BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Alberta Printmakers - ECPv6.17.0//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Alberta Printmakers X-ORIGINAL-URL:https://albertaprintmakers.com X-WR-CALDESC:Events for Alberta Printmakers REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Edmonton BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20140309T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20141102T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20150308T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20151101T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20160313T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20161106T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20170312T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20171105T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20180311T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20181104T080000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20170421 DTEND;VALUE=DATE:20170528 DTSTAMP:20250806T074058Z CREATED:20250806T074058Z LAST-MODIFIED:20250806T074058Z UID:10000300-1492732800-1495929599@albertaprintmakers.com SUMMARY:The Intricacies of People\, 20 colour etchings by Robert Pugh DESCRIPTION:About the Exhibition\nExhibition essay by Mary-Beth Laviolette  \nRobert Pugh is a senior artist whose artistic practice began to take shape in England in the 1970s. Over the years\, much of his time has been devoted to painting despite acquiring a press twenty years ago and creating\, over time\, an oeuvre of printed works. Five years ago Pugh started producing figurative colour etchings\, nineteen of which are on display at Alberta Printmakers. One engraving with aquatint is also included. \nThese art works involve some of the oldest techniques in printmaking but in the hands of a capable artist like Pugh there is a vitality\, visually speaking\, that makes these small-scale prints speak totally of the present. Underlying it all is an informal style of drawing that avoids the illustrative while conveying as much as the viewer needs to know. It’s a case of: implied but never revealed\, evoked but never declared. \nThis approach plays well with the subject matter addressed by the artist. Let’s call it the quotidian or a preoccupation with everyday moments in the artist’s life and his friends. It’s people that interest Pugh and in each etching generally some kind scenario is depicted. A naked man dips his foot in a Cold stream\, a couple embrace in a deep Kiss. In Rain\, running for cover is a man attired in a bright striped red shirt and blue jeans while in a crowded Rooftop Café a patron near the back holds forth. \nThe exception to all of this ordinariness is Squeeze where inspired by a 1977 video\, a woman visitor is required to squeeze past a naked and stone-faced Marina Abramovic\, the performance artist. The other woman’s expression is one of uncertainty or perhaps embarrassment. Through compressed body language\, this artwork evokes a quiet intensity that gets repeated in other prints such as Tight (2015)\, Asha (2016)\, A Drink (2016) and others. \nResponsible for conveying all of this\, is his sketch-like drawing which transfers well to his etching. The drawing seems to be a spontaneous affair but according to Pugh is the result of absorbing information from photographs he has taken or borrowed from friends. A lot of process is involved then in this trajectory from photograph to drawing (several) to a soft-ground etching. As a viewer I was compelled to ask: where’s the photo? It was nowhere to be seen\, hence\, a convincing conversion. \nIn addition to the etching itself\, the artist employs two and sometimes three aquatint plates – one with warm colours and the other with cool to enhance the humanity of the scenario he has created. Here tone plays a role rather than line; giving us a sense that some of these images are located in a tropical environment. It doesn’t take much but the experience of rain pelting down on a Pink Umbrella (2016) or being a blue-shirted tourist in a crowded Beach House (2016) is lucidly implied. Most beautiful among the twenty prints is the aquamarine-drenched background in front of which a gesture of kindness is performed in The intimacy of strangers(2017). \nFinally\, is the spirit of Edgar Degas being channeled someway in these prints of Robert Pugh? The French artist is best known for his paintings of ballerinas but he was also a prolific printmaker (monotypes) noted for the ease of his mark making. Pugh’s work is completely of a contemporary kind but the spirit of urban life is also a strong feature too. Conveyed is the conviction that even in the very ordinary matters of life compelling images are to be found. \nArtist Bio: Robert Pugh is a painter and printmaker living in West Sussex UK. He attended Byam Shaw School of Art\, obtaining a Distinct degree. He has attended classes in printmaking at Morley College\, Camden Arts Centre and Brighton Independent Printmakers. Pugh is a member of the Printmakers Council\, East London\, and Brighton Independent Printmakers.  URL:https://albertaprintmakers.com/event/the-intricacies-of-people-20-colour-etchings-by-robert-pugh/ CATEGORIES:Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Intricacies-e1754466036248.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170330 DTEND;VALUE=DATE:20170526 DTSTAMP:20250807T035401Z CREATED:20250807T035401Z LAST-MODIFIED:20250807T035401Z UID:10000307-1490832000-1495756799@albertaprintmakers.com SUMMARY:i/we DESCRIPTION:This series speaks to the contemporary and ongoing dialogue between the construction of the identity of self and the collective cultural identity\, specifically in relation to social media. The layering and fragmentation of the portraits reflects the complex and multifaceted nature of identity and perception of identity in both the natural and digital world. \nArtist Bio: Samantha Charette is a visual artist from London Ontario and recent Bachelors of Fine Art graduate from the University of Alberta. Currently working and residing in Calgary Alberta\,her interests include the identity of self\, cultural identity\, identity formation and site specificity. \n  \n  \n  \n  \n  URL:https://albertaprintmakers.com/event/i-we/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_i_we-e1754538718494.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170224 DTEND;VALUE=DATE:20170402 DTSTAMP:20250806T073620Z CREATED:20250806T073620Z LAST-MODIFIED:20250806T073620Z UID:10000299-1487894400-1491091199@albertaprintmakers.com SUMMARY:The Dormant Consciousness/Sleeping Awareness of a Human Within Urban Space DESCRIPTION:About the Exhibition \nExhibition essay by Shaun Crawford \nThe modern empire of mass media bombards the world with an unending montage of shallow images\, creating a collective hyper reality that blinds its people to the uniqueness of their own critical thinking. This is the time and space that we live in. And this is the world from which Marek Pośpiech sets out to address the collective consciousness and the matrix entwined with it. His series of works titled simply Sign I through Sign VIlI presupposes that people are submerged in this hyper reality\, created by our collective actions and perceptions. \nThe result is a vague pattern of place – a simulation of the urban environment\, reminiscent of all form and meaning. \nPośpiech hails from Rydułtowy\, Poland where he graduated from the Department of Art in the Studio of Painting at the State Higher Vocational School in Raciborz in 2012. He went on to graduate from the Studio of Letterpress and the Studio of Painting at the Academy of Fine Arts in Katowice in 2014. He utilizes a range of mediums\, working in graphic art\, art installation\, painting\, and drawing. His unique excavation of the human consciousness and its relationship to the modern hyper reality has been experienced in shows and exhibitions all over Poland\, and around the world including Bulgaria\, Czech Republic\, Thailand\, and Canada. \nAt first glance\, Pośpiech’s Sign series of prints appears ambiguous in scale. It is unclear whether the image is seen through the perspective of a microscope or a satellite. Traces of it seem familiar. Is that a brick? A curb? Shards of glass. Each has an uncanny texture and composition. But the ambiguity is Pośpiech’s challenge. In the world he has identified \,Pośpiech suggests that people are overcome by superficial and aesthetically irrelevant visuals\, lured into the hyper reality as their perception and individual capacity for critical thinking are corroded. People are simultaneously influenced by\, existing in\, and also constructing this collective pseudo-world through their determined and sometimes unconscious activities. There is a danger in such an absentminded existence. A danger that Pośpiech calls to our attention. \nHis pieces exist deep beneath the hyper real. They are demanding of their audience. Citizens of the “Internet Empire” as Pośpiech calls it\, must tap into a greater reservoir of perception\, of consideration – of critical thought. In some ways\, his show is an awakening. A quick *snap* of the fingers calling you to action to look here \,and look closely. But his work is also an invitation to the viewer to create their own meaning. Its substance is defined less by what exists within it\, and more by what someone brings to it. Marek Pospiech’s precisely titled\, The Dormant Consciousness/ Sleeping Awareness of a Human Within Urban Space is a collection of work that’s not just seen\, it is developed in the moment; its true intention exists in the viewer’s own realm of conscious thought. It is a trigger. A catalyst. And as art often can\, it reflects our world. The one we create. And the one we sometimes fail to see. \nArtist Bio: Marek Pośpiech was born in 1990 in Rydułtowy. He graduated from Department of Art – Kazimierz Cieślik’s Studio of Painting – at the State Higher Vocational School (Państwowa Wyższa Szkoła Zawodowa) in Racibórz in 2012. Between 2012 and 2014 he studied at the Academy of Fine Arts in Katowice\, graduating from the studio of Letterpress under the supervision of professor Kaziemierz Cieslik. He practices graphic art\, artistic installation\, painting and drawing.  