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BEGIN:VEVENT
DTSTART;VALUE=DATE:20151205
DTEND;VALUE=DATE:20151224
DTSTAMP:20250801T204636Z
CREATED:20250730T035146Z
LAST-MODIFIED:20250801T204636Z
UID:10000254-1449273600-1450915199@albertaprintmakers.com
SUMMARY:2015 Not-So-Mini Print Exhibition and Exchange
DESCRIPTION:About the Exhibition\nEach year\, A/P holds a non-juried show and sale to showcase the work of local and international print artists\, and to raise funds towards Alberta Printmakers artistic and educational programming. A/P invites all interested printmakers to submit an edition of ten 8” x 10” prints that relates to the theme of transition for exhibition and exchange in the Artist Proof Gallery. Each participant will receive 8 prints created by other artists\, and A/P will retain 2 works from each edition for sale in our studio and gallery.  \n  \nArtists included in the exhibition: \nKate Baillies\, Alison Frank\, Margot Van Lindenberg\, Lillianne Daigle\, T. Knudsen\, Brandon Giessmann\, Carole Bondaroff\, Mahwish Ahmed\, Kaitlin Reckord\, Randie Feil\, Gabrielle Arrizza\, Nicole Edmond\, Mark Eadie\, Tara Cooper\, Jennifer Byrnes\, Tee Kundu\, Raegan Little\, Ainsley Dack\, Claire Coutts\, kathryn Dutchak\, Oliver Dunbar\, Boenish Gilles\, Melissa Rae Huapaya\, Paul Hammacott\, Max Gregory\, Ryan Ericksen\, Bethany Drake\, John Charles Cox\, Carrie Phillips-Kieser\, Alden Alfon\,  Robert Pugh\, Anne Petrie\, Emily Thomas\, Catherine Tam\, Jesse Wardell\, Sofia Roy\, Nadine Simec\, Andrew McKay\, Angela Smyth\, James Michele\, Kale Vandenbroek\, Mitsuko Sakurada\, Marzieh Mosavarzadeh\, Elmira Sarreshtehdari\, Shinobu Mitsuhashi\, Sumi Perera\, Lisa Molvig\, Richard Steiner\, Marg McArdell\, Hannah Raper\, Darby Womack
URL:https://albertaprintmakers.com/event/2015-not-so-mini-print-exhibition-and-exchange/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/Scan-37-rotated.jpeg
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150227
DTEND;VALUE=DATE:20150412
DTSTAMP:20250806T051421Z
CREATED:20250806T051421Z
LAST-MODIFIED:20250806T051421Z
UID:10000287-1424995200-1428796799@albertaprintmakers.com
SUMMARY:The Creation of the Universe
DESCRIPTION:About the Exhibition\nEssay by Nathan Flaig  \nThe work of Montreal-based artist Emmanuelle Jacques explores the reflexive nature of urban space\, the expansive potential of territory\, and human reflection upon these structures. Presented through ever-evolving projects\, the content of her work reflects the process from which it is birthed; excitingly transformative and speculative\, projects like The Creation of the Universe mediate the boundlessness of possibility\, randomness\, and the limitations of the mind. Jacques’ projects have been exhibited across Canada and she has hosted an abundance of creative workshops that continue the explorative nature of her practice. Her art book Lieux communs: Commonplaces is an emotive rendering of cartography\, which recalls psychogeographic explorations of space. This work highlights the wonder in the mundane\, echoing the sentiments of the Situationists in its emotive reorientation of utilitarian space. Similarly\, The Creation of the Universe recasts this wonder in a spectacular fashion\, positioned outward to the cosmos. \nWith beginnings in 2010 during a residency at Open Studio in Toronto\, The Creation of the Universe draws inspiration from Jorge Luis Borges’ The Library of Babel. Jacques’ process mimics the method described in the story\, which describes a vast library that resulted from an alphabet of only 25 characters. Jacques created her own characters by engraving 25 blocks\, each with “the motif of the stars standing for the infinite possibilities\,” thereby assembling a cosmic alphabet from which 15 625 possible permutations could be derived (Jacques\, 2012). Using a typographic press and maintaining a limit of three matrices per image\, Jacques printed 1250 of these permutations with process colour inks of yellow\, magenta\, and cyan. By employing the primary triad of colour\, Jacques evokes the elemental construction of matter\, suggesting that simple beginnings can result in a multitude of diverse creations. Such a process lends itself to the print medium\, which allows for the mechanical reproduction of works with subtle variation\, commenting on both the innovation of the work while hinting towards the infinite. The projects exhibited in a dual fashion\, utilizing both time and space as indicators of vastness and the limits of human comprehension. By displaying the printed pieces in a repetitive manner\, the subtlety of the process is highlighted\, while also confronting the viewer with a near overwhelming volume of permutations. The contradictive feeling produced on one hand signals comprehension\, while alluding to that which cannot be conceived. The physicality of the printed works forms a spatial relationship between the viewer and boundlessness\, while the adjoining video piece situates the mutations in time\, with variations moving in succession before the viewer’s eyes. \nArtist Bio: Emmanuelle Jacques’s practice is rooted in drawing and the print media. Her work is presented in various forms such as installations\, artist books\, videos\, relational art or other manoeuvres. She develops her work by way of projects\, some of which have been unfolding in parallel for several years. In pursuing repetitive\, even endless tasks\, she creates contexts that are conducive to lengthy reflection\, which allows her to articulate ideas and make her work meaningful. Having been influenced by the philosophy of the absurd\, she views the world with both a sense of wonder and\, due to the impossibility of finding meaning in it\, one of revolt. Her recent projects explore notions of space and territory\, whether it be through their appropriation by individuals or communities (Une cartographie subjective\, Les chemins de traverse)\, their poetic and political resonance (Lieux communs: Commonplaces) or their imaginary dimension (La création de l’univers\, Cartographies spontanées). \nEmmanuelle Jacques lives in Montreal where she earned a BA at UQAM in 2004. She has presented her work\, given work- shops and carried out residency projects in Montreal\, Toronto\, Vancouver\, Winnipeg\, Moncton\, SaintJohn’s\, Baie-Comeau\, Natashquan and the Iles-de-la-Madeleine. Her artist book Lieux communs: Commonplaces was a finalist in the Artist Book of the Moment competition at the Art Gallery of York University (Toronto\, 2012). An active member of her milieu\, she was the president of Arprim’s board of directors and for 5 years she took part in the organization’s transformation into an artist-run centre dedicated to the dissemination of contemporary print- related art practices.
