actors in character conveying a sense of drama by distortion. Hiratsuka’s figures seem to announce or celebrate particular performances\, or portray emotions of the heart and body but with a contemporary update and twist. His actors are also spicy and taunt with tensions of desire and temptations. Set within luscious metaphorical landscapes\, forbidden ripe fruit is offered\, presented and indulged upon\, venus fly traps and pitcher plants mirror in the participation of the carnivorous consumption and one can not help but to feel caught up in the indulgence and even perhaps excesses of life. They fill tightly cropped spaces\, adding to the   heightened intensity of their depictions of human conditions. \nThere is also a bridging that happens in his prints; a bridge between the east and the west where traditions of the eastern past do not over shadow them being firmly rooted in Hiratsuka’s western reflections and surroundings. Hiratsuka’s use of contemporary western dress: the vests\, short flirting skirts and clinging dresses articulate current fashions of today and speak of a global merging of cultures. \nOverall the metaphors of deeper meaning\, there is a sense of humour and lightheartedness that abounds. These are happy times\, playful times\, and life is good\, even if it is seeped in extravagance\, and they beacon for us to take a moment to immerse ourselves in life’s plenty\, while we can. \nAbout the Artist\nAward-winning Yuji Hiratsuka is a professor of art at Oregon State University. He is widely exhibited through out the world and is in multiple collections\, including The British Museum in London and Tokyo Central Museum in Japan. This is his first exhibition in Calgary\, Alberta.
URL:https://albertaprintmakers.com/event/hybrid-figures/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/08_YujiHiratsuka.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120111
DTEND;VALUE=DATE:20120219
DTSTAMP:20250731T221604Z
CREATED:20250731T220507Z
LAST-MODIFIED:20250731T221604Z
UID:10000256-1326240000-1329609599@albertaprintmakers.com
SUMMARY:Between Vessels
DESCRIPTION:About the Exhibition\nJill Ho-You – exhibition essay by Jaron James Whittingham \n“The physical body retains traces of memory at the tissue\, cellular and molecular levels. My work draws insights from these visceral observations and attempts to express how our identities are linked to the often mysterious complexity of our bodies.” \nAs each cell of the individual is unique in its fleeting way\, each of Ho-You’s drawings conveys a unique and undeniable mystery. From the vague renderings of organs and microscopic fauna\, to the striking Rorschach blots\, the work alludes to a deeper meaning. Much like a scar that can neither confirm\, nor deny violence\, Ho-You’s work relies on the viewer to fill in the gaps. The conundrum of the physical memory is that it is both concrete and fluid\, and this is captured in the work through a dynamic range of mark making and media. \nAt times both abstract and technical\, Ho-You’s body of work asks a straight forward\, yet unanswerable question: “In what ways are personal memory\, emotion and cognition expressed through the physicality of the body?” \nThough science can dissect your body and infer elements of your life and behavior based on a near infinite number of factors\, a human being’s thoughts\, emotions and memories require computational power and storage space that eclipses the modern supercomputer. We can examine the heart and lungs and determine a life of cigarette smoking\, but we may never know why this young person picked up such a destructive habit. Was the habit inherited from a family member\, or was the habit picked up to impress a member of the opposite sex? \nThe physicality of the body is expressed in many ways\, and Ho-You has captured her own physicality in her work. Does the delicate mark making reflect a fragile soul? Does the stark use of negative space reflect a longing for companionship\, or perhaps a desire for solitude? Do the monochrome prints reflect an artist that is experimenting with the minimal\, or rejecting the complexity of a full palette of colour? \nJill Ho-You’s work deals with the duality of the physical and cerebral. This duality is mirrored directly by art it’s self\, both in the tactile tradition of art making and it’s ever evolving interpretation. Without interpretation\, art becomes scenery\, just as without memory or emotion\, the human body becomes furniture. Without physicality\, art is an idea\, and without the body\, the human being is a memory. \nThrough these questions\, Jill Ho-You has been able to take subtle works of two dimensional art\, and turn them in to a fully dimensional body of work. Simple and aesthetically pleasing in casual view\, and increasingly complex with further inspection.  \nAExploring transcendent themes of psychology and physicality of the body and mind\, Jill Ho-You presents her most recent body of works “Viscid” and “Empire”. Currently working on a MFA in print making from the University of Alberta\, the dynamic mixed media artist brings her work to the Alberta Printmakers Gallery. \nHo-You has shown her work worldwide\, and returns to Calgary for her first solo show for the Alberta Printmakers Society.  \n  \nAbout the Artist\nExploring transcendent themes of psychology and physicality of the body and mind\, Jill Ho-You presents her most recent body of works “Viscid” and “Empire”. Currently working on a MFA in print making from the University of Alberta\, the dynamic mixed media artist brings her work to the Alberta Printmakers Gallery. Ho-You has shown her work worldwide\, and returns to Calgary for her first solo show for the Alberta Printmakers Society.  \n 
URL:https://albertaprintmakers.com/event/between-vessels/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/07_JillHo-You.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20111019
DTEND;VALUE=DATE:20111112
DTSTAMP:20250801T165149Z
CREATED:20250801T165149Z
LAST-MODIFIED:20250801T165149Z
UID:10000267-1318982400-1321055999@albertaprintmakers.com
SUMMARY:I am the one\, Orgasmatron
DESCRIPTION:About the Exhibition\nJacinthe Loranger: I am the one\, Orgasmatron – exhibition essay by Stacey Watson \nJacinthe Loranger’s work may be psychedelic but it is also firmly grounded in the labours of putting together a silkscreen print. Her artistic practice has taken her down the rabbit- hole; viewers can follow her trail through investigations into installation\, performance\, photography and collage. However\, there is always the print. Popping up again and again\, there they are: finely crafted serigraphs. \nEvery piece Jacinthe completes is like the crescendo. There are no dull moments; collisions abound. Hers is a floating world of absurd cartoons groping grotesque props to a soundtrack of heavy metal. But for all this manic energy\, she writes with balanced clarity about her work. She says\, ” In opposition to the banality of everyday life\, my work offers a luminous\, unhinged alternative world in which every excess is a blissful celebration” (artist statement Loranger 2011). Based in Montreal\, Jacinthe has travelled to present her work in many locations and incarnations. This time in Calgary she will exhibit / am the one\, Orgasmatron at the Artist Proof Gallery. In this work the viewer will experience the blissful celebration going terribly awry when violence breaks out on a mythic quest. \nI am the one\, Orgasmatron presents a series of action-packed collages. Each one is like a landscape from an eighties computer game\, complete with a challenge\, ominous signs and odd characters. The title refers to a song by Motorhead\, one that lyrically rebels against organized religion and politics. Jacinthe’s work plays not so much upon the themes of protest but upon the culture of heavy metal\, the goth good times of basement-bedroom posters\, head-banging concerts and ripped t-shirts. There is the obligatory skull and candle\, the Ouija board\, the knight and sword; it’s all a pretty fun party. The action is definitely playful\, which is a natural extension from Jacinthe’s previous work role-playing in performance with props and prints. \nThe scenes are built up using multiple layers of printed shapes driven into formation by hand-cut collage work. The resulting flatness of the colours and choppy-ness of the forms appeals to the naivety of the pieces. It is all at the service of underlying sense of humour; these are hilarious works. The figures and shapes almost ask to be played with\, like on a felt-board in an elementary school\, they are ready to be moved around; the hand over the Ouija board\, the swinging mace. \nHowever\, Jacinthe is not fumbling around. These are skillful demonstrations of silkscreen. Hot colours are laid down with nonchalance and patterns are scattered with ease and decisiveness. It is really Jacinthe’s mastery over silkscreen as a process that creates the framework supporting all of her work. There is confidence underlying the experimentation and skillfulness directing the play. Therefore the viewer never gets lost while following on the heels of this artist through all her wild wanderings.