URL:https://albertaprintmakers.com/event/the-dormant-consciousness-sleeping-awareness-of-a-human-within-urban-space/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_The_Dormant.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170203 DTEND;VALUE=DATE:20170324 DTSTAMP:20250820T220253Z CREATED:20250820T220253Z LAST-MODIFIED:20250820T220253Z UID:10000309-1486080000-1490313599@albertaprintmakers.com SUMMARY:Dwelling in it\, Dwelling on it (Temporary Living Space) DESCRIPTION:Moving frequently has informed my understanding of ‘home’ as something that is bound to change. The temporary qualities of my past\, and present living situations\, due to school\, and work\, leave me imagining a more permanent place in my future. Dwelling in It\, Dwelling on It (Temporary Living Spaces)\, considers the current state of home buying and the question of where to live\, while facing the differences between what we imagine\, what is attainable\, and what is attained. \nArtist Bio: Kellen Spencer is currently a Print Media student at the Alberta College ofArt + Design in Calgary\, Alberta. Working primarily in printmaking\, drawing\, and photography\, his practice focuses on ideas in architecture\, urbanism\, and the relationships we have to the places we inhabit. \n  \n  \n  URL:https://albertaprintmakers.com/event/dwelling-in-it-dwelling-on-it-temporary-living-space/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Dwelling.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170106 DTEND;VALUE=DATE:20170219 DTSTAMP:20250806T073040Z CREATED:20250806T073040Z LAST-MODIFIED:20250806T073040Z UID:10000298-1483660800-1487462399@albertaprintmakers.com SUMMARY:God Love Brigus II DESCRIPTION:About the Exhibition \nExhibition essay by Tracy Wormsbecker \nWorking under the moniker Weather Girl\, Tara Cooper has been building an impressive body of work that encompasses a multifaceted exploration of weather. In both process and presentation\, she employs a scientific exploration of weather as a meteorological phenomenon while thoughtfully integrating a reflective approach that also considers the personal impact of weather as it is experienced. Straddling this interface\, she combines rigorous on-site field research with creative non-fiction to create work that amalgamates multiple art forms such as print media\, sculpture\, illustration\, writing\, artifact\, and video. This visually results in work that poetically embeds scientific methodologies of observation\, categorizing and archiving within personal and historical narrative and vice versa. \nIn God Love Brigus II\, Cooper presents an alluring representation of personal\, historical and weather research that she collected during a 3 week residency with Landfall Trust at a 200-year-old cliff side cottage in Brigus\, Newfoundland. In line with other Weather Girl explorations\, this exhibition continues to blend a scientific perspective of weather with the human experience of it. Particularly noteworthy in this collective work\, is that a discernable dichotomy between the two is almost entirely removed. In a way\, Cooper is drawing us in\, inviting us to vicariously experience and consider Brigus fully\, as a “landscape where nature is at the helm\,” and as a unique place where “fog lies thick on the harbor” and a clear distinction between history\, weather and daily experience is notably obscured. \nIn the center of the gallery\, her thorough fieldwork manifests as a tactile arrangement of sculpture\, print\, text and illustration laid out atop a long table to be explored. In no particular order\, viewers slowly encounter and consider the array of visual research that rests upon the table. Sculptures suggesting cloud formations\, weathered sea vessels and other seafaring paraphernalia are dispersed throughout the display. Settled in among them\, photographs\, prints and drawings are presented along with weather-specific phrases of varying severity from “saltwater rainbow” to “weather the storm” to “lost at sea.” Multiple arrows appear\, some revealing atmospheric forces and weather systems\, while others direct attention to curious historical belongings and artifacts\, eliciting further investigation. While the connections may not all be immediately clear\, each component appears both independent and unified with an apparent shared significance. \nSurrounding the table\, screen-printed banners of written text and other images adorn the walls\, embedding the display within a rich narrative context to be discovered. Some of the encompassing writings read as a personal diary of Cooper’s encounters with the landscape\, weather\, and local residents. Others reveal seemingly outlandish tales\, like those of the infamous Captain Bob Bartlett\, that were discovered through Cooper’s historical research and even directly from residents who maintain personal connections to these stories\, only a few generations removed. Captain Bob is a particularly captivating character who is known for his formidable arctic expeditions that were fraught with such astonishing anecdote and bleak peril that they would seem pure folklore were it not for the dangerous climatic reality that Cooper has nestled throughout the exhibition. Weather remains the true protagonist here\, the common denominator that blends science and subjectivity and bridges past and present. \nIn its entirety\, the exhibition is truly engrossing. Each encounter with an object\, image\, or written text encourages the next as lines are drawn to elicit a deeper experience of this place. Cooper describes her work as visually poetic. Indeed\, the installation that comprises God Love Brigus Il itself serves as a comprehensive field journal describing Landfall and Brigus. Though this description of the exhibition hints at its allure\, it is no substitute for experiencing the installation\, and in a way\, Brigus\, in person. \nArtist Bio: Tara Cooper works in a range of mediums from print\, photography and video to installation and book arts. Her teaching experience encompasses time-based media (video\, sound\, animation). All-print related media (lithography\, serigraphy\, relief\, intaglio\, book arts and digital imaging)\, as well as contemporary art issues and theory. As an educator\, she has worked with the following institutions: OCAD University\, Sheridan College\, the Canadian Art Foundation and the Art Gallery of Ontario. Currently she works as an assistant professor in the Department of Fine Arts at the University of Waterloo.  URL:https://albertaprintmakers.com/event/god-love-brigus-ii/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_God_Love_Brigus_II.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20161021 DTEND;VALUE=DATE:20161127 DTSTAMP:20250806T065740Z CREATED:20250806T065740Z LAST-MODIFIED:20250806T065740Z UID:10000297-1477008000-1480204799@albertaprintmakers.com SUMMARY:Air\, Fire\, Water DESCRIPTION:About the Exhibition \nExhibition essay by Joanne Fung \nlan Brown’s work\, Air\, Fire\, Water\, interrogates both the transient nature of the photographed subject and the mutability of the photo- graph through the work’s multiplicities. The repetitive depiction of the three elementals heightens their unstable presence in the natural world\, and emphasizes the constant inconsistency of the climatic phenomena. When one photograph portrays the forcefulness of water leaping across rocks\, so does another find the water stable and certain in its moment of capture. In the multiple representations of the natural events\, Brown highlights their significance as being ultimately mutable and impermanent. However\, the multiplicities in Brown’s work do not only explore the transient nature of the photographed climactic phenomena\, but also work in tandem with the photographed subject to call the audience’s attention to the mutability of the photograph itself. \nRevolving around Brown’s work is an exploration of how different photomechanical processes influence an audience’s interpretation of the images. The mutable nature of texts is evidenced through Brown’s disassembling of the original image into expositions of the various processes and layers\, with each multiple producing a unique image that is as transient and changeable as the subject matter it portrays. Depicted are the three elementals in their momentary\, but significant forms. With each image uncovering yet another layer of photo processing\, and contextualized with the subject matter of the images\, Brown hints towards each process shown as momentary\, but significant. Viewing the images that are a display of the processes that the original went through\, we are asked to reexamine the way we view texts that have projected the world we live in. There is the question of whether the original image is an accurate representation of the climatic phenomena depicted. How often do we glance over the processes used to create different texts\, and in what way does the text become an entirely different text based on the stage of process it is in? Brown’s exposition of the various geometric