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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
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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
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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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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
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Interweave.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140914
DTEND;VALUE=DATE:20181013
DTSTAMP:20250801T205444Z
CREATED:20250801T205444Z
LAST-MODIFIED:20250801T205444Z
UID:10000283-1410652800-1539388799@albertaprintmakers.com
SUMMARY:Wasteland / Wanderland
DESCRIPTION:About the Exhibition\nWasteland / Wanderland  – exhibition essay by Shaun Crawford \nAny soul born from childhood will connect with the universal experience of growing up\, a sensation that Laura Peturson implores with apparent effortlessness – and capitalizes on as a space to draw attention to the world that today’s children are destined to inherit. Within large scale murals\, Peterson immerses her audience in a fantasy land that at first glance seems separate from the adult world. And yet\, there is something looming in the margins. Some hunch that two realms are in a quiet conflict with each other. The innocence of children\, so enchanting in the ease of their wonderment\, is being invaded by the greater\, corruptible\, ever more complicated context that  cradles them. The world we live in now.  \nLaura Peturson is based just outside of North Bay\, Northern Ontario\, a place known as “the gateway” between North and South. And so it is no accident that Peturson’s work also serves as a gateway\, a journey between two worlds. Her journey includes a B.F.A from York University in Toronto in 20011\, followed by an M.F.A from New York Academy of Art in 2005. And for the last decade\, Peterson has given her time as Associate Professor of the Department of Fine and Performing Arts at Nipissing University in North Bay Ontario. She has shared a myriad of exhibitions along the Eastern artistic hubs of Canada and the U.S\, including numerous shows through both Ontario and New York. Those shows have featured Peturson;s printmaking with a focus on relief\, screenprint\, and papercut processes. Though\, like any artist\, describing her simply by her academic history and preferred mediums falls drastically short of capturing her body of work- a narrative- based exploration of the defining experience of childhood and how its imprint and resulting identity interacts and resonates with place. And like many of her themes\, the notion of “place” represented an interconnected series of manifestations\, including geography\, internal space\, familial environments\, a globalized planet\, and no doubt much more than that. For Peturson is an artist that doesn’t seem too concerned with operating inside these constraints.  \nHer work is likewise ungoverned by arbitrary rules or constrained by boundaries\, be they artistic or imposed – most importantly those often self-imposed. And yet\, as much as her work exists in a boundless world\, it also lives on a razor thin edge\, that place that Peturson herself describes as\, “The line between peril and safety\,” a notion echoed in the title of her exhibition\, Wasteland/Wanderland. And “wander” and “wonder” and in doing so blurs the line between each. And wonder most certainly has a place in this exhibition as well. Be prepared to be immersed in an uncanny world\, an experience carrying with it both the familiar and the deliberately unknown. This Wasteland/Wanderland\, most definitely evoking a forest as a totem that immediately conjures a sense of both danger and whimsy\, borrows well from the history of children’s stories. Should anyone have had the good fortune to come across the original images from the wizard of Oz or Alice in Wonderland there will be a familiarity in the artistic style of Peturson’s work\, clearly influenced by earlier print images in children’s books. Within these woods\, overgrown\, dead\, or dying\, there is an instant sense of both nostalgia and fear. Nostalgia for the uninhabited and explorative experience of childhood and fear in the wisdom that burdens adulthood\, the recognition of peril and decay. But the dread that seeps out of every chasm and fissure in every root and every tree\, is still so easy to ignore\, even as it threatens to overtake the children that recall such a sense of enchantment.  \nChildren have been called the world’s most valuable natural resource\, and the irony of that claim is apparent in Peturson’s world\, intended or not. This precious resource\, incumbent with inheritance\, children are unwilling participants in the chapter-book of our collective worlds. Just as we all were once. And now\, in a space where we’re allowed to stand on the edge between that penultimate innocence and the gravitas knowledge we now possess\, what will it mean to each of us? What will we walk away with? What will we leave behind? Because in the answers to those questions\, may be the world that we entrust to the children.  \nAbout the Artist \nLaura Peturson is a printmaker based in Northern Ontario. Her work uses narrative to explore themes of childhood\, gender\, and place. She is interested in the ways the domestic spaces we inhabit as children form our identity and a conception of our place in relation to family\, geography\, and nature. Peterson’s recent work has been exhibited at Flowers Gallery (New York\, NY)\, The Thunder Bay Art Gallery (Thunder Bay\, ON)\, White Water Gallery (North BAy\, ON)\, and Idea Exchange (Cambridge\, ON). In January 2017\, she installed a 9 x 16 ft printmaking mural at the Gladstone Hotel as part of Come Up to My Room\, an exhibit in the Toronto Design Offsite Festival. Her recent curatorial projects include a national artist residency for the creation of site-specific installations in North Bay entitled You are Here: Visualizing Place at the Gateway to the North. Peterson teaches printmaking\, painting\, and drawing at Nipissing University. 