URL:https://albertaprintmakers.com/event/i-am-the-one-orgasmatron/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/01_Jacinthe.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110907
DTEND;VALUE=DATE:20111016
DTSTAMP:20250801T164518Z
CREATED:20250801T164518Z
LAST-MODIFIED:20250801T164518Z
UID:10000266-1315353600-1318723199@albertaprintmakers.com
SUMMARY:Origin Returning
DESCRIPTION:About the Exhibition\nReflective Movement in Kyla Fischer’s Origin Returning – exhibition essay by Sarah Nordean \nLiquid drips and swirls\, and repetitive\, organic shapes and lines suggest nature and landscapes in movement in Kyla Fischer’s exhibit Origin Returning. Viewers may find themselves oscillating between viewing the works as non-objective explorations of media and technique\, and also as poignant\, otherworldly landscapes. An upward thrust of a mountain\, an icy peak of snow\, a turbulent swirl of water\, or an ominous churning cloud emerge from the pools and splatters of Fischer’s abstract prints. \nFischer’s process is a comfortable tension between chaos and order\, marrying painterly dripping and splattering with more structured printing techniques. The compositions have been carefully considered\, and each print is comprised of a collage of 4 – 8 photo etching or photolithography plates. Paper is used as a medium in itself as Fischer prints on both sides of thin Japanese parchment to create a distinct veiled effect. \nIt is a tidal push/pull between these dichotomies–between chaos and order\, the non-objective and the objective\, and between detailed marks and conceptually expansive space­–that makes Fischer’s work so engaging. Her prints are comfortable being many things at once\, and invite prolonged contemplation from viewers. \nIn Origin\, repeating black drips and splotches appear to move outward from the centre of the image. A pale blue oblong shape seems to be the source of the emanating movement\, and the overall effect is of something bursting\, captured in space. The print is comprised of two identical adjacent images\, with one flipped\, creating a kind of reflection. Indeed a motif of reflection and oscillating movement runs throughout the exhibition\, visually as well as conceptually\, beginning with the title of the show\, Origin Returning\, and underscored by what Fischer indicates is the inspiration for her work–an 11th century\, reversible verse Chinese poem. \nSustaining the notion of reflection\, Fischer‘s ambiguous landscapes lend themselves to be open to viewers’ contemplations and interpretations. Psychoanalyst and theorist Jeanne Randolph uses the term amenable to describe this openness of artwork\, stating that a work’s ambiguous elements allow leeway for the viewer’s impulse to play with the illusion that has been created. Fischer’s work\, like a palindrome\, moves in two directions – towards the viewer and then back again as the viewer contemplates. \nA rhythm is generated in Fisher’s exhibition through repeated imagery and palindromic motion. From the movement of nature and landscape within the images\, to the reflective interactions viewers have with the work\, the exhibition pulsates with a subtle but constant peaceful energy.
URL:https://albertaprintmakers.com/event/origin-returning/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/02_KylaF.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110615
DTEND;VALUE=DATE:20110731
DTSTAMP:20250801T163521Z
CREATED:20250801T163521Z
LAST-MODIFIED:20250801T163521Z
UID:10000265-1308096000-1312070399@albertaprintmakers.com
SUMMARY:Variations on a Theme
DESCRIPTION:About the Exhibition\nLisette Thibeault – exhibition essay by Eveline Kolijn \nThe tapestries of swirling organic shapes created by Quebec artist Lisette Thibeault exhaust a vast range of possibilities that contemporary printmaking has to offer. Lisette is attracted to small and hidden organisms from miniature environments. She was inspired by botany for her most recent series of works\, which are on display at the Artist Proof Gallery. \nIn the collections from the Herbarium of Quebec\, she found a particular interesting specimen of lichen. She deconstructed this lichen through capturing a singular\, material strand from the specimen into an ephemeral\, digital image. Subsequently\, she proceeded to rebuild it in Photoshop into multiple different configurations. Guided by the principle of multiples in printmaking\, she cleverly mimicked the fractal structures found in nature where self-similarity\, split into multiple smaller copies of itself\, creates the most intricate patterns. To further explore and saturate possible mutations of her image\, Lisette uses both the positive and negative image of the object and creates mirror-compositions. The ephemeral gets transformed back into the material through the process of photo-etching on Plexiglas plates. Through the use of Chine-colle\, the artist added another layer of multiples by tiling and reflecting the same image several times in one print. \nFormal mathematical symmetries and organic shapes seem to compete with each other for attention. Are these living ​​organisms\, catalogued in a natural history compendium\, or scientific\, schematic\, representations? A symmetrical\, coiled\, skein of strands conveys the impression of fleshy veins knotted together. This impression is further aroused through the use of red and blue colors reminiscent of medical charts representing the schematic flow of blood through veins and arteries. Other compositions are more playful and delicate. Repeated wheel-like structures with the fronds of the lichen sticking out like spokes are barely touching each other like lacy gears\, suggesting the transfer of motion. A slower and stately movement is expressed in a pair of positive and negative prints where the lichen-strands are coiled in what seems to be a disjointed Mobius strip. It is remarkable how the artist has created this biomorphic universe out of a single strand. She engages the imagination of the viewer to recombine and continue the patterns\, stimulating a fantasy of poetic mutation.    \nAbout the Artist\nLisette Thibeault received an honorary mention for this body work at the 6111 International Contemporary Printmaking Biennial of Three Rivers\, 2009. The catalogue quotes that “Her masterly work is composed of twisting lines that create a form evoking nerve fibres and human tissues. She creates small format works of great strength.”  She is currently finishing her MFA degree at the Laval University in Quebec.