shapes\, harsh lines\, shades\, hues\, etc. that are a part of the photomechanical processes are a stark reminder of this oversight. Too often do we forget that within each image\, video\, or film\, there are various mechanisms that have produced the final text. However\, through the enlargement of these mechanisms in his work’s images\, Brown demonstrates that texts are often as mutable and transient as the subject they portray. \nBrown purposefully disassembles the original texts\, dissecting and uncovering each surprising layer. His work questions the lenses that have fallen between the world and a reader’s eyes. However\, it is ultimately the experience of the audience that determines the significance of the photomechanical processes that have mediated the relationship between the natural world and the reader. In the moment of viewing the multiple images and acknowledging the often forgotten processes\, the reader is asked to reexamine their own interpretations. Thus\, Brown’s exploration of the photograph becomes one that is rooted in an audience’s interpretation of the varying images produced through photomechanical processes. \nArtist Bio: I​​an Brown is an artist from England. His current interest is in natural climatic phenomena\, and specifically the transient nature of these incidents. He uses material from a variety of sources\, his own photographs\, the internet\, video\, as well as images that have already passed through the print process. As a print maker\, he is interested in process\, the range of photomechanical deliveries that lie behind the way an image is presented on paper. The repeated testing of the visual protocols that freeze or fix a moment in time\, and the consequent impact on the reading of the image\, underpins all his work. \n  URL:https://albertaprintmakers.com/event/air-fire-water/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Air_Fire_Water.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20161001 DTEND;VALUE=DATE:20161126 DTSTAMP:20250820T221525Z CREATED:20250820T221525Z LAST-MODIFIED:20250820T221525Z UID:10000340-1475280000-1480118399@albertaprintmakers.com SUMMARY:Veils DESCRIPTION:About the Exhibition\nThe notion of a layered identity is of interest to me in my work\, as I explore the process of many layers coming together to form a person\, and the significance of putting together these layers to construct a sense of self. I intend to symbolize the connection between physical coverings and concealments of the body with the notion of the ways in which myself\, and many other people\, show and hide themselves through their sense of being. This work speaks about the fabrication of a sense of self\, and the multiple layers of identity that can be revealed and concealed through our interactions with others. \nThis body of work is derived from a performative piece in which explored the notions of layering\, concealing\, and revealing through the movements of fabric over and around my body. These actions were captured on film\, and I then used stills of these movements as references for the silkscreened images. \n  \nArtist Bio: Andrea Rizzuti is currently a student at the University of Calgary\, working towards a combined degree of Visual Arts (Honours) and Communication Studies.  Her work is focused on the human figure and portrait\, in which she portrays identity as ephemeral\, mysterious\, and undefined. Her practice has involved many different mediums including drawing\, painting\, printmaking\, textile arts\, installation\, photography and video art.  URL:https://albertaprintmakers.com/event/veils/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Viels-e1755727966242.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160909 DTEND;VALUE=DATE:20161009 DTSTAMP:20250806T065259Z CREATED:20250806T065245Z LAST-MODIFIED:20250806T065259Z UID:10000296-1473379200-1475971199@albertaprintmakers.com SUMMARY:Threshold DESCRIPTION:About the Exhibition\nExhibition Essay by Gina Freeman \nLaura Wider describes her work as “a quiet act of defiance in a digital age.” The Kelowna-based artist finds herself living in tension with our connected/dis-connected world. She seeks to celebrate the physical and handmade in an era of glossy tablets and storing memories on a cloud. These memories are permanent\, and yet subtly impermanent. While they may never be lost\, they are easily changed and altered. Hand-made\, physical objects\, however\, are not so easy to change. They carry with them the histories of their making – the errors and triumphs of their creation. \nIn the linocut process\, Widmer finds a living world of greys between the black and white. Each cut gives life and depth to her subjects – bringing them away from the simple binary. There is a tension within the linocut process itself. Though it is gradual and time consuming\, there is a certain immediacy in cutting: every gouge is lasting\, and will appear in the final print. We live with the imperfections of the physical type. Each cut is permanent\, made in a moment\, persisting forever. In our push towards digital perfection we lose these moments and the history entwined in them. \nThreshold’s large-scale prints present glimpses of a shifting\, sensual world. Heads\, hands and torsos are cropped\, abstracted. Strings of pearls are grasped tightly and held dear\, freely offered and willingly accepted\, tangled throats and fingers\, and draped lovingly around shoulders. There is an ambiguity in the moment captured. Without knowing what came before or what will come after\, the viewer cannot know whether the pearls are being offered or received. The exact nature of the moment remains enigmatic. Widmer encourages the viewer to interact with the images\, to create their own narratives and find the stories hidden in their histories. \nThere are many hidden\, parallel histories captured within each of Widmer’s images. There is the history of the person: a lifetime filled with sudden and gradual changes\, negotiations between shifting states. Each pearl contains its own history as well. Starting out as an irritant – a parasite or grain of sand within the shell of an oyster – each pearl accumulates value over years until it becomes something that is sought after and treasured. Finally there is the history of the print itself: cuts captured in proofs and stages\, contemplated and recut. The creation of a body of work\, like the creation of a pearl or a personal history\, is a slow and solitary process. With Threshold\, Wider explores these private narratives and presents a fleeting glimpse of them to the viewer. \nIn Threshold Widmer takes intimate moments and makes them public. She catches a brief\, shifting instant and makes it eternal through a slow and meditative process. With accumulated cuts and gouges she carves out a moment of time. In her work Widmer explores contrasts between black and white\, permanence and impermanence\, intimacy and openness\, and finds a vibrant world between opposing forces. This tension makes her work alive and animated\, like the string of pearls featured in Threshold: pulled taut\, thrumming with energy.  \nArtist Bio: Laura Wider earned her Fine Arts degree with a concentration in printmaking from the University of British Columbia’s Okanagan campus. In 2014 she completed a residency at The Banff Centre and returned to a long-standing interest in hand papermaking\, which she has since incorporated into her print-based practice. Laura regularly exhibits her work within Canada and internationally. Her work has been shortlisted twice for the Open Studio National Printmaking awards\, earning First Prize in 2010 and Honourable Mention in 2014. She was also awarded the Muskat Prize at the 2011 Boston Printmakers North American Print Biennial. URL:https://albertaprintmakers.com/event/threshold/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Threshold-e1754463141265.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160805 DTEND;VALUE=DATE:20161001 DTSTAMP:20250820T220855Z CREATED:20250820T220855Z LAST-MODIFIED:20250820T220855Z UID:10000339-1470355200-1475279999@albertaprintmakers.com SUMMARY:Mapping DESCRIPTION:“My current artwork acts as both a means of self-representation and self-expression\, allowing me to talk about the things that are most important without having to resort to words. The concept that I work with mostly revolves around the idea of time and journey\, especially immigration and the feelings that are associated with it. It explores the ways in which immigrants locate or map themselves from one place to another; and the new adaptation they need to function within foreign societies. As an immigrant myself\,I found it important to speak of the hardship that people face when moving to a new place. One may feel isolated and desolate in new surroundings. Overcoming cultural obstacles and language barriers is reflected in the kinetic movement and motion within my use of different mediums such as printmaking.” \n  \nArtist Bio: Anbareen Abeer is a Canadian artist currently enrolled in Bachelors of Fine Arts at the University of Calgary. Abeer’s specializations are in Printmaking and Photography. URL:https://albertaprintmakers.com/event/mapping/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Mapping.