URL:https://albertaprintmakers.com/event/the-creation-of-the-universe/
CATEGORIES:Exhibition Past,Past
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20141207
DTEND;VALUE=DATE:20150201
DTSTAMP:20250821T160306Z
CREATED:20250821T160306Z
LAST-MODIFIED:20250821T160306Z
UID:10000343-1417910400-1422748799@albertaprintmakers.com
SUMMARY:Oral Microflora
DESCRIPTION:About the Exhibition\nOral Microflora contemplates the small world of cellular life that surrounds us\, specifically the microbial life that comes into contact with our mouths. This imagery explores the relationship between cellular life and humans\, how these small\, seemingly trivial things have a huge effect on our daily lives. \nThis print creates the response of viewers instantly reaching for their hand sanitizer\, but it also allows viewers to see the beauty of microbial life. This relationship we share with microbes is one that is both symbiotic and nocuous\, we can’t survive with- out them and yet they can be deadly. Oral Microflora I causes the viewer to be both uncomfortable as well as in awe of these tiny cells that surround our everyday lives. \n  \nArtist Bio: Nicole Edmond is an emerging artist and recent graduate from The Alberta College of Art and Design. She works mainly within the realm of print-media; her specialties include Relief\, Etching and Silkscreening. Nicole’s artwork explores the invisible microscopic world that surrounds our everyday lives. She is interested in the grotesque beauty within this infinitesimal world and uses printmaking to reflect this. \n 
URL:https://albertaprintmakers.com/event/oral-microflora/
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Oral_Microflora.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20141201
DTEND;VALUE=DATE:20150101
DTSTAMP:20250730T164908Z
CREATED:20250730T033341Z
LAST-MODIFIED:20250730T164908Z
UID:10000251-1417392000-1420070399@albertaprintmakers.com
SUMMARY:2014 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:\n Maria Doering\, Trish Hondzel\, Jenny Hamilton\, Jessica Lanigan\, Scott Baird\, Irén Gibson\, Anna Desramaux\, Rob Lemerweyer\, Aldon Alfon\, T. Knudsen\, John Abram\, Carrie Phillips-Kieser\, Jolie Bird\, Trevor Gieske\, Kate Baillies\, Alison Frank\, Claire Coutts\, Tamara Deedman\, Jeanette Lazar\, Marcus Jackson\, Joshua Brien\, Cate Kuzik\, Bonnie Baker\, Hannah Genosko\,  Golriz Rezvani\, Maria Nowak\, Melissa Roa\, Tyler Zurawel\, Barbara Sutherland\, Nora Morris\, Christine Nalder\, Sally Mayne\, Anne Petrie\, Amanda West\, Kaitlin Reckorel\, Ash Slemming\, Nicole Schlosser\, Evan Smibert Marie Winters\, Lisa Turner\, Shinobu Mitsuhashi
URL:https://albertaprintmakers.com/event/2014-not-so-mini-print-exhibition-and-exchange/
CATEGORIES:Other Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20141007
DTEND;VALUE=DATE:20141201
DTSTAMP:20250821T180116Z
CREATED:20250821T170744Z
LAST-MODIFIED:20250821T180116Z
UID:10000354-1412640000-1417391999@albertaprintmakers.com
SUMMARY:interweave
DESCRIPTION:About the Exhibition\n“Man stands face to face with the irrational. He feels within him his longing for happiness and for reason. The absurd is born of this confrontation between the human need and the unreasonable silence of the world” – Albert Camus\, The Myth of Sisyphus \ninterweave is a diptych of intaglio prints that toys with representation of the intrinsic duality of one’s desire to find reason\, structure\, placement juxtaposed with the pleasures of losing oneself within the irrational\, the letting go of conformity and expectations. On one side the well crafted stitch stands in as the crafted life that we consciously work to build\, and the other is the wild nature of letting go. Within both sides\, lie beauty and darkness\, foreboding and anticipation. \nArtist Bio: carrie phillips kieser is a Calgary-based artist whose work revolves around relationships between control and helplessness. Through symbolism and motifs she explores ideas around the uncanny; where something can be both familiar yet alien at the same time\, resulting in a feeling of strange uncomfortability. \nTo see more visit www.carriephillipskieser.com \n 
URL:https://albertaprintmakers.com/event/interweave/
CATEGORIES:Other Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140914
DTEND;VALUE=DATE:20181013
DTSTAMP:20250801T205444Z
CREATED:20250801T205444Z
LAST-MODIFIED:20250801T205444Z
UID:10000283-1410652800-1539388799@albertaprintmakers.com
SUMMARY:Wasteland / Wanderland