URL:https://albertaprintmakers.com/event/wasteland-wanderland/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140903
DTEND;VALUE=DATE:20141019
DTSTAMP:20250801T195652Z
CREATED:20250801T195652Z
LAST-MODIFIED:20250801T195652Z
UID:10000278-1409702400-1413676799@albertaprintmakers.com
SUMMARY:Public School
DESCRIPTION:About the Exhibition\nPublic School began in early 2013 as a proposition to generate and sustain shared projects that involve a rotating roster of artists and thinkers spanning great distances. Ardent researchers and itinerant\, multidisciplinary artists in their own right\, Emily Hope and Lea Bucknell have modelled Public School to be a roving forum\, for inquiry and knowledge sharing. By mailing out thematic art kits to participants all over the country and exhibiting the results\, sharing information through the online Public School Newsletter \, and engaging communities with workshops\, artist talks and public forums\, Public School aims to develop a strong ensemble of talented collaborators.   \nCurators\, Lea Bucknell and Emily Hope are multidisciplinary artists with a strong focus on socially engaged projects.  \nArtists included in the exhibition:\nDan Anhorn\, Marnie Blair\, Jennifer Bowes\, Darlene Kalynka\, Andrea Kastner\, Donald Lawrence\, Colin Lyons\, Anna Madelska\, Nate McLeod\, Cassandra Paul\, Jamie Q.\, Sarah van Sloten\, Su Ying Strang\, Tania Willard\, Craig Willms
URL:https://albertaprintmakers.com/event/public-school/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/05_Public_School.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE: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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140611
DTEND;VALUE=DATE:20140801
DTSTAMP:20250801T204438Z
CREATED:20250801T194622Z
LAST-MODIFIED:20250801T204438Z
UID:10000277-1402444800-1406851199@albertaprintmakers.com
SUMMARY:You Are Needed
DESCRIPTION:About the Exhibition\nYou Are Needed – Exhibition essay by Jessie Bryant \nEricka Walker’s lithographic prints in her series You Are Needed speak to the viewer across the decades that span early- 20th century wartime to the present day. Like a formidable call to attention\, viewers are invited to come face-to-face with the series’ bold imagery\, powerful imperatives\, and the deeper meanings behind them. \nAlthough Walker’s prints engage in a re-presentation of wartime propaganda posters\, they veer away – in increasingly apparent ways – from mere appropriation. As we perceive the intricate depiction of a horse’s flanks or the fine details of a rocket launcher\, we feel a sense of the artist’s celebratory reverence for machinery\, innovation\, and the lithographic craft itself. At the same time\, a poignant critique of propaganda appears tangibly woven into the display of text and imagery that are juxtaposed in unsettling ways. “Victory\,” reads one print\, “is a question of stamina.” The word “stamina\,” evoking endurance in the face of adversity\, visually sinks into near-obscurity behind ocean waves. This raises the possibility of destabilizing other seemingly sturdy principles in the propaganda vernacular: honour\, duty\, patriotism\, that which is ‘right.’ What are the meanings behind these principles? Are they foundationally sound\, objective and timeless\, or are they propped up by sticks\, and if so\, what would it take to blow them down? Walker hardly proposes a simple answer. \nBinaries course through text and imagery in You Are Needed. Beyond the thematic coupling of animal and machine\, violent and bucolic\, and individual and institution\, we discover other underlying dyads\, such as that between strength and insecurity. Underneath the bold semblance of power and perfection lay tinges of vulnerability\, which leaks through in words like ‘loss\,’ ‘question\,’ ‘demobilized’ and ‘reduced\,’ and in the unusual pairings of slogans and images that invoke inquiry rather than certainty. \nIt is in the occasionally unexpected transaction of these timeworn texts and images that we find the freshness abundant in these works\, and here we discover another binary: novelty within the familiar. In addressing\, but not displaying a preference for\, either aspect of these various relationships\, Walker opens the floor to possibility and even nominates a potential symbiosis of both alternatives within these pairings. As it is said\, the truth is never pure and rarely simple. \nA final relationship to touch upon is that between past and present\, as it is through the very lens of the past that these prints speak to contemporary issues. The use of familiar images and texts taps into the depth of the Western collective unconscious\, providing an eerily recognizable picture with which to highlight the Jungian ‘shadow’ aspects of Western growth: imperialism and war. You Are Needed invites us to confront these remnants of our collective past and their origins that\, though perhaps latent\, may be still present today. \nBecause our past shapes our future\, it is through a careful consideration of our history that we may meet current challenges and move forward conscientiously. You are needed\, as the viewer\, to address the urge to oversimplify complex and challenging issues\, and to reconsider within yourself notions of true and false\, good and evil\, right and wrong. \nAbout the Artist\nErika Walker explores the vernacular history of printmaking to illustrate contemporary relationships between the imagery of industry\, national identity\, familial histories\, nostalgia\, romance\, and war. Recent and upcoming exhibitions include group and solo exhibitions in North America and Europe\, and Walker’s work appears in public and private collections including the Denver Art Museum\, the Jingdezhen Ceramic Institute\, the University of British Columbia\, and the Athens School of Fine Arts. A selection of her Iithographic propaganda prints were recently reviewed in the Spring 2012 edition of Printmaking Today. Walker received a BA from the University of Wisconsin-Madison\, USA\, and an MFA from the University of Tennessee-Knoxville\, USA. She currently lives and works in Halifax\, Nova Scotia\, Canada\, where she is an Assistant Professor of Art at the Nova Scotia College of Art and Design. \n 
URL:https://albertaprintmakers.com/event/you-are-needed/
CATEGORIES:Exhibition Past,Past
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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