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DTSTART;VALUE=DATE:20110907
DTEND;VALUE=DATE:20111016
DTSTAMP:20250801T164518Z
CREATED:20250801T164518Z
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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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20110615
DTEND;VALUE=DATE:20110731
DTSTAMP:20250801T163521Z
CREATED:20250801T163521Z
LAST-MODIFIED:20250801T163521Z
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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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20110420
DTEND;VALUE=DATE:20110605
DTSTAMP:20250801T162849Z
CREATED:20250801T162849Z
LAST-MODIFIED:20250801T162849Z
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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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110302
DTEND;VALUE=DATE:20110410
DTSTAMP:20250801T162311Z
CREATED:20250801T162230Z
LAST-MODIFIED:20250801T162311Z
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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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20080104
DTEND;VALUE=DATE:20080205
DTSTAMP:20250822T204732Z
CREATED:20250822T204732Z
LAST-MODIFIED:20250822T204732Z
UID:10000359-1199404800-1202169599@albertaprintmakers.com
SUMMARY:Permeable
DESCRIPTION:About the Exhibition\nExhibition curated\, and Essay written\, by Kim Huynh \nIn the focus of today’s Capitalism\, where daily routines depend on time and place\, our Consumer driven environment can be quickly changed by the impact of a social political event. As some present situations\, economists are watching the USA election\, Pakistani opposition leader Benazir Bhutto ‘s assassination has disrupted the Middle East’s oil market\, while in our own backyard\, British Columbia is working out its municipal balance for the 2010 Olympic in hope for an improvement on the economy through tourism. As time and place constantly shift and events often concur with a social- political movement\, our quality of life is blurred by the needs of communities and corporations\, and no longer a focus of individualism. One of the pressures upon Canadian society is to “move along”\, “blend in” or “be a part of a larger whole”. This slogan is also drummed into our emotional and intellectual selves. Who are we\, and how do we relate to our loved ones at the end of the day? \nIn Jill Ho-You ‘s print- media\, she cleverly situates a parallel paradigm where the duality of Violence vs. Civility is played out in contemporary life. Beautiful and delicate etchings of a colony of insects are developed through stages on rice paper; then\, cut-out and carefully pinned onto the body of a supporting paper revealing various layers of the relief work. Parts of the paper have been beat up\, ripped open and pounded into the body by a forceful act\, which allow the contents of the stained newspaper to be identified. The juxtaposition of two acts questions its relationship by a same hand: a hand of caring and nurturing\, and the same hand of anger and deconstruction. How do these human qualities co-exist in the same person\, and how do they co- coincide in human interaction today\, which remains a mystery of our continuing human development. \nAnother concern of human development in this exhibition is the series of Self-Portraiture by Melanie Wilmink. Intricate layers of drawings lay on top of one another with poetic mark-makings and abstractive provocation. A process that allows intuition of plays\, work and re-work to occur within the same chance. The printmaking procedure of working with chemicals and pigments is set\, but all conditions are shifted and free of interplay to challenge the locale of the self and the parameters of the self. In the process of developing identity\, how far can we expand from the centre before we recognize it is too far from “the core”? Or\, is any point in the process a collection of self and identity? Given the fact that the locale of the self rests on an ever -changing time and place\, the process of understanding one’s identity is also not fixed. One could say that over time\, one recognizes the pattern of behavior of self and the consistency of its patterns give clues to the understanding of an identity. \nOn the contrary\, Alana Tyson ‘s focus is from outside in. The artist pursues the essence of Beauty by looking at the external social-cultural values played on an individual. The classic binary of external and internal Beauty is sometimes inter- changed due to conflicting messages in the society. The issue of Beauty has held a controversial place in the history of the West over the last two centuries\, and has become ever more complicated in Consumerism today. Tyson provides examples of how virtues of a woman were viewed and conditioned in the West through 1 constructions of Gothic architectural designs\, and etchings of women in various rituals over various times. Careful manipulation of material\, symbolism and the ancient technique of printmaking to speak about the classic issues of the past and that continue to exist today. Intricate design of dark silver boxes (like metal) and architectural arches appear handsome and serious; however\, a closer look at these containers reveals a light foamy plastic facade. The realization of the material shreds new light on the inner value and adds another layer of reading to the work. Juxtaposed with the use of the dark silver containers\, inside\, Tyson provides a contrasting material of red silk\, images of altars and various Biblical figures as examples of virtues that a woman is supposed to hold in history. \nMarigold Santos provides four pieces of print media\, which address a divergence of Private vs. Public\, Role Play at home\, and its projection into the external world. Elegant drawings consist of a young girl in animal likeness and of three -dimensional stuffed animals personify human form. In place of a child as a protagonist\, Santos’ beautiful manipulation of animal and human’s inter-change/play provides a narrative in between a fairy tale and a critique of contemporary literature. Viewers are drawn into the simple naïve suggestive element in pastel colors and are encouraged to make sense of them; however\, there is no storyline. Each panel is like an adjective; the artist is carefully operating on the syntax of meaning without giving out the story. This playfulness constructed between author and readers demonstrates another essence in child’s play. Santos posits the concern of role-play between a young girl and two cats at home\, and how they transcribe into future roles\, and how far or near the relationship between animal and human? …All of which are possible readings to these works. \nAlthough each work from these four artists provides a different issue in human values in an unstable environment\, one certainty is that none of these concerns will rest on a fixed point in the journey of human development\, since each quality of human value attaches to social-cultural symbolic significance. As members of a society\, we can’t help but hold on to each duality of human characteristics in a unique division to provide security and comfort. Each shifting point in this human development transgresses through time and place\, and the concerns in these art works reflect unsettled distinctions between order and chaos by presenting material and value continuity between these states of human transgression. \n  \nArtists: Jill Ho-You\, Marigold Santos\, Alana Tyson\, Melanie Wilmink
URL:https://albertaprintmakers.com/event/permeable/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Permeable-1.jpeg
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