DESCRIPTION:About the Exhibition\nWasteland / Wanderland  – exhibition essay by Shaun Crawford \nAny soul born from childhood will connect with the universal experience of growing up\, a sensation that Laura Peturson implores with apparent effortlessness – and capitalizes on as a space to draw attention to the world that today’s children are destined to inherit. Within large scale murals\, Peterson immerses her audience in a fantasy land that at first glance seems separate from the adult world. And yet\, there is something looming in the margins. Some hunch that two realms are in a quiet conflict with each other. The innocence of children\, so enchanting in the ease of their wonderment\, is being invaded by the greater\, corruptible\, ever more complicated context that  cradles them. The world we live in now.  \nLaura Peturson is based just outside of North Bay\, Northern Ontario\, a place known as “the gateway” between North and South. And so it is no accident that Peturson’s work also serves as a gateway\, a journey between two worlds. Her journey includes a B.F.A from York University in Toronto in 20011\, followed by an M.F.A from New York Academy of Art in 2005. And for the last decade\, Peterson has given her time as Associate Professor of the Department of Fine and Performing Arts at Nipissing University in North Bay Ontario. She has shared a myriad of exhibitions along the Eastern artistic hubs of Canada and the U.S\, including numerous shows through both Ontario and New York. Those shows have featured Peturson;s printmaking with a focus on relief\, screenprint\, and papercut processes. Though\, like any artist\, describing her simply by her academic history and preferred mediums falls drastically short of capturing her body of work- a narrative- based exploration of the defining experience of childhood and how its imprint and resulting identity interacts and resonates with place. And like many of her themes\, the notion of “place” represented an interconnected series of manifestations\, including geography\, internal space\, familial environments\, a globalized planet\, and no doubt much more than that. For Peturson is an artist that doesn’t seem too concerned with operating inside these constraints.  \nHer work is likewise ungoverned by arbitrary rules or constrained by boundaries\, be they artistic or imposed – most importantly those often self-imposed. And yet\, as much as her work exists in a boundless world\, it also lives on a razor thin edge\, that place that Peturson herself describes as\, “The line between peril and safety\,” a notion echoed in the title of her exhibition\, Wasteland/Wanderland. And “wander” and “wonder” and in doing so blurs the line between each. And wonder most certainly has a place in this exhibition as well. Be prepared to be immersed in an uncanny world\, an experience carrying with it both the familiar and the deliberately unknown. This Wasteland/Wanderland\, most definitely evoking a forest as a totem that immediately conjures a sense of both danger and whimsy\, borrows well from the history of children’s stories. Should anyone have had the good fortune to come across the original images from the wizard of Oz or Alice in Wonderland there will be a familiarity in the artistic style of Peturson’s work\, clearly influenced by earlier print images in children’s books. Within these woods\, overgrown\, dead\, or dying\, there is an instant sense of both nostalgia and fear. Nostalgia for the uninhabited and explorative experience of childhood and fear in the wisdom that burdens adulthood\, the recognition of peril and decay. But the dread that seeps out of every chasm and fissure in every root and every tree\, is still so easy to ignore\, even as it threatens to overtake the children that recall such a sense of enchantment.  \nChildren have been called the world’s most valuable natural resource\, and the irony of that claim is apparent in Peturson’s world\, intended or not. This precious resource\, incumbent with inheritance\, children are unwilling participants in the chapter-book of our collective worlds. Just as we all were once. And now\, in a space where we’re allowed to stand on the edge between that penultimate innocence and the gravitas knowledge we now possess\, what will it mean to each of us? What will we walk away with? What will we leave behind? Because in the answers to those questions\, may be the world that we entrust to the children.  \nAbout the Artist \nLaura Peturson is a printmaker based in Northern Ontario. Her work uses narrative to explore themes of childhood\, gender\, and place. She is interested in the ways the domestic spaces we inhabit as children form our identity and a conception of our place in relation to family\, geography\, and nature. Peterson’s recent work has been exhibited at Flowers Gallery (New York\, NY)\, The Thunder Bay Art Gallery (Thunder Bay\, ON)\, White Water Gallery (North BAy\, ON)\, and Idea Exchange (Cambridge\, ON). In January 2017\, she installed a 9 x 16 ft printmaking mural at the Gladstone Hotel as part of Come Up to My Room\, an exhibit in the Toronto Design Offsite Festival. Her recent curatorial projects include a national artist residency for the creation of site-specific installations in North Bay entitled You are Here: Visualizing Place at the Gateway to the North. Peterson teaches printmaking\, painting\, and drawing at Nipissing University. 
