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DTSTART;VALUE=DATE:20180105
DTEND;VALUE=DATE:20180217
DTSTAMP:20250801T200835Z
CREATED:20250801T200835Z
LAST-MODIFIED:20250801T200835Z
UID:10000279-1515110400-1518825599@albertaprintmakers.com
SUMMARY:Surface to Surface
DESCRIPTION:About the Exhibition\nExhibition essay by Amanda Clyne \nWith every touch\, we leave a trace of ourselves\, intentionally or not. The trace may be so slight that we fail to notice the change we’ve triggered. Whether recorded deep in the annals of memory or physically in the minute wear of the surface we’ve encountered\, our touch never lands without reverberation. Sustained by our material nature\, we imbue our lives with rituals of touch. Personal and unremarkable\, these rituals may grow out of habit\, out of a kinship with the familiar\, or out of struggles with distress. But with each repeated touch\, changes to a surface begin to accumulate\, and the one that touched and the one that submitted both enter a process of transformation. \nThe stark and fragile forms that populate this exhibition were born from such instincts. During a period of grief\, Katie Bruce found herself folding and re-folding her fabric handkerchief. While undergoing a cross-country move\, Christie Kirchner noticed that she was absent-mindedly folding and re-folding discarded papers left in her pocket. Both were captivated by the stories embedded in these intimate gestures. What they could have dismissed as a nervous tic\, they adopted as a source of insight. With each print\, their meditative\, reflective actions became fossilized in the tight grip of the printing press\, delineating the surviving traces of their hands’ (and minds’) occupation on the paper’s thin skin. As printmakers\, they adhered to the wisdom of Agnes Martin who once wrote: ”Experiences recalled are generally more satisfying and enlightening than the original experience.” \nBy re-enacting the simple process of folding and unfolding\, Bruce and Kirchner have transformed small sheets of paper into implicit bodies. Bruce’s figures fold inward\, as fragile walls shield against the viewer’s gaze. In Bruce’s piece ”alternatively”\, they seem to float inside an ethereal force. Each fold results from a protective instinct\, yet with each new edge stressing the delicate surface\, the whole begins to weaken. As if to assess the damage\, Kirchner performs a post-mortem\, unfolding blackened sheets of carbon to reveal dissecting paths. These fissures slice through the dark void\, cracking open the black depths. The fold’s mark is made monumental. \nThe principles of printmaking lie at the heart of this exhibition. Paper is both subject and medium\, each print existing on the threshold of object and image. The repeated act of folding and unfolding echoes in the recurring cycles of the printing process. Shadowy planes and incised lines harken to a prior state\, just as the print testifies to the now lost referent. In form and substance\, the artists harness the generative power of repetition. Every fold\, every line\, every print brings surface to surface.  \nWhen words fail and reason abandons us\, our body can lead us toward renewal and reflection through the smallest of gestures. Guided by the sensations of rhythm and touch\, the body seeks to leave its mark\, to expel and expose a world trapped within. Bruce and Kirchner’s work tells the story of this quiet\, revitalizing process. Gazing into the web of their frail lines and sheer structures\, we witness the passing of time\, the instinct to rebuild\, and the grace and grit of the pursuit of intimacy.
URL:https://albertaprintmakers.com/event/surface-to-surface/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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DTSTART;VALUE=DATE:20180223
DTEND;VALUE=DATE:20180408
DTSTAMP:20250801T202104Z
CREATED:20250801T201756Z
LAST-MODIFIED:20250801T202104Z
UID:10000280-1519344000-1523145599@albertaprintmakers.com
SUMMARY:Absurd Walls
DESCRIPTION:About the Exhibition\nA room without pictures – exhibition essay by Dan Shipsides  \nA room without pictures. I don’t like the pictures. Why?\nThey are all scary\, so scary.\nHow do you mean?\nDying people and lots of dead bodies and monsters.\nI don’t want to see anymore pictures\, why are they so scary? Well\, I guess it’s a complex set of reasons…\nThey scare me.\nI know. I’m sorry\, I suppose they are meant to be scary. But why?\nHmm. Well\, remember these paintings were made before TV and the\ninternet when there were not so many pictures in the world as there are now