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160610 DTEND;VALUE=DATE:20160717 DTSTAMP:20250806T064718Z CREATED:20250806T064718Z LAST-MODIFIED:20250806T064718Z UID:10000295-1465516800-1468713599@albertaprintmakers.com SUMMARY:MRI IN USE DESCRIPTION:About the Exhibition\nMRI In Use: A Psychological Snapshot – exhibition essay by Heather Caverhill  \nThrough MRI In Use\, Darian Goldin Stahl offers a glimpse into the experience of navigating a medical diagnosis and living with chronic illness. The print-based installation emerged from the ongoing collaboration between the artist and her sister Devan Stahl\, a writer and bio ethicist who was diagnosed with multiple sclerosis in her early twenties. Devan’s research\, her personal accounts\, and her magnetic resonance imaging (MRI) scans are the specific source material for the exhibition. MRI In Use addresses broader\, shared anxieties and uncertainties surrounding medical intervention\, the fallibility of the human body\, and mortality. It calls attention to the rift between the hopes attached to medical science-its potential for discovery and healing-and the bureaucratic and dehumanizing aspects of undergoing diagnosis and treatment. \nThe immersive installation includes a series of life-sized hospital gown prints suspended from the ceiling of the darkened gallery. These worn and wrinkled garments immediately call to mind a patient who is absent. They appear ghost-like\, vulnerable\, and delicate. Goldin Stahl created the works by applying multiple toner transfers to large pieces of waxed ultra- fine silk. The innovative and physically demanding technique accounts for the vibrant colours of the gowns\, which radiate in the dim light of the gallery. The irregularly shaped\, almost transparent prints are highly illusionistic. Viewed from the front\, they appear almost sculptural. Once viewers move through and activate the space\, the diaphanous textiles swing and sway to reveal their flatness. The hovering garments appear as slices of something larger when viewed from the side–a reference to the ways that medical scans reduce the three dimensional form. \nWhile the MRI machine slowly and incrementally documents the body\, patients might remain confined and immobile for hours. Goldin Stahl has constructed a psychological ​​snapshot of this uneasy and claustrophobic environment in the congested space of the gallery. In sporadic intervals\, the sizeable prints are illuminated by projections of actual MRI scan metadata. The intermittent rhythm and repetition of the projector points to both the tedium of the diagnostic imaging procedure and to the stamina required to undergo such an experience. \nThe specialized technical language of medical imaging scans is incomprehensible for most people. Goldin Stahl interrupts this stream of abstract information by interspersing the projections of light and shadows cast by Venetian blinds. For the artist\, the image of sunlight escaping through blinds is at once beautiful and dangerous. They evoke the bright spots that she has observed on her sister’s medical scans\, which represent lesions or scars left by multiple sclerosis. This analogy is a subtle reminder of the complex and unanticipated ways that diagnosis and knowledge of illness may be carried into domestic spaces and everyday life. MRI In Use provides a setting to think about and question the ways that medical science comes into contact with human beings\, and how it is used to interpret the body. \nBy combining and juxtaposing the clinical with the familiar\, the installation endeavours to rehumanize the anonymous and alienating nature of medical imagery and diagnosis. \nArtist Bio: Darian Goldin Stahl has recently completed an eight-month scholarship residency at Malaspina Printmakers in Vancouver\, BC. She will begin her PhD in Fine Art Humanities at Concordia University in Montreal\, QC this fall. URL:https://albertaprintmakers.com/event/mri-in-use/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_MRI_IN_USE.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160603 DTEND;VALUE=DATE:20160730 DTSTAMP:20250809T225846Z CREATED:20250809T225846Z LAST-MODIFIED:20250809T225846Z UID:10000313-1464912000-1469836799@albertaprintmakers.com SUMMARY:Extinguish DESCRIPTION:About the Exhibition\nArtist Statement: Initially I lit the candle as an act of remembrance. The action brought a singular light into the darkness of winter months\, a symbol of hope. \nMaking contour drawings of the candle\, allowed me to immerse myself into the moment the candle burned\, allowing for a lifting of spirit. Drawing the candle image on the copper etching plate\, allowed for a transformation of the drawing through the process of printmaking. Before each immersion into the acid\, I drew a new network of line\, over over the old. Following each etching of the image\, a print was made documenting each stage the image went through until the final print. On the surface\, it appears I have come full circle from dark to light\, light to dark. However\, following this process of destruction of image through printmaking\, I come to a place of new place symbols enriched through this act of re-creation. \nArtist Bio: Kate Baillies discovered the magic of making prints during her high school years. She studied art with a focus on printmaking at Ontario College of Art and Design in Toronto\, ON. She later extended this education\, obtaining a Bachelor of Fine Arts and Bachelor of Arts in Art Education from the Nova Scotia College of Art and Design in Halifax\, NS. Kate has worked in the capacity of printmaking technician at Alberta College of Art and Design. She has taught art to children in schools located in Halifax and Calgary\, as well as in programs at the Art Gallery of Nova Scotia and the City of Calgary’s North Mount Art Center. Most recently\, Kate completed a month-long residency at the Zea Mays Printmaking.The studio\, located in Florence\, Massachusetts\, specializes in sustainable. “green” printmaking practices. URL:https://albertaprintmakers.com/event/extinguish/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Extinguish.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160422 DTEND;VALUE=DATE:20160605 DTSTAMP:20250806T073111Z CREATED:20250806T064247Z LAST-MODIFIED:20250806T073111Z UID:10000294-1461283200-1465084799@albertaprintmakers.com SUMMARY:Landscape Gaze and Breezy Erudition\, and What About Formal Freedom? DESCRIPTION:About the Exhibition \nJoani Tremblay – Landscape Gaze and Breezy Erudition\, and What About Formal Freedom? – exhibition essay by Christie Kirchner \nJoani Tremblay’s work is rooted in the creation of spaces\, both external\, physical spaces to be occupied\, and internal\, psychological spaces of experience. Working in embroidery\, printmaking and drawing\, she creates illusory multi-media environments that weave together imagined places and experienced places\, leading us tenuously along and across the borderline between our outer and inner landscapes. Her installations – often characterized by suspended embroidered drawings interspersed with prints\, sculptural objects\, and even live plants – create spaces that must be physically occupied\, but that also provide an ethereal\, abstract environment\, in which the viewer can project their own backdrop of memories\, fixations\, and fantasies. \nTremblay’s exhibition Landscape Gaze and Breezy Erudition\, and What About Formal Freedom? explores the transfer between the physical experience of a place and the imaginings it conjures by endeavoring to re-create the “feel” of an existing place. In this work\, she is interested in how we connect to and experience the feeling of powerful\, emotionally loaded places – landscapes that have a particular mystical\, ritual or historical significance. This specific installation draws inspiration from the Untermyer Garden in New York state: an elaborate\, century-old garden founded by Samuel Untermyer\, then a prominent lawyer and Jewish-rights advocate\, and designed in the Beaux-Arts style at the turn of the century. Upon Untermyer’s passing\, the gardens were endowed to the state\, abandoned\, and soon fell into neglect\, becoming a neo-renaissance-styled shelter for transient people and a mystical site for conducting occultist rituals. For several days\, Tremblay walked\, sketched\, photographed and collected minerals and flora from the park as source material for her work\, while internalizing a distinct feeling invoked by the esoteric history\, architectural details and abandoned\, outgrown aesthetic of the gardens. \nThe resulting works seek to elicit this affective experience in the viewer – the layers of time\, overgrowth\, and mysticism – through the repetition and layering of imagery. Within her sketches and photos\, Tremblay looked for interesting details and gestural marks that resonated with her inner experience of the landscape. She then reproduced these tiny pieces of the collected garden imagery and re-configured\, repeated and collaged them over and over in her prints and drawings into larger images and onto objects that form the new landscape of the installation. The ore and foliage collected at the site were ground into pigments to make inks from which the resulting imagery is printed\, creating works that capture the feel of the gardens through both formal reflection and materiality. \nRe-contextualizing these elements from their original locale into the layered marks of a maze of drawings\, prints and objects\, Tremblay’s installation creates a parallel space that exists somewhere in between the garden’s actual landscape and its distinct emotional experience. From this distilled essence of its history\, visual details\, and natural elements\, we as viewers are invited construct our personal inner experience of the Untermyer gardens. By triggering a particular feeling or emotional response through our interaction with her constructed space\, Tremblay seeks to explore our internal perception of and connection to the physical landscapes around us\, and how we understand the notion of place. \nArtist Bio: Joani Tremblay is an artist and curator living in Montreal. She is an MFA candidate at Concordia University with an art practice based in print media\, drawing and installation. Tremblay’s work has been shown in Tokyo (3331 Arts Chiyoda)\, New York City (DRAFTspace)\, Denton\, Texas (tAd Gallery) and throughout Canada in Toronto (Open Studio Gallery)\, Montreal (Parisian Laundry)\, Rimouski (Caravansérail) and soon in Calgary (Alberta Printmakers Gallery) and Edmonton (Latitude 53). Tremblay has also done artist residencies in Tokyo and Berlin. Her work is part of the Loto-Québec Collection and numerous national and international private collections. She is the recipient of the Vladimir J. Elgart Graduate Scholarship and a research grant from The Fonds de recherche du Québec – Société et culture. \n  URL:https://albertaprintmakers.com/event/landscape-gaze-and-breezy-erudition-and-what-about-formal-freedom/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Landscape_Gaze.