URL:https://albertaprintmakers.com/event/wasteland-wanderland/
CATEGORIES:Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140903
DTEND;VALUE=DATE:20141019
DTSTAMP:20250801T195652Z
CREATED:20250801T195652Z
LAST-MODIFIED:20250801T195652Z
UID:10000278-1409702400-1413676799@albertaprintmakers.com
SUMMARY:Public School
DESCRIPTION:About the Exhibition\nPublic School began in early 2013 as a proposition to generate and sustain shared projects that involve a rotating roster of artists and thinkers spanning great distances. Ardent researchers and itinerant\, multidisciplinary artists in their own right\, Emily Hope and Lea Bucknell have modelled Public School to be a roving forum\, for inquiry and knowledge sharing. By mailing out thematic art kits to participants all over the country and exhibiting the results\, sharing information through the online Public School Newsletter \, and engaging communities with workshops\, artist talks and public forums\, Public School aims to develop a strong ensemble of talented collaborators.   \nCurators\, Lea Bucknell and Emily Hope are multidisciplinary artists with a strong focus on socially engaged projects.  \nArtists included in the exhibition:\nDan Anhorn\, Marnie Blair\, Jennifer Bowes\, Darlene Kalynka\, Andrea Kastner\, Donald Lawrence\, Colin Lyons\, Anna Madelska\, Nate McLeod\, Cassandra Paul\, Jamie Q.\, Sarah van Sloten\, Su Ying Strang\, Tania Willard\, Craig Willms
URL:https://albertaprintmakers.com/event/public-school/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Public_School.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140807
DTEND;VALUE=DATE:20141001
DTSTAMP:20250821T180151Z
CREATED:20250821T170249Z
LAST-MODIFIED:20250821T180151Z
UID:10000353-1407369600-1412121599@albertaprintmakers.com
SUMMARY:Threshold Figures
DESCRIPTION:About the Exhibition\nThreshold Figures are a series of lithograph prints composed of abstracted elements from Gustave Dore’s illustrations of Dante Alighieri’s Divine Comedy; figurative compositions constructed from manipulated 19th century interpretations of 14th century super-sensible landscapes. Dante and Dore provide the framework to discuss the transition from figuration to transfiguration. Threshold Figures are invested in representation and interpretation; with breaking down traditional print methods while simultaneously honouring them. Through the conceptualization and materialization of these prints\, the artist is confronted with the disparity between the printing press and the internet; with how these different methods of information production and consumption have influenced thought (static versus amorphous). \nArtist Bio: Alexis Grey Hildreth is a Vancouver-based artist whose work revolves around relationships between internal and external geography. Alexis is balanced by terror and awe; the stable and the amorphous. From innkeeper to nightwatchman\, Shepard to security guard\, grocer to gardener; Alexis feels the pain of the shovel intensifies the pleasure of the pen.
URL:https://albertaprintmakers.com/event/threshold-figures/
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Threshold_Figures.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140611
DTEND;VALUE=DATE:20140801
DTSTAMP:20250801T204438Z
CREATED:20250801T194622Z
LAST-MODIFIED:20250801T204438Z
UID:10000277-1402444800-1406851199@albertaprintmakers.com
SUMMARY:You Are Needed
DESCRIPTION:About the Exhibition\nYou Are Needed – Exhibition essay by Jessie Bryant \nEricka Walker’s lithographic prints in her series You Are Needed speak to the viewer across the decades that span early- 20th century wartime to the present day. Like a formidable call to attention\, viewers are invited to come face-to-face with the series’ bold imagery\, powerful imperatives\, and the deeper meanings behind them. \nAlthough Walker’s prints engage in a re-presentation of wartime propaganda posters\, they veer away – in increasingly apparent ways – from mere appropriation. As we perceive the intricate depiction of a horse’s flanks or the fine details of a rocket launcher\, we feel a sense of the artist’s celebratory reverence for machinery\, innovation\, and the lithographic craft itself. At the same time\, a poignant critique of propaganda appears tangibly woven into the display of text and imagery that are juxtaposed in unsettling ways. “Victory\,” reads one print\, “is a question of stamina.” The word “stamina\,” evoking endurance in the face of adversity\, visually sinks into near-obscurity behind ocean waves. This raises the possibility of destabilizing other seemingly sturdy principles in the propaganda vernacular: honour\, duty\, patriotism\, that which is ‘right.’ What are the meanings behind these principles? Are they foundationally sound\, objective and timeless\, or are they propped up by sticks\, and if so\, what would it take to blow them down? Walker hardly proposes a simple answer. \nBinaries course through text and imagery in You Are Needed. Beyond the thematic coupling of animal and machine\, violent and bucolic\, and individual and institution\, we discover other underlying dyads\, such as that between strength and insecurity. Underneath the bold semblance of power and perfection lay tinges of vulnerability\, which leaks through in words like ‘loss\,’ ‘question\,’ ‘demobilized’ and ‘reduced\,’ and in the unusual pairings of slogans and images that invoke inquiry rather than certainty. \nIt is in the occasionally unexpected transaction of these timeworn texts and images that we find the freshness abundant in these works\, and here we discover another binary: novelty within the familiar. In addressing\, but not displaying a preference for\, either aspect of these various relationships\, Walker opens the floor to possibility and even nominates a potential symbiosis of both alternatives within these pairings. As it is said\, the truth is never pure and rarely simple. \nA final relationship to touch upon is that between past and present\, as it is through the very lens of the past that these prints speak to contemporary issues. The use of familiar images and texts taps into the depth of the Western collective unconscious\, providing an eerily recognizable picture with which to highlight the Jungian ‘shadow’ aspects of Western growth: imperialism and war. You Are Needed invites us to confront these remnants of our collective past and their origins that\, though perhaps latent\, may be still present today. \nBecause our past shapes our future\, it is through a careful consideration of our history that we may meet current challenges and move forward conscientiously. You are needed\, as the viewer\, to address the urge to oversimplify complex and