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DTSTART;VALUE=DATE:20190301
DTEND;VALUE=DATE:20190413
DTSTAMP:20250731T221148Z
CREATED:20240424T031528Z
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UID:10000110-1551398400-1555113599@albertaprintmakers.com
SUMMARY:Make or Break
DESCRIPTION:About the Exhibition\nDeep Time Laid Bare – exhibition essay by Matthew R. Hills \nI write this text from the west coast of Newfoundland\, properly known as Ktaqmkuk\, traditional unceded Mi’kmaw territory. Jon Green is from and of Newfoundland. He is a treasured son of this glorious island\, departed to the main with the oft-murmured hope that he will one day be compelled to return. \nWestern Newfoundland\, Gros Morne in particular\, is a designated UNESCO World Heritage site. The Long Range Mountains on the west coast of Newfoundland offer rare examples of the process of continental drift\, where deep ocean crust and the rock strata of the earth’s mantle both lie exposed on the surface. Deep time laid bare. Being in the presence of this geologic phenomenon underscores that the earth is ancient. Almost unfathomably so. 18th-century geologist James Hutton developed the concept of “deep time” to counter the commonly held notion that the Earth was 6\,000 years old and not the approximately 4.5 billion years\, that he estimated. Through this geologic lens\, human’s time on earth seems momentary. In spite of being a relative blip\, we have entered the epoch of the Anthropocene\, registering human’s catastrophic affect on global ecosystems. A bleak reality dawning with consequences for all. \nMountains are constants in the series of mixed-media prints featured in Make or Break. Green combines personal documentation of\n“wilderness” with appropriated and recovered images from historical travelogues and wilderness survival guides. These natural monoliths are interweaved with provisional man-made structures or supports. Dovetail cabins\, lean-to shelters\, hoarding\, and half-constructed walls are fleetingly insubstantial containers and supports for the jagged peaks carved over many millennia. \nWith the sketchy incomplete rendering of these structures\, Green imbues the prints with a generative ambiguity. Are these man-made incursions into mountain environments failed projects? Ambitious beginnings? Are they meant to support and preserve? Or are they fool-hardy attempts to contain and conquer? There provisional and insubstantial nature in the face of the overriding enduring mountainscape is the only clarity we receive. \nIn sourcing image from historical exploration documents and 18th–century wilderness survival guides\, Green actively effaces colonial narratives of conquering and possessing nature. Camping is central to Green’s larger practice\, and here\, through these provisional structures\, serves as urging that our efforts to live on this planet need to be light and are inherently temporary. \nIn opposition to Green’s source material\, humans are not directly depicted in these prints\, a shift that effectively privileges the natural over a man-centered understanding of our world. Beyond providing speculative platforms for divining a new relationship to the natural world\, Green’s prints carve out a future possible path in which the environment is understood as primary and existence within it is conditionally responsive. A sketchy blueprint that doesn’t ignore history\, the failings\, and misapprehensions that have propagated so much destruction\, but instead reclaims and recasts what is of use in the past towards greater potential and a better understanding of our relative place in deep time. We may yet find our way. \nAbout the Artist\nJonathan S. Green is of Mi’kmaq and Inuit\, and Settler heritage from Labrador City\, Newfoundland and Labrador. Green earned an MFA in Printmaking from the University of Alberta\, and a BFA from Memorial University of Newfoundland. He has been a recipient of grants from the Canada Council\, the Alberta Foundation for the Arts\, and the Edmonton Arts Council. Green has been an artist in residence at the University of Alaska Anchorage\, SNAP Printshop (Edmonton\, Alberta)\, and St. Michael’s Printshop (St. John’s\, Newfoundland). He currently resides in Anchorage\, Alaska. \n 
URL:https://albertaprintmakers.com/event/make-or-break/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition_Jonathan-Green.jpg
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DTSTART;VALUE=DATE:20190426
DTEND;VALUE=DATE:20190608
DTSTAMP:20240424T030059Z
CREATED:20240424T025900Z
LAST-MODIFIED:20240424T030059Z
UID:10000109-1556236800-1559951999@albertaprintmakers.com
SUMMARY:Traversing the line\, with no fixed point
DESCRIPTION:About the exhibition \nEssay by Sally McKay – \nBriana Palmer’s multi-layered installation might appear whimsical at first glance – a miniature world designed for entertainment and delight. But her references to trains\, toys and childhood all have deeper\, troubling meanings. Palmer grew up in Revelstoke\, BC\, a small city near the western edge of Canada’s colonial frontier. The railway passed through town. Towering trestles featured in everyday life. At night\, the sound of rail cars crashing over the tracks soothed children to sleep in their beds. For Palmer it was a comfortable life. Troubling terms like “settler” and “colonial” only emerged for her after she left Revelstoke\, gained more life experience\, and began to question what she calls the “white bread” assumptions of her upbringing. \nIn Canada’s dominant mythology\, the railway brought the nation together and fostered economic wealth. But Palmer’s train disrupts this narrative. It chugs along from place to place\, not a symbol of prosperity\, but a vehicle of disruption. Palmer wants us to consider colonizers’ displacements of Indigenous communities that severed their embodied connections with the land; as well as the forced labour of Chinese and Italian immigrants\, many of whom died while building the railway\, and all of whom were subjected to racist violence on the project. Model trains\, invented in the late 19th century\, had become a popular toy for middle-class boys by the 1950s. Palmer asks\, “Historically\, who gets to play with model trains? Who creates these miniature Utopian worlds\, constructing their own idealized versions of society?” Palmer’s diorama does not present a comprehensible social order\, but rather a world of floating and disjointed biomorphic forms in which absurdist juxtapositions defy structured\, Western narratives of home and place. \nPrints and wall drawings further extend Palmer’s critique. Trained as a print-maker\, she conceptually connects the printing press and the railway because both disseminate Western ideologies. The Gutenberg Press was used for the first mass-produced Bibles\, spreading literacy but also imposing top-down models for social behaviour in a burgeoning capitalist economy. Further probing her own “white bread” upbringing\, Palmer uses print-making to repurpose nostalgic illustrations from children’s encyclopaedias. She disrupts their familiar narratives with quotes from racist micro-aggressions that she has personally witnessed in her daily life. A large\, black and white woodcut banner spans the gallery walls. While aesthetically sumptuous\, the imagery of barbed wire and ruined landscape speaks of war and devastation. During a recent residency in Slovenia\, Palmer was struck by a stone road made by Russian POWs in WWI\, thousands of whom lost their lives. “Now\,” she says\, “it’s just a route for tourists hiking up a mountain to a park.” The barbed wire also resonates with a Canadian war-time context. “Slocan\, one of Canada’s biggest internment camps\, was just down the road from where I grew up\,” Palmer explains. Again\, Palmer invokes a sense of home\, but\, no longer comfortable and complacent\, this home is fraught and troubled with the settler-inflicted violence of Canada’s colonial past. \nAbout the artist \nBriana Palmer’s lives in Hamilton Ontario\, and teaches in the studio arts program at McMaster University. Originally from the west coast Briana received her BFA from the Alberta Collage of Art and Design and her MFA from the University of Alberta. Her primary practice is in printmaking\, sculpture and installation; creating works that reflect an intersection between perception\, experience\, and social ideologies taken from her own cultural practices\, up-bringing and daily experiences. Her works have been exhibited in Canada\, U.S and Europe. Her prints are in the collections of the Alberta Foundations of the Arts\, Southern Graphics Print Council\, and University of Alberta. \n 
URL:https://albertaprintmakers.com/event/traversing-the-line-with-no-fixed-point/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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