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160401 DTEND;VALUE=DATE:20160528 DTSTAMP:20250820T214834Z CREATED:20250820T214834Z LAST-MODIFIED:20250820T214834Z UID:10000312-1459468800-1464393599@albertaprintmakers.com SUMMARY:Too Ignorant to Face Reality DESCRIPTION:Zareen Abeer explores macroscopic patterns that are found deep within nature to represent human organs\, such as lungs and the heart. She considers the heart to be the most important organ in the body because it helps us to feel. Just like nature is to earth\, she uses lungs to show that we are destroying the one thing that helps us to stay alive which is nature. Through her work\, she addresses the topic of environmental issues and human impact on the environment. \n“I focus on repetitive tasks that we might overlook. In my collage work\, the tasks overlap and create an obscure version of the world we live in\, reinforcing the absurd image of our existence; a world where the parameters of our movements and thoughts were already built before we were born into it\, to the extent where our instincts are no longer primitive or required.” \nArtist Bio: Zareen Abeer is a Bachelor of Fine Arts student at the University Calgary. Her specialization is in printmaking and photography. Her work uses variations of geometric patterns that are found with nature to represent objects\, organs or elements of nature. URL:https://albertaprintmakers.com/event/too-ignorant-to-face-reality/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Too_Ignorant.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160229 DTEND;VALUE=DATE:20160310 DTSTAMP:20250806T063804Z CREATED:20250806T063804Z LAST-MODIFIED:20250806T063804Z UID:10000293-1456704000-1457567999@albertaprintmakers.com SUMMARY:Blowing In The Wind DESCRIPTION:About the Exhibition \nApril Dean’s Word Work – exhibition essay by Blair Brennan \nApril Dean is an artist and a writer who transmits messages from her home in Edmonton. In this Alberta Printmakers exhibition\, Dean presents prints and related work that reveals her ongoing interest in the connection between emotions and words. Dean confronts our seemingly inexhaustible need to relate our deepest thoughts and feelings and the misplaced sloganizing that often accompanies our attempts to communicate meaningfully with others. \nThe majority of works in this show are photographic images of text on T-shirts. Dean prints phrases on the T-shirts and photographs them wet on a light table. The final works are digitally printed on transparent Pictorico Film and displayed off the wall by a few inches. These works have the feel of X-rays\, nicely commenting on our need to communicate our innermost desires with this relatively recent fashion item. T-shirts proclaim\, “this is what is inside me”\, whether they say\, “WE ARE ILL-EQUIPPED & UNPREPARED”\, as one of Dean’s works declares\, or “Go Oilers!” \nDean’s phrases are provocative\, sometimes vague\, but consistently open to deeper interpretation about the meaning of these specific words or larger ideas about how living language works. Like a Facebook update\, Dean’s printed T-shirts disclose our current status to the world. In most cases\, Dean’s phrases are assertive announcements in capital letters that begin with a plural pronoun. Nonetheless\, the proclamations express some awkward self-doubt. Dean is interested in how various public platforms are used to express emotional states; however the text’s peculiar evasiveness may reflect Dean’s parallel interest in the things we choose not to share publicly. \nMuch has been written about the benefits and challenges that current technology brings to communication. A recent Globe and Mail article on media scholar Sherry Turkel’s new book Reclaiming Conversation: the Power of Talk in the Digital Age\, suggests that electronic communication may hinder face to face communication. Distracted by technology\, we “move in and out of paying attention\, our conversations become light\, losing much of their empathetic possibility.” Some psychic urgency in Dean’s communications leaves me anxious about the state of language itself. I wonder if words can still elicit genuine empathy. \nIn June 1916\, Hugo Ball stated that it was “imperative to write invulnerable sentences.” When Ball wrote this\, it must have seemed to him and his Dada compatriots that language had been rendered useless in the face of the carnage of the First World War. Nightly performances at the Cabaret Voltaire and other seemingly absurd actions could be interpreted as a ritualized madness for a world gone mad with Ball’s own sound poetry revealing a special kind of trauma-induced linguistic madness. \nContemporary life is difficult (not WWI difficult) although\, on a daily basis\, we negotiate challenging psychic and emotional territory. Without fail\, language is our primary tool in these negotiations. It is a way to communicate with others and\, simultaneously\, the way we discover our own thoughts. April Dean’s oddly self-assured declarations draw attention to the process of language as thought and language as self examination. \nArtist Bio: April Dean is a visual artist living and working in Edmonton\, Alberta. She has a diploma in photographic technology from the Northern Alberta Institute for Technology (NAIT)\, a Bachelor of Arts Degree with distinction from The University of Alberta with a major in Art &Design (Printmaking) and a minor in English. In 2012 she was granted a Master of Fine Arts Degree in Fine &Media Arts from the Nova Scotia College of Art &Design (NSCAD University) in Halifax\, Nova Scotia. Her graduate thesis research was funded by the Social Sciences and Humanities Research Council of Canada. Her work is held in both public and private collections and has been purchased by the Alberta Foundation for the Arts. In 2012 Her work was selected to represent contemporary Canadian print media in the Novosibirsk International Triennial of Contemporary Graphic Art and the International Printmaking Biennial Of Douro in Alijó\, Portugal. Her creative practice incorporates all forms of print and print related media\, video\, installation and text-based expressions of humanness. In her spare time she is the Executive Director of the Society of Northern Alberta Print-Artists (SNAP)\, a non-profit and artist-run centre in Edmonton\, Alberta. \n  URL:https://albertaprintmakers.com/event/blowing-in-the-wind/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Blowing.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160108 DTEND;VALUE=DATE:20160221 DTSTAMP:20250806T063302Z CREATED:20250806T063302Z LAST-MODIFIED:20250806T063302Z UID:10000292-1452211200-1456012799@albertaprintmakers.com SUMMARY:Spread DESCRIPTION:About the Exhibition\nExhibition essay by Kristina Arnold \nMarilee Salvator’s work is deceptively beautiful. Entering one of her room-sized installations\, the viewer is drawn into a candy-coated world. A riot of jewel-toned circles bursts across the walls and cascades to the floor\, shiny\, plastic and playful. Forms tumble and spill\, coalescing into patterns both lacy and bold. There are no frames on the wall\, meticulously crafted editions or flat paper surfaces. Instead\, thousands of single-color clusters are relief printed onto transparent film\, each then painstakingly cut out by hand. In overlapping layer upon layer\, nearly buzzing with life\, each piece is pinned to the wall\, seemingly to prevent it from escaping. The addition of lighter\, less intense ghost prints\, the introduction of neutral greys to the work’s palette\, and the shadows created through the clear print surface provide a counterbalance\, and give a physical and temporal depth to the work. \nSpread’s process and materials reference both traditional “women’s work” and the more traditionally male space of the factory. Visual elements strongly rooted in the feminist-inspired Pattern and Decoration movement\, traditional quilts and children’s coloring books are paired with manufactured plastic film and an industrially-inspired process for creating multiples. Cloth piecework and mechanical die cutting are equally/visually present. The individual artist’s hand is concealed- through the intervention of the machine to create image\, and at the same time revealed – by altering each piece individually (via cutting it with scissors) once it comes off the press. \nEncountering Salvator’s dense work we wonder: is this a jungle or a seascape? Has our scale shifted\, and we are instead navigating the space under a microscope? We could be observing flora or fauna: breeding\, morphing\, mutating\, and taking over a space. In her print