challenging issues\, and to reconsider within yourself notions of true and false\, good and evil\, right and wrong. \nAbout the Artist\nErika Walker explores the vernacular history of printmaking to illustrate contemporary relationships between the imagery of industry\, national identity\, familial histories\, nostalgia\, romance\, and war. Recent and upcoming exhibitions include group and solo exhibitions in North America and Europe\, and Walker’s work appears in public and private collections including the Denver Art Museum\, the Jingdezhen Ceramic Institute\, the University of British Columbia\, and the Athens School of Fine Arts. A selection of her Iithographic propaganda prints were recently reviewed in the Spring 2012 edition of Printmaking Today. Walker received a BA from the University of Wisconsin-Madison\, USA\, and an MFA from the University of Tennessee-Knoxville\, USA. She currently lives and works in Halifax\, Nova Scotia\, Canada\, where she is an Assistant Professor of Art at the Nova Scotia College of Art and Design. \n 
URL:https://albertaprintmakers.com/event/you-are-needed/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Ericka_W-e1754081069165.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20140606
DTEND;VALUE=DATE:20140801
DTSTAMP:20250821T180231Z
CREATED:20250821T165811Z
LAST-MODIFIED:20250821T180231Z
UID:10000352-1402012800-1406851199@albertaprintmakers.com
SUMMARY:Distillation 
DESCRIPTION:About the Exhibition\nGlass is a generative tool when I use it. It is a hand tool\, a substrate\, a filter\, and a set of parameters. The prints presented in Distillation are the direct result of the material used in those contexts. They are drawings of ground and polished glass objects\, abstracted using rules derived from the glass’s material qualities\, and hand printed with glass plates. In this way\, the images have become my distillation of the quiet\, yet commanding presence of the material. \n  \nArtist Bio: Graeme Dearden is a Calgarian fine artist\, working primarily in printmaking and cold glass sculpting. He has received instruction through The Alberta College of Art and Design (ACAD)\, The Corning Museum of Glass\, and TheAlberta Printmaker’s Society and exhibits in local galleries throughout Calgary and Edmonton\, Alberta presently. Although working in a variety of different media\, Graeme is consistently exploring vitreography: a process involving pulling prints from glass plates. He has assisted in demonstrating vitreography for glass artists and printmakers alike. Graeme is currently earning his BFA as a full time ACAD student\, majoring in Glass.
URL:https://albertaprintmakers.com/event/distillation/
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/03_Distillation.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140416
DTEND;VALUE=DATE:20140601
DTSTAMP:20250801T193740Z
CREATED:20250801T193740Z
LAST-MODIFIED:20250801T193740Z
UID:10000276-1397606400-1401580799@albertaprintmakers.com
SUMMARY:Embroidery of Code Lines
DESCRIPTION:About the Exhibition\nExhibition essay by Stacey Watson \nBy choosing a drastic reduction of form and material\, Hélène Latulippe emphasizes action in her series Embroidery of Code Lines. Comprised of four prints\, made by inking an object and then rubbing paper laid over it\, the work demonstrates the simplest and earliest of printmaking techniques. Viewed from afar the lines depicted stand in orderly stillness\, but close-up they vibrate with inconsistency. \nIndeed if we are to consider that this could be code as the title suggests\, then it is the moments of delineation that require attention. There are the instances of larger trans­gression: where lines are split\, crossed\, paused or ended incomplete. These punctuations are at times made with collage: pasted craft paper causes slight elevations of the surface\, as an embroidery would do. Perhaps there is also a code within a code\, because the subtle meanderings of the lines\, so minute\, are like the grooves in a vinyl record. \nLess important here than a message within the marks is how the code is created. The titles of Latulippe’s prints at times lead the viewer to take note of actions which disturb the order of the lines (Rompre la ligne\, Franchir la ligne\, Point a la ligne). Still\, repetition dominates. In close-up are the details which document a hand at work\, working carefully over and over (again a link to embroidery as is intimated by the exhibition title). One can sense that there is a performative aspect to this work. To link these lines that immediately speak of control to a process of the body is one of the key points of meaning. \nIn the text “The Analysis of Performance Art” by A. Howell\, the author notes that “inconsistency is a primary action\, one of the fundamental poles of action:” He is referring to the repetition of performative acts\, a process in which inconsis­tency is unavoidable. Pure repetition is as impossible as pure inconsistency. Howell goes on to say\, “repetition underpins our inconsistencies:” It is meaningful to dwell further on repetition when looking at Embroidery of Code Lines\, because of a reference to printmaking tradition. \nOne must read works made in the printmaking tradi­tion in a different way now\, as compared to in days gone by. Current technology gives us the ability to repeat an action or duplicate a mark or object to precise exactitude\, with very very minimal inconsistency. The practical function of the early printmaking techniques (to copy image and text for distribution) is potentially an obsolete point in the meaning of a contemporary work made with these same methods. Or perhaps here it is key to meaning\, Hélène Latulippe calls attention to how traditional printmaking vibrated with life while making duplicated works with repeated acts. It is the performance of the artist\, in private or public\, inking and printing over and over\, that Embroidery of Code Lines celebrates. \nAbout the Artist \nHélène Latulippe was born in Quebec. She lives and works in Montreal. She first studied industrial design at the lnstitut des Arts appliques in Montreal (1968). She worked in large office spaces\, establishing the needs and setting functional and technical programs. But she kept visual arts in mind. \nTracking between work and family\, she received a bachelor’s degree in Fine Arts from Concordia University in Montreal in 2012. She also studied in Italy and in France. She has received grants from McGill University in Montreal and from the Conseil des Arts et des Lettres Quebec (CALQ). Her work has been shown in various exhibitions. Her next solo will take place next November at the Galerie d’Art du Pare in Trois-Rivieres\, Quebec.