URL:https://albertaprintmakers.com/event/variations-on-a-theme/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/03_Lisette.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110420
DTEND;VALUE=DATE:20110605
DTSTAMP:20250801T162849Z
CREATED:20250801T162849Z
LAST-MODIFIED:20250801T162849Z
UID:10000264-1303257600-1307231999@albertaprintmakers.com
SUMMARY:Séripop
DESCRIPTION:Séripop – exhibition essay by Lisa Turner \nSéripop is the name under which Yannick Desranleau and Chloe Lum create screen-printed posters\, album covers\, books\, prints\, and most recently print installations. This Montreal duo has made a name for itself based primarily on their bold colours\, experimental\, graphic approach\, and pop aesthetic. \nInitially the two produced numerous screen-printed posters for their band AIDS Wolf\, and others; postering them around the cities they perform in. Over time the works were torn down\, collected\, obscured and covered by other promotions\, and the posters’ pristine appearance was transformed or destroyed by the elements. These days Séripop rarely produces posters in this vein\, and has since focused their creative energy on reinterpreting the poster and this experience. \nLa Battue\, an installation made for the gallery space draws on this history as Seripop employs screen-printed posters to cover the floor and walls of the gallery space. Prints are layered on top of each other as one would experience on the city streets – though this layering is perhaps not evident initially. A grinning face that consumes the majority of the floor space\, stares up at the viewer\, while a row of pyramids creates what looks like a crown\, hovering above it’s head on the wall. An anthropomorphic figure with the thought bubble “J’en ai rien à” meaning “I don’t give a” inhabits the wall space. \nBy presenting the urban inside the gallery\, Seripop aims to draw attention to the street poster as a topographical marker\, while commenting on the poster’s ephemeral state. As visitors attend the exhibition (and walk over the posters) the layers of prints are gradually revealed through the physical deterioration caused by this “foot traffic”. The work\, produced with standard industry poster paper\, can only withstand so much wear and tear; thus the piece is in constant state of flux as gallery-goers participate in an ongoing revision of the artwork. A camera provides daily documentation of this transformation\, culminating in the final “resolution” of the piece at exhibitions’ end. This result\, is suggested in the works’ title La Battue\, a term that is often used to describe the search for a missing person in the woods\, or a large manhunt. However the end result of the search is always uncertain\, much like the final state of the piece. \nSeen in this context\, the work may be viewed as a reinterpretation of the poster: subverting its traditional communicative function\, to act as a metaphor for change\, time\, accumulation\, and deterioration\, amongst other things. The work also draws attention to the commodity nature of works of art\, as Seripop challenges the traditional reverential presentation of “the object” within the gallery space. The poster\, taken from its everyday setting has been placed on display in the institution\, however it may ultimately suffer the same fate that it does out in the world. This metaphor raises interesting questions: Does the gallery serve to elevate the print from common advertising to fine art – breaking down the barrier between art and life – or does the institutionalization of this art form represent another kind of weather? In either case\, the resulting visual experience is rewarding\, and we as the viewers are richer for having engaged with the show.