project\, Salvator harnesses the potential energy that lies latent within a process of multiples. A single building block\, used over and over\, stacks\, fills\, and masses. One cell divides\, and these daughter cells divide\, exponentially covering space. \nSalvator’s shapes and layers reference the build-up of time – both metaphorical and actual. We navigate the rain forest and smell the sweet overgrowth of decay; we snorkel through the accretion of barnacles and sealife on a long- ago sunk ship. We marvel at the dramatic complexity that is our body magnified many times over. One component is\,by itself\, beautiful\, healthy and desirable. But\, when repeated obsessively\, a small piece metastasizes\, becoming toxic to its body host\, or envelops its environment completely and becomes dangerously claustrophobic. Beneath the gleeful\, colorful surface lies a darker significance. Perhaps it is that the plastic film\, though attractive\, is busily proliferating in oceanic trash islands\, suffocating the very sea life it depicts. Maybe the jungle vines\, brought to a new environment and planted to share their beauty\, are now reproducing out of control\, choking out the native landscape. Or the lifestyle we enjoy is barraging our bodies with daily toxicities that eventually add up to cancer. \nLest the viewer despair\, our fears of what may lie behind the curtain are balanced by Salvator’s sheer positive visual energy. We are cautioned of the consequences of our indulgences\, but are ultimately left with a gift. Like the proverbial kids in the candy store\, we have immersed ourselves within her transformed fantasy world\, have consumed our fill\, are satiated and slightly sick. We are richer for the experience\, and if given the chance\, we would do it again. \nArtist Bio: Marilee Salvator is an Assistant Professor of Printmaking and Design at Western Kentucky University in Bowling Green Kentucky. Her work has been exhibited in over 100 exhibitions throughout North America\, South Korea\, China\, Japan\, Portugal\, Serbia\, Ireland\, Scotland\, Poland\, Italy\, New Zealand and Romania. Her work is included in over 25 collections including JCI University\, Jiangxi\, China and Sakmi Art Museum\, Okinawa Prefecture\, Japan. URL:https://albertaprintmakers.com/event/spread/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Spread.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20151205 DTEND;VALUE=DATE:20151224 DTSTAMP:20250801T204636Z CREATED:20250730T035146Z LAST-MODIFIED:20250801T204636Z UID:10000254-1449273600-1450915199@albertaprintmakers.com SUMMARY:2015 Not-So-Mini Print Exhibition and Exchange DESCRIPTION:About the Exhibition\nEach year\, A/P holds a non-juried show and sale to showcase the work of local and international print artists\, and to raise funds towards Alberta Printmakers artistic and educational programming. A/P invites all interested printmakers to submit an edition of ten 8” x 10” prints that relates to the theme of transition for exhibition and exchange in the Artist Proof Gallery. Each participant will receive 8 prints created by other artists\, and A/P will retain 2 works from each edition for sale in our studio and gallery.  \n  \nArtists included in the exhibition: \nKate Baillies\, Alison Frank\, Margot Van Lindenberg\, Lillianne Daigle\, T. Knudsen\, Brandon Giessmann\, Carole Bondaroff\, Mahwish Ahmed\, Kaitlin Reckord\, Randie Feil\, Gabrielle Arrizza\, Nicole Edmond\, Mark Eadie\, Tara Cooper\, Jennifer Byrnes\, Tee Kundu\, Raegan Little\, Ainsley Dack\, Claire Coutts\, kathryn Dutchak\, Oliver Dunbar\, Boenish Gilles\, Melissa Rae Huapaya\, Paul Hammacott\, Max Gregory\, Ryan Ericksen\, Bethany Drake\, John Charles Cox\, Carrie Phillips-Kieser\, Alden Alfon\,  Robert Pugh\, Anne Petrie\, Emily Thomas\, Catherine Tam\, Jesse Wardell\, Sofia Roy\, Nadine Simec\, Andrew McKay\, Angela Smyth\, James Michele\, Kale Vandenbroek\, Mitsuko Sakurada\, Marzieh Mosavarzadeh\, Elmira Sarreshtehdari\, Shinobu Mitsuhashi\, Sumi Perera\, Lisa Molvig\, Richard Steiner\, Marg McArdell\, Hannah Raper\, Darby Womack URL:https://albertaprintmakers.com/event/2015-not-so-mini-print-exhibition-and-exchange/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/Scan-37-rotated.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20151204 DTEND;VALUE=DATE:20160130 DTSTAMP:20250820T215752Z CREATED:20250820T215752Z LAST-MODIFIED:20250820T215752Z UID:10000338-1449187200-1454111999@albertaprintmakers.com SUMMARY:Lost Geography DESCRIPTION:These colour woodcuts are developed from small collage studies I did in the 1970’s. The reductive woodcut process allows me to reconsider the interaction between shape and colour in the original compositions. These are not reproductions but rather explorations seeking new meanings in a different time and place. The series references maps\, diagrams and billboard remnants: fragments that might represent imagined space. \nArtist Bio: Sara Norquay has been a printmaker for almost twenty years\, making monotypes\, photopolymer etchings\, woodcuts\, linocuts and recently copper etchings. She also makes artists  books and works with felt. After living\, working and exhibiting for nearly 20 years in California\, she moved back to Canada in 2009 and now exhibits her work in Edmonton\, Calgary\, and Toronto as well as in California. URL:https://albertaprintmakers.com/event/lost-geography/ CATEGORIES:Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Lost_Geography-e1755727029387.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20151023 DTEND;VALUE=DATE:20151126 DTSTAMP:20250806T061409Z CREATED:20250806T061409Z LAST-MODIFIED:20250806T061409Z UID:10000291-1445558400-1448495999@albertaprintmakers.com SUMMARY:Terminal Work DESCRIPTION:About the Exhibition\nExhibition essay by Daniel Cleghorn  \nBloom\, Fade\, Repeat \nAs a flower is bound to bloom\, it is also bound to fade; coinciding with the promise of one’s end is another’s creation- a spark in the dark. From the blooming flower comes the promise of honey\, a nutrient to other wildlife and ourselves. From this donation of nectar comes the collapse of the petal’s peak and the brewing of a renaissance. We have become dependent on the blossom\, the bees\, and the cycle of fading and rebirth of the flower. As small as the flower is\, we are largely unaware of our need for beauty to survive. Much like the flower\, our hearts work in a rhythmic sequence; as one cavity blooms\, the other fades\, cycling through the blood\, completing the revolution and transporting nectar to the rest of the body. The beauty of any cycle is not recognized until almost lost.  \nMarnie Blair experienced a cardiac arrest at the young age of nineteen\, which led to her being diagnosed with Long QT Syndrome\, a condition that affects the heart’s electrical system. As a result\, Blair had to have surgery to implant a cardiac defibrillator. Her personal experience with her heart condition and defibrillator led her to become aware of the inherent beauty within the heart’s cycle. Now partially dependent on an technological alien force to continue the rhythm of her heartbeat\, Blair creates installations and images with print media derived from derelict industrial and medical sites as a reflection on fragility and resilience; the biological and the artificial; the private and public; decay and resuscitation. \nA motif and design strategy found throughout her exhibitions is the application of juxtaposition to create a visual cycle and enhance the physical nature of the work. While this can be said about many artists\, Blair goes beyond the obvious employment of direct contrast to heighten the qualities of a pair; she succeeds in creating a conversation between the material\, her thematic concepts\, and a powerful personal history. The strength of the work lies in understanding the intimate relationship between her and the media; within this same strength\, however\, exists a possible detriment to the work- the deeply personal meaning can distance the viewer or cause confusion. Once we become intimately familiar with Blair’s past\, we can truly be immersed in the \nexhibition and be overwhelmed in the best possible manner\, finding abstract and beauteous ways to relate and empathize with her work. Considering the physical nature that Blair’s work takes\, there is an obviously intentional interplay between the duality of the natural and the controlled/manufactured. This relationship ultimately ties back to her personal story and experiences\, but is subtle enough to be open to further interpretation by her audience. Marnie Blair’s examination of her personal history\, the relationship between the technological and the biological\, and her exploration of print media materials engages the viewer and encourages an immersive experience. \nArtist Bio: Marnie Blair has a BFA from Lakehead University and an MFA from the University of Calgary. She studied at the Royal College of Art in London\, UK\, the Studio Art Centers International in Florence and has interned at Manhattan’s Lower East Side Print Shop. She presently teaches Printmaking at Red Deer College. URL:https://albertaprintmakers.com/event/terminal-work/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Terminal_Work.