URL:https://albertaprintmakers.com/event/embroidery-of-code-lines/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140416
DTEND;VALUE=DATE:20140531
DTSTAMP:20250821T180358Z
CREATED:20250821T165424Z
LAST-MODIFIED:20250821T180358Z
UID:10000351-1397606400-1401494399@albertaprintmakers.com
SUMMARY:…And It’s Good for You
DESCRIPTION:About the Exhibition\nThis is an etching of a half of a red cabbage that I prepared and ate in my kitchen. To monumentalize an object is to give it weight and imbue it with importance. Because of the necessity of nourishment in our everyday lives\, as well as our often negative interactions with food as affected by body image and time constraints\, we frequently forget that eating can be a simple and joyful act. The use of colour\, pattern\, and size in this work is meant to be inviting\, friendly and accessible in order to convey a simple message of delight. \n  \nArtist Bio: Madeleine Greenway is a Printmaker currently residing in Calgary. She studied at the Alberta College of Art + Design\, receiving a BFA. Her work focuses on the physical connection that human beings have to nature through the food they eat. She creates large and colourful works to exemplify investment and delight.
URL:https://albertaprintmakers.com/event/and-its-good-for-you/
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/04_Good_For_You.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140226
DTEND;VALUE=DATE:20140406
DTSTAMP:20250801T190819Z
CREATED:20250801T190819Z
LAST-MODIFIED:20250801T190819Z
UID:10000275-1393372800-1396742399@albertaprintmakers.com
SUMMARY:World Machine
DESCRIPTION:About the Exhibition\nExhibition essay by Skylar Borgstrom  \nHalifax-based artist Mark Bovey uses printmaking techniques from past and present to explore his personal fascination with the ways humans connect\, learn and question place. Bovey presents the collapse of space and time\, known and unknown\, through the multiple layers and varied processes used to create his work.  \nBovey is an artist and Associate Professor at the Nova  Scotia College of Art and Design University who has exhibited both nationally and internationally. His work includes traditional printmaking techniques (intaglio\, lithography\, screen printing and woodcut) and more recent modes of artistic production including inkjet prints and digital video projection. With one foot in printmaking’s oldest and most fundamental technologies\, and the other residing firmly in the present\, Bovey’s work creates a bridge between that which we think we know and that which we seek to understand.  \nPreviously\, Bovey has used a combination of traditional and new media techniques to create installation works like those in Ledge_Suite (2011). Exhibited in “Last Frontier”\, which was curated by Sarah Filmore at the Art Gallery of Nova Scotia\, Ledge_Suite challenges our concepts as virtual as opposed to lived experience through a backlit video projection of century-old documents\, including a ledger from 1895 in works like Plume. For the past five years Mark Bovey has explored the nature of printmaking as a surrogate for the virtual experience and his current body of work is a continuation of his interest in the function of printed media in communication and technologies’ ever expanding nature.  \nFirst impressions of Bovey’s newest 20” x 30” faux slate works in World Machine reveal the use of “trompe-l’œil”\, an optical illusion or trick of the eye\, designed to give the viewer a sense that they are examining an age-old teaching tool and traditional repository or knowledge\, the chalkboard.  \nAs Bovey’s work\, created through multiple technologies and media\, writes\, re-writes and scrapes away the surface\, literally and figuratively\, so too does the traditional chalkboard. If a chalkboard is  a locale of learning and information transfer\, Bovey reveals it also as one of erasure\, repositioning and revised histories.  \nBovey’s critical understanding of printmaking’s varied process allows him to treat “every work as a journey” in which the exploration of a multitude of artistic media creates a forum for open dialogue between artist and viewer. Bovey’s hope is that the works elicits questions about the “evolution of knowledge through technology\,” as viewers are encouraged to evaluate their own relationship to art\, science\, knowledge and technological innovation. By contrasting the concept of “real” and the projection of “real” Bovey affords viewers the opportunity to question history and truth for themselves.  \nIf we agree that what we have been taught as factual history is in a reality a manufactured construct frequently gilded as truth\, and that technology is thought to have a homogenizing effect on culture\, Bovey’s World Machine exhibition attempts to usurp the effects of both “fact” and technology by combining them.  \nAbout the Artist\nMark Bovey is an artist and Associate Professor in the Printmak­ing Area at the Nova Scotia College of Art and Design in Hali­fax Nova Scotia Canada (2004-present). He received his MVA in Printmaking from the University of Alberta in 1992 and his BFA from Queen’s University in Kingston Ontario in 1989. Bovey’s work has represented Canada internationally in juried biennial and triennial exhibitions in 17 nations worldwide. He has exhibited in solo and group exhibitions across Canada including 15 curatorial projects. Bovey’s practice ranges from traditional printmaking (combinations of Intaglio\, Lithography\, screen printing and woodcut) to print installation works incorporating inkjet and digital video projection that reference and incorporate the history of printed forms. His work is in numerous collections\, most recently\, the Cana­dian Foreign Affairs Visual Art Collection\, The Art Gallery of Nova Scotia\, Halifax Canada\, Tama Arts University Tokyo\, and the Danforth Museum\, Boston Massachusetts USA.