URL:https://albertaprintmakers.com/event/seripop/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/04_Seripop.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110302
DTEND;VALUE=DATE:20110410
DTSTAMP:20250801T162311Z
CREATED:20250801T162230Z
LAST-MODIFIED:20250801T162311Z
UID:10000263-1299024000-1302393599@albertaprintmakers.com
SUMMARY:hole/whole
DESCRIPTION:About the Exhibition\nhole/whole – exhibition essay by Carrie Phillips-Kieser  \nThe Pearls that long have slept\, These were tears by Naiads wept.\nSir Walter Scott in The Bridal of Triermain\, 1813 \n Learn from yon orient shell to love thy foe\,\nAnd store with pearls the wound that brings thee woe.\nPersian Poet\, Hafiz\, 1320 \nThrough the loaded iconography of the pearl\, Calgary based artist Kim Huynh’s series of lithographic prints\, hole/whole\, speaks of the interconnectivity of our personal desires of accumulation and its affects on the destruction of our environment\, within a collective culture of capitalism and globalization. \nThe pearl has a long history of being associated as an object of desire\, a symbol of luxury and opulence. This gem of the sea\, according to Pliny in the 1st century\, ranked first in value among all precious things and in fact Servilia\, the mother of Brutus wore ” the spoils of nations in an ear changed to the treasure of a shell”. In the Chinese tradition the image of the pearl symbolizes riches and pure intentions. Huynh effectively illustrates the true meaning of the word “luxury”; the lasciviousness\, the sinful\, self-indulgence\, through its image. The sheer number of pearls\, draping\, piling\, gathered\, is evocative of our own indulgence and of our desire to collect commodities at the expense of the beauty in rarity. At the same time\, the pearl/oyster\, a natural product of our oceans\, is a representation of the sea. Depicted in such numbers\, the pearl\, here\, also stands as an example of the reaping\, the depletion and ultimate destruction of its delicate balance. \nAs we follow through Huynh’s images\, the personal begins to erode from view with the slow eradication of the figure. \nThe established perceptions become less than whole. The pearl slowly becomes replaced with mechanically punched circular holes\, like ourselves as our personal actions dissolve and become blurred into the collective. The seduction of the pearl is still evident through the cut away and continues to allude to the seduction of capitalism. As cultures\, globally\, are falling victim to its seduction and “comfortable” lifestyle\, past ways of life are being dissolved. Punched holes – a visual connection to a mechanized and industrial world\, removes our personal responsibility and projects that responsibility onto the culture of capitalism itself. The removal of ourselves (the figure)\, perhaps\, pushes us further into unachievable change or responsibility. With the removal of imagery completely and the replacement of symbols of pieces from the ancient warfare game\, Xiangqi or Chinese Chess\, the work becomes didactic. These last pieces leave us to question our current state of affairs and presents us with the questions-ls it now time to take our turn in the role that has just been presented to us? \nIf the chaste and subdued beauty of the pearl can also stand as a symbol of a tear\, hole/whole cries out a message. Kim Huynh’s piece is a powerful and instructive piece that can indeed provide us with “moments of individual and collective reflection” if only we listen.
URL:https://albertaprintmakers.com/event/hole-whole/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/05_KimHuynh.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20110112T080000
DTEND;TZID=America/Edmonton:20110219T170000
DTSTAMP:20250801T175713Z
CREATED:20250801T161250Z
LAST-MODIFIED:20250801T175713Z
UID:10000262-1294819200-1298134800@albertaprintmakers.com
SUMMARY:Retreating Agassiz
DESCRIPTION:About the Exhibition \nRetreating Agassiz – exhibition essay by Romy Straathof \nIn searching for what underlies the visible\, Jeanette Johns’ series of prints Retreating Agassiz\, reveal how the unknown and unseen can give context and meaning to ones sense and experience of place. Taking the widest macro-view in both a physical framework and through the concept of time\, Johns traverses millennia\, and discovers ways to insert something of herself into a collective history of place that she asserts belongs to “all of us.” It is a collective history of a time that would not be named or marked until the recent past; nonetheless\, it is an inherited history whose relics and traces remain to impact the lives of those who take care to notice. \nThe (six) prints of Retreating Agassiz communicate through the languages of mapping\, asking to be read\, however\, it is soon realized that the information presented is at the same time recognizable through map-like symbols and obscure\, – there are no reference points. Each print is what Johns refers to as a ‘snapshot’ of time (although in this case each ‘snapshot’ encompasses time periods of 300 to 1200 years) that show the presumed movement of ancient glacial Lake Agassiz\, during its 4\,500-year existence. \nEmerging as meltwater from a monumental sheet of ice that was in some places nearly 4 km thick\, the lake at its peak\, was the largest glacial lake in North America and covered all of Manitoba\, as well as several neighbouring provinces and states. The provincial landscape in which the artist grew up\, had emerged from a series of glacial advances\, retreats and subsequent drainage of the lake. Each glacial period partially erased the wounds and formations of the previous; each of the prints in the series Retreating Agassiz attempts to separate the layers of this palimpsest. \nThe languages of printmaking allow the artist to work in layers; photo-etching\, screenprinting\, hand-drawn marks\, and application of gold leaf\, reflecting layers of geophysical process\, layers of time\, and layers of understanding. In looking for patterns that connect place\, time\, purpose and identity\, Johns’ maps become pattern\, geographical elements become forms\, and the shadows of what no longer exists is rendered in goldleaf\, as if to mark their presence as recorded\, preserved\, eternal and precious. It was not until 1879\, that Lake Agassiz was named and accepted in scientific circles as having formerly existed. But\, to the artist and fellow inhabitants of the province\, the traces of Lake Agassiz are familiar\, and the story  of the lake is a legend embedded in their inherited past. The vast movement of the lake is revealed strikingly through the six views\, animated and glistening. \nThrough observation and connecting\, Johns closes a gap between what is seen and what exists in traces and myth. By inserting the ancient lake into her work\, she decodes the familiar landscape\, and becomes documentarist of the vast history\, bringing to those of us who observe her work\, an understanding of our place and identity in this history of place. In revealing the foundations of place the artist inserts something of herself into the records of the past\, and brings the past to our present. In finding Lake Agassiz\, Johns finds context in place.