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20151002 DTEND;VALUE=DATE:20151128 DTSTAMP:20250821T175744Z CREATED:20250821T164013Z LAST-MODIFIED:20250821T175744Z UID:10000348-1443744000-1448668799@albertaprintmakers.com SUMMARY:Provisionaries  DESCRIPTION:About the Exhibition\nWithin my process I explore movement. I am interested in the range of movement that humans are restricted to within the environment we have created for ourselves. We are physically manipulated by the situations our culture creates. The ways we walk\, breathe and talk are constructed by our environment. We wait for things\, and we form lines to wait for them. We follow routes and signs. There are regulations that unify us and separate us\, impacting the way we interact with each other\, propagating the psychological movement that we are confined to. \nI focus on repetitive tasks that we might overlook. In my collage work\, the tasks overlap and create an obscure version of the world we live in\, reinforcing the absurd image of our existence; a world where the parameters of our movements and thoughts were already built before we were born into it. To the extent where our instincts are no longer primitive or required.  \n  URL:https://albertaprintmakers.com/event/provisionaries/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Provisionaries.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150904 DTEND;VALUE=DATE:20151018 DTSTAMP:20250806T060948Z CREATED:20250806T060948Z LAST-MODIFIED:20250806T060948Z UID:10000290-1441324800-1445126399@albertaprintmakers.com SUMMARY:Present Density DESCRIPTION:About the Exhibition \nExhibition essay by Dan O’Neill  \n“A line is a dot that went for a walk” – Paul Klee \nIt’s an obvious state of affairs\, blanketed as we are under multiple cultural moods\, warmed by communal temperatures and showered by the shifting presence of things; that our senses are replenished in a second to second unfolding of lived events. And it is also an obvious state of affairs that we are carried by uncompromising waves of physical and cognitive tension\, bound together in ever changing minute-to-minute negotiation with all things. \nStoicism communicates universal forces of attraction uniting elements and beings embodied in a word we value\, Sympathy. From that perspective\, it is likely Jolowize continues with a variation of this filtering exercise\, where the influence of elements on the beings in her work\, impart the notion that they may be sympathizing with their situations. She also extends that occasion\, unlocking signs pointing toward mindfulness in favor of empathy\, an analogous force of attraction\, one of deep absorption more accurately aligned perhaps\, to what Jolowicz depicts. We should make every effort to decipher what we see on our own terms. \nAll stimuli calculate action and reaction\, compelling us to take stock of the hour upon hour tide of such cause and effect; lived action leaving indelible traces of multiple encounters\, abundant fleeting moments\, so many remembered expressions. We are a privileged species and for better or for worse\, we are a tectonic mass. Evidently\, her reflections describe some of the shifting sympathies of social tectonics\, a fundamental gesture from Jolowicz\, where she tells us how to dance with the material world. Creative action engraves everlasting furrows into enriched cognitive soil and it is there that Jolowicz sows her thoughtful traces\, the purpose of which intends to cultivate\, harvest and celebrate the thanksgiving of our common experience. This is a major intersection where Gabriela leads us\, compelling us to cross under a mindset of open sympathy; where we’ll recognize in crossing\, that the effects of her image gravity really attracts us in an invitation to gracefully empathize. \nJolowicz imagines streams of retrievable records as our birthright to the past in order to progress in the present\, with a potential view of the future. She preserves compressions of existence; that’s obvious. Mapping perceived excursions\, hiking cultural elevations ripening with communal spaces over which\, through which she moves and harvests; Jolowicz picks up unrehearsed visual cues much like nectar is returned to the hive. One sure result of gathering these reflections accumulated from Jolowicz’s flight path is the guaranteed promise of a sweetness of image incubation\, a human custom in which reminiscences slumber before they are awakened. In its various guises\, memory catnaps well hidden in the honeycombed subconscious and digital memories keep well enough on memory cards\, without appreciable deterioration one might add. Yet as we all know\, it is the image alone no matter how it is conjured\, that will radiate familiar sparks as it is brought to surface\, assuming concrete form. \nBuoyed by the digital\, the present-day analog record keeping Gabriela Jolowicz registers\, sound the facets and fragments of sense perception; the busy-ness of any peculiar day gathered in countless gestures cloaked in an intimate method of image invention. Here at this material intersection\, Jolowicz crosses repeatedly with purpose and ease\, moving to and from her studio work venturing through an open concept social world where details are later nurtured by physical effort; forcing carving blades to link with her observations. This solitary activity never fails to fascinate\, to imagine the larger preoccupation Jolowicz pursues carving stories into graphic voices\, speaking between the wholly analog and the virtual digital.  \nJolowicz shares this preoccupation with a distant methodology\, where conversations talk of public and private records\, filtered from within communal spaces and populated events. It is at this vibrant intersection where Jolowicz crosses\, one that signals a beautiful pertinence in making critical documents\, where action and reaction are married to making images\, incised here and printed several hundred years after the fact. \nThe anomalous spaces Gabriela stores hold the inventions of wanderers\, of locations\, illuminated screens and diagrammatic stations\, and always an avalanche of objects and elements blanketing our telltale associations; faced with multiple compressions she infers intuitively\, depicting less than what one is inclined to feel. With prowess and well positioned\, Jolowicz conveys her moment-to-moment observations where compositional forces take precedent\, succinctly outlining for us that the telling matters most. \nThat tactic is welcomed\, refreshing really. We should never be offered the whole story; we must learn instead to look carefully and consider listening\, to participate in translating whatever telltale hints Jolowiez offers\, expressly in our own terms. \nHow else should we learn to walk with the day-to-day diversions Gabriela presents? URL:https://albertaprintmakers.com/event/present-density/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Present_Density.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150817 DTEND;VALUE=DATE:20150927 DTSTAMP:20250821T175708Z CREATED:20250821T163559Z LAST-MODIFIED:20250821T175708Z UID:10000347-1439769600-1443311999@albertaprintmakers.com SUMMARY:Eunoe  DESCRIPTION:About the Exhibition\nEunoe draws on a number of sources for inspiration including the North Saskatchewan River\, German woodcuts from 1500 and 1600\, contemporary and historic scientific and industrial illustrations\, emaki (Japanese narrative hand scrolls)\, cartoons\, and the prairie landscape of Alberta. By referencing both the past and the present in this way\, it is my hope that Eunoe will provide viewers with a multi-faceted visual experience reflecting the complexity of how contemporary attitudes towards technology\, industrialization and the environment are shaped by a myriad of factors including personal experience\, regional history\, political\, social\, scientific forces and cultural factors such as religion and mythology. \n  \n  \n  URL:https://albertaprintmakers.com/event/eunoe/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Eunoe.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150619 DTEND;VALUE=DATE:20150802 DTSTAMP:20250809T160753Z CREATED:20250806T060452Z LAST-MODIFIED:20250809T160753Z UID:10000289-1434672000-1438473599@albertaprintmakers.com SUMMARY:Aleksandar Mladenovic and Robert Truszkowski DESCRIPTION:About the Exhibition\nEssay by Elizabeth Chorney-Booth \nMusic is often a reflection of the values and emotional make- up of a culture\, but how does it directly influence other artistic pursuits? Music has long been an inspiration for visual artists working in a number of mediums – the sound of a serene classical piece\, a searing jazz trumpet improv\, or the roar of a thundering rock band all evoke different colours and forms\, but the role that music plays in shaping our values and memories can also provide valuable artistic fodder. Aleksandar Mladenovic Leka and Robert Truszkowki are from different places\, have different cultural perspectives\, and are influenced by the effects of different genres of music\, but each create work that echoes their respective inspiration in complex and thought-provoking ways. \nSerbian artist Aleksandar Mladenovic Leka describes his process as “avant-garde jazz classical Visual Art\,” a reference not to the great experimental jazz musicians\, but to British post-punk cult hero Vini Reilly of the band Durutti Column. Leka uses the term to describe his own spirit of experimentalism\, which he combines with the traditional artistic methods and values that also inform his work. Combining classic and digital techniques\, figural depictions meshed with abstract symbolism\, and mixed media in his prints\, Leka’s work combines historical themes with modern sensibilities to create work that is both contemplative and cheeky. \nAnd going back to themes of music and popular culture – Leka’s flair for cultural nostalgia is a reoccurring theme in his work. Making literal references to everything from pioneering filmmakers the Brothers Lumieres to ’70s English punk bands The Slits