URL:https://albertaprintmakers.com/event/world-machine/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140206
DTEND;VALUE=DATE:20140401
DTSTAMP:20250821T175918Z
CREATED:20250821T165017Z
LAST-MODIFIED:20250821T175918Z
UID:10000350-1391644800-1396310399@albertaprintmakers.com
SUMMARY: Sister Series 
DESCRIPTION:About the Exhibition\nExploring the intersections between atmosphere and memory\, this series of work\, Sisters Series\, focuses on photography as a tangible piece of nostalgia. \nThe images are an opportunity to explore your own memories and reframe them within the boundaries of the alien-like and haunting landscape of the English coast. The bleak images on expired film are also an introspective peek into my own early memories of photography. An unidentified woman is a solo wanderer inside trying to capture her own memories with a phone. Therefore\, the images also juxtapose the idea of memory creation with digital media. \n  \nArtist Bio: Elyse Bouvier is a Calgary based photographer who received her BComn. from Mount Royal University in 2011. Having recently returned from living abroad in London\, UK\, Elyse has worked as a travel\, portrait\, coffee\, and film photographer extensively in Canada\, the UK\, and much of Europe.
URL:https://albertaprintmakers.com/event/sister-series/
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Sister_Series.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140108
DTEND;VALUE=DATE:20140223
DTSTAMP:20250801T190103Z
CREATED:20250801T190103Z
LAST-MODIFIED:20250801T190103Z
UID:10000274-1389139200-1393113599@albertaprintmakers.com
SUMMARY:Capturing Moments: Tracing the Journey
DESCRIPTION:About the Exhibition\nCapturing Moments – exhibition essay by Sheri Nault \n“As for writing\, most people secretly believe they themselves have a book in them\, which they would write if they could only find the time.” Margaret Atwood\, Negotiating with the Dead \nJimin Lee creates and communicates stories\, through her prints\, of experiences which focus on the physical point of a body and the ways in which that body relates to the space around it. The incredible familiarity of the imagery she utilizes creates a sense of deja-vu\, allowing the viewer to see both a particular moment that Lee herself must have experienced and\, simultaneously\, one which they themselves may have had. Through this familiarity\, repetition\, and open narration Lee transforms brief captured moments into disarmingly familiar narratives about both the artist\, and her viewers. \nIn the past\, Lee has often been recognized for her work dealing with mundane and everyday objects; objects which have a relationship to her body through repetitive acts of touch\, indicative of and referential to lived personal experiences. Capturing Moments: Tracing the Journey is the third solo exhibition of Lee’s more recent series\, in which she has shifted from the physical relationship of the body to objects and\, instead\, considers the position of the body as a focal point within the experience of movement\, migration\, and environment. \nThrough unique and labour-intensive processes\, Lee creates images in which her familiar perspective is the centre of a nostalgic universe. She describes the view from within the containers that hold our bodies\, that we look out from within\, and experience the world through. \nContemporary experience is highly mobile\, it is physically and digitally globalized\, and many day to day activities lack an immediate physical reality\, they are digital\, cyber\, unreal –  there is no scent or smell or sensation of being within them. In contrast to this\, Lee\, through travelling\, began to focus on her experience of the tactile physicality of being in those places. These recent works consider travel\, literally\, through mobility and migration but also metaphorically\, as an experience that moves the individual. \n What is particularly striking about her work is the incredible accessibility of the images she creates. The road\, traffic\, vehicles interlocked in gradual movement\, or the view out the window of a plane are experiences\, tied to daily life\, that almost anyone can relate to. This open quality of her work invites viewers to insert their own stories and narratives into the visual spaces she has created – a potential amplified through manipulations of each image. \nThough the content of Lee’s prints may appear to be as immediate as a photo on instagram\, the process of producing these eerily familiar images includes many steps and translations. Each print may consist of one image or many\, combined through digital processes\, manipulated to create a singular narrative moment. Further\, whether edited minimally or laboriously\, the image must then be adapted to become viable for printmaking. Finally\, the seemingly immediate moment is transformed through the physically laborious process of producing the prints themselves. The effectiveness of Lee’s subtle manipulations is the deception\, translation\, and narration embedded within each of her familiar\, nostalgic images. \nProducing prints is a process that Lee relates to travel itself\, the outcome always uncertain. \nAbout the Artist\nJimin Lee is a Korean-born\, California-based artist. Lee has had solo exhibitions at Anchor Graphics in Chicago; QCC Art Gallery at the City University of New York; Don Soker Contemporary Art in San Francisco; DoART Gallery/Hyundai Gallery in Seoul\, Korea; Shirota Gallery in Tokyo\, Japan; An­ drewShire Gallery in Los Angeles; Megalo Gallery in Canberra\, Australia; Open Studio Gallery in Toronto\, Canada; and Guan­ Ian Original Printmaking Base in Shenzhen\, China. Notable group exhibitions include Crosscurrents: 8 American Contempo­ rary Printmakers at II Quadrato di Omega\, Rome\, Italy; Tradition & Innovation II at Museum Zallerein Halle 6\, Essen\, Germany; and Graphica Creative 2009 at Jyvaskyla Art Museum\, Jyvas­ kyla\, Finland. \nSince 1995 Lee has been living in the San Francisco Bay Area and she is a professor of art and heads the print media program at the University of California\, Santa Cruz\, USA.
URL:https://albertaprintmakers.com/event/capturing-moments-tracing-the-journey/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Jimin_Lee.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20131206
DTEND;VALUE=DATE:20140201
DTSTAMP:20250821T175826Z
CREATED:20250821T164442Z
LAST-MODIFIED:20250821T175826Z
UID:10000349-1386288000-1391212799@albertaprintmakers.com
SUMMARY: Field Notes
DESCRIPTION:About the Exhibition\nThe artist often captures microscopic images and videos in the development of her artwork. She habitually looks for repetition and pattern in forms and movements. The existence of mimicry in structures and behaviours that are reiterated across species and at different scales of life is an expression of forces of natural selection at work over millions of years. \nThese prints exhibit multiple ambiguities; they are abstract and referential\, expressive and structured\, constructed and dismantled\, balanced and unsteady. Like any organism\, the figurative component of each composition is to some degree interwoven with its environment. These etchings contemplate habitat\, home\, shelter\, nest\, pattern\, recurrence\, organization\, and connectedness. \n  \nArtist Bio: Lisa Matthias is an artist residing in Edmonton\, Alberta. She completed her Master of Fine Arts in printmaking at the University of Alberta\, and prior to that carried out a Master of Science in plant ecology from the University of Manitoba\, and a Bachelor of Science in ecology from the University of Guelph. Her artwork has been exhibited in a number of local and international shows. \n 
URL:https://albertaprintmakers.com/event/field-notes/
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Field_Notes.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20131023
DTEND;VALUE=DATE:20131201
DTSTAMP:20250801T184349Z
CREATED:20250801T184349Z
LAST-MODIFIED:20250801T184349Z
UID:10000273-1382486400-1385855999@albertaprintmakers.com
SUMMARY:Wave Interference
DESCRIPTION:About the Exhibition\nWave Interference – exhibition essay by Keri Macleod \nUK artist Rachel Duckhouse exhibits her print-based artwork in Wave Interference\, a study of Calgary’s water infrastructure and the effects of the recent flooding. This body of work is the continuation of Duckhouse’s exploration of patterning and system map­ping–those familiar with her practice will recognize the delicate pen and ink drawings that highlight her skillful hand. Her work is dynamic- aesthetically it draws parallels to early Op Art in the way she represents rhythm and reverberation. Also present throughout the exhibition is an emotive quality that bridges the abstract with the personal. \nFor the past year\, Duckhouse has served as the Artist in Residence for Watershed+\, a partnership between the city of Calgary’s Public Art Program and its Parks and Utilities departments. Stationed at Ralph Klein Park\, she consulted with civic engineers in developing a visual language to represent the city’s water systems. She also had the opportunity to conduct field research and survey the trajectory of water flow throughout the municipal system. \nHer recent exhibition Only Flow at TRUCK Contemporary Art imagined Calgary’s waterways as if they were architectural elements in their own right- eliminating existing structures such as the riverbed and bridges from the picture plane allowing for the flowing water to take precedence. \nShortly after Only Flow opened\, disaster struck and Calgary’s overflowing rivers affected thousands of residents. Wave Interfer­ ence responds to the flood and serves as a means of continuing a dialogue that unites Calgarians around the subject of our water systems. “On the one hand I felt I had a responsibility to respond to the flood” Duckhouse says\, citing her position as Artist in Residence for the city’s water services\, “though on the other hand it is a very sensitive issue.” \nDuckhouse’s understanding and empathy for those affected by the flood is present in many facets of the exhibition: the large-scale silkscreen depicting an apartment Aoor plan inundated with rushing water pays homage to residents whose homes were wiped out. This particular print was the result of several conversations with a couple who lived in an apartment that had been flooded. \nDuckhouse asked each of them to hypothesize and visualize how the floodwater flowed into their apartment. The violence of the rushing water is startling- waves surge into the apartment and reverberate along adjacent walls creating a chaotic pattern of layered ripples.  \nAlongside this print is an audio piece that serves both as a didactic accompaniment and additional layer of sensory stimulation. The piece features the personal accounts of the aforementioned couple describing what transpired in their apartment. The voices gain momentum\, overlap and then recoil\, mimicking the swell of floodwater. The juxtaposition of objectively surveyed material and personal accounts of the disaster serve as cultural documents and a platform on which to continue the dialogue. \nAttention is also brought to the research component of Duck­ house’s residency with the digital reproduction of her notebook\, giving the viewer a rare opportunity to peer inside the process of artistic production. A trusty companion to many artists\, the ubiquitous Moleskine notebook is easily recognizable- its pages are replicated on a poster-sized print outlining the progression of her research. The print features hand-scrawled notes\, sketches and observations. \nRachel Duckhouse is in the final stages of her residency with Wa­tershed+\, currently hosted by Telus Spark. Upon her return to the UK\, she hopes to enroll in future research-based residencies and continue working in response to environmental elements.  \n Watershed+ Artist Residency Program at Ralph Klein Park is a part­nership between the City of Calgary’s Public Art Program\, Utilities & Environmental Protection \nAbout the Artist\nRachel Duckhouse is a UK-based visual artist specialising in abstract\, geometric etchings and screenprints as well as highly detailed\, labour intensive pen and ink drawings. Her practice is both research based and process led and is often characterised by repeated geometric motifs and arrangements of multi-layered\, sculptural forms in 20. The complex patterns and systems in nature\, architecture and human behaviour form the basis of much of her work either directly as a focus of research\, or indirectly in the processes of production on a more intuitive level. \nRachel explores Calgary’s watershed as a complex\, multi-layered system\, and her research has focused on the living\, moving network of water Aow patterns underpinning every local landscape. \nRachel has exhibited in galleries in Canada\, the USA and the UK\, including the Royal Academy in London and the National Gallery in Edinburgh\, and her drawings\, screenprints and etchings have been acquired by the British Museum in London. \n 
URL:https://albertaprintmakers.com/event/wave-interference/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Rachel_D.jpeg
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