URL:https://albertaprintmakers.com/event/retreating-agassiz/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/06_JeanetteJ.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20081023
DTEND;VALUE=DATE:20081124
DTSTAMP:20250822T203605Z
CREATED:20250822T203605Z
LAST-MODIFIED:20250822T203605Z
UID:10000358-1224720000-1227484799@albertaprintmakers.com
SUMMARY:Echo
DESCRIPTION:About the Exhibition\nThis exhibition is part of an exchange between the Alberta Printmakers Society and Graphic Studio in Alkmaar\, the Netherlands.  \nExhibition Essay Written by Eveline Kolijn \nDuring medieval times in Europe\, landlords from the Low Countries started to grant privileges to settlements to stimulate the establishment of cities. These privileges were called city-rights. They fostered economic growth and led to increased political autonomy of the city. In 2004\, the City of Alkmaar in the Netherlands celebrated the fact that they received their city-rights 750 years ago. Grafisch Atelier Allmaar\, a printmaking collective\, participated in the anniversary festivities by producing a portfolio of twenty original fine- art prints\, printed in an edition of forty. \nTheir involvement began in 2003 when twenty local print media artists were invited by the Municipal Museum of Alkmaar (Stedelijk Museum Alkmaar) to make prints based on their collection. The museum’s collection reflects the history of customs\, thoughts and events throughout the city’s existence. For their inspiration\, artists selected monumental paintings by local and famous Dutch Masters\, antique tiles\, seals\, decorated gablestones\, children’s toys\, old pictures\, maquette\, pottery and old-fashioned laboratory equipment. The resulting prints reference these objects and images; they are a reflection from the past. Echo is the title of the portfolio. They were exhibited next to their chosen source in the anniversary-exhibition of the museum. Jhim Lamoree\, editor from the national newspaper Het Parool\, wrote in the forward of the exhibition catalogue\, “that the twenty diverse prints\, which have been made in response to the different objects of the museum collection\, are an echo of those objects\, which in their turn become an echo of modern printmaking. This demonstrates that a museum is not a static institution\, but can be an incubator of contemporary art.” \nThe echoes of this print portfolio have reverberated beyond the Netherlands. A year ago\, Alberta Printmakers Society approached the Grafisch Atelier Alkmaar with a proposal to organize a print-exchange. The Alkmaar printmakers agreed enthusiastically and they open the exchange with the exhibition of their anniversary portfolio\, Echo\, in Calgary. They have kindly donated this portfolio\, which now becomes part of the Alberta Printmakers Society’s archive. A juried selection of prints from Alberta Printmakers Society’s members will will be exhibited in Alkmaar in January 2009. \n  \nParticipating Alkmaar Artists: Dave Akkerman\, Jos van Amsterdam\, Pauline Bakker\, Patrick Bergsma\, Corrie Breed\, Jan Deckwitz\, Joyce Ennik\, Mels de Gooyer\, Gerben Hermanus\, Marijalic\, Madeleine Leddy\, Mans Lenards\, Mario Passamani\, Hanneke Saaltink\, Ivon Spee\, Erik Tierolf\, Tineke Tukker\, Marja Vleugel\, Cora Vries and Jaap Zomer. \n 
URL:https://albertaprintmakers.com/event/echo/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Echo-e1755894743226.jpeg
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END:VCALENDAR