and Sham 69\, Leka also evokes that feeling of time passing with his boldly familiar imagery and the juxtaposition of the old and the new. Regina’s Robert Truszkowski also skillfully brings together seemingly contradictory pop culture references\, but his work differs from Leka’s in both the source inspiration and the feel of the finished prints. While Leka does use some text in his work\, lettermarks take centre stage with Truszkowski’s striking prints. Fascinated with the way in which printing has shaped human culture and communication\, Truszkowski takes the responsibility of his role as a communicator seriously and is cognizant that his medium of choice is about something much more powerful than merely putting together words and pictures. \nTruszkowski uses that medium to create images that draw on themes of pervasive religion\, pop culture\, and other culture shaping forces that have traditionally utilized the power of print. Whereas Leka is drawn to punk music\, Truszkowski is a fan of that other deeply revolutionary music that grew out of the ’70s and ‘80s rap. Whether he’s placing Notorious B.I.G. or Jay-Z lyrics next to delicate illustrations of birds or making a statement about quantum electrodynamics through stylized text\, Truszkowski’s prints are dealing with the power of the information that is being thrown at us via the reams of print that we all sift through every day. \nMusic\, like visual art\, is both a reflection of our humanity and a force that influences how we live. The way that these two artists use music culture in their printmaking offers two differing\, but complementary\, takes on how ingrained both music and visual art are in the way we navigate through our shared experiences. \nArtist Bios: Aleksandar Mladenovic Leka is a practicing printmaker and painter\, associate professor at Faculty of Fine Arts in Belgrade. He has participated in a one man exhibition and over 300 group exhibitions. He has won several awards and prizes for printmaking in his country and abroad. His works are in public collections in Serbia\, Canada\, Spain\, Greece\, France\, USA\, Germany\, China. Robert Truszkowski earned a BA from Queen’s University in 2000 and a MFA from Concordia University in 2004. He has exhibited and lectured internationally\, winning awards and recognition as an important artist working in contemporary Printmaking. He is currently Associate Professor of Print Media at the University of Regina. URL:https://albertaprintmakers.com/event/aleksandar-mladenovic-and-robert-truszkowski/ CATEGORIES:Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Two_Artists.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150606 DTEND;VALUE=DATE:20150801 DTSTAMP:20250821T175619Z CREATED:20250821T163217Z LAST-MODIFIED:20250821T175619Z UID:10000346-1433548800-1438387199@albertaprintmakers.com SUMMARY:Torn Between  DESCRIPTION:About the Exhibition\nIn these works\, I have used my self-portraits as the main theme and added various elements and symbols to tell stories. As a female artist from Iran who has lived in a society full of contradictions and limitations\, I wanted to focus on the contrast between new and old beliefs that I have seen in contemporary Iranian lives. Everything is changing every day and the insane speed at which technology advances has played a crucial role in this rapid change. At the same time\, the Iranian society is trying to keep the traditional ideology and culture alive. It is a great struggle between conservative and contemporary points of view. As a result\, in this series\, the viewer sees a headphone as a symbol of our contemporary lives. In Iran\, headphones are strongly associated with the young generation\, who often uses it to create a line between its  own way of life\, and to avoid the society’s realities. I have also used different traditional Iranian motifs and patterns to create a contrast with the headphones. By using my self-portraits\, I focus on the feeling of living between two different points o f view. and try to make a balance between them. In these recent works\, I want to give my audience a moment of reflection on our fast paced lives\, our life changing decisions\, and perhaps my endeavour to find my identity in this complicated world of mine. \nArtist Bio: Marzieh Mosavarzade finished her B.F.A. program at Islamic Azad University (Tehran Central Branch)\, concentrating in painting\, in 2013. She has recently started her graduate studies at the University of Calgary\, with a printmaking concentration. Her artistic and research practice is engaged with overlaying depictions of places\, portraits and moments which she encounters every day. In these combinations\, she shows the speed of change in lifestyles and human interactions. As she has lived in a society that has a hard time accepting people’s individual differences\, she wants to demonstrate\, through her work\, that everyone has a different and unique personality and that it is unreasonable to expect them to be similar in every way. \n  URL:https://albertaprintmakers.com/event/torn-between/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Torn_Between.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150501 DTEND;VALUE=DATE:20150531 DTSTAMP:20250730T164844Z CREATED:20250730T034450Z LAST-MODIFIED:20250730T164844Z UID:10000253-1430438400-1433030399@albertaprintmakers.com SUMMARY:2015 Members Show DESCRIPTION:About the Exhibition\nAlberta Printmakers has been invited to show print related work in the Calgary Public Library Central Location\, This is a non-juried exhibition. All work must be framed or install ready.  \n  \nArtists included in the exhibition: \nTracey Lawson\, Irene Gibson\, Scott Baird\, Christine Nalder\, Barbara Sutherland\, Nicole Fernandez\, Jenna Rae\, Kathryn Dutchak\, Alison Frank\, Kate Baillies\, Nicole Fernandez\, Jenna Rae URL:https://albertaprintmakers.com/event/2015-members-show/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE: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:20150407 DTEND;VALUE=DATE:20150601 DTSTAMP:20250821T175530Z CREATED:20250821T162555Z LAST-MODIFIED:20250821T175530Z UID:10000345-1428364800-1433116799@albertaprintmakers.com SUMMARY:Natural Resources DESCRIPTION:About the Exhibition\n“Our identity includes our natural world\, how we move through it\, how we interact with it and how it sustains us” – David Suzuki (The Sacred Balance: Rediscovering Our Place in Nature) \nNatural Resources is an observation of the current state of Canada’s iconic landscape. Through the use of handmade objects Natural Resources explores human intervention\, Canadian imagery\, concepts of natural space along with the idea of constructed versus natural landscape. \nArtist Bio: Tait Wilman is an artist currently based in Calgary\, raised on the prairies and by the sea of the West Coast. Experiencing the Canadian heritage\, landscape\, and our connection to nature are some aspects of inspiration to Tait’s practice. Creating artworks that revolve around these influences and using a sense humour fuels my creativity. URL:https://albertaprintmakers.com/event/natural-resources/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Natural_Resources.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20150401 DTEND;VALUE=DATE:20150501 DTSTAMP:20250730T164854Z CREATED:20250730T033958Z LAST-MODIFIED:20250730T164854Z UID:10000252-1427846400-1430438399@albertaprintmakers.com SUMMARY:Singular Repetition DESCRIPTION:About the Exhibition\nSingular Repetition is an Andy Warhol inspired print exhibition and sale in partnership with LOFT 112 and Teatro Berdache. \n  \nArtists included in the exhibition: \nShinobu Mistuhashi\, Trevor Gieske\, Eveline Kolijn\, Keri Macleod\, Alison Frank\, Tracy Lawson\, Robin Koch\, Kale Vandenbroek\, Ken Li\, Dan Cleghorn & Scott Baird URL:https://albertaprintmakers.com/event/singular-repetition/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE: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:20150207 DTEND;VALUE=DATE:20150401 DTSTAMP:20250821T161746Z CREATED:20250821T161746Z LAST-MODIFIED:20250821T161746Z UID:10000344-1423267200-1427846399@albertaprintmakers.com SUMMARY:Past Iterations DESCRIPTION:About the Exhibition\nMy current work explores the connections between traditional media and how it interfaces with digital technologies specifically aimed at the growing vocabulary of print based processes. Using digital tools as aids\, my work is built up in layers where linear elements\, geometry and symmetry\, are embedded and superimposed on open and fluid spaces. \nWhile the use of digital applications has become a significant component of my practice it is important that my own hand can be seen in the work. I am interested in the disjunctive qualities of analogue and digital print processes when they are combined\, and the potential point in which they converge and become symbiotic. \n  \nArtist Bio: Shawn Reynar holds an MFA in Print Media from Concordia University\, Montreal\, QC. He received a BFA from NSCAD University in Halifax\, NS\, as well as having studied at Langara College in Vancouver\, BC. Most recently\, Reynar was Artist in Residence at Towson University in Maryland\, Visiting artist at UNC Charlotte and Snap Line newsletter artist for the quarterly publication of the Society of Northern Alberta Print-Artists. His work has been exhibited in solo and group exhibitions in Canada and the United States. \n  URL:https://albertaprintmakers.com/event/past-iterations/ CATEGORIES:Other Exhibition Past,Past ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Past_Iteration.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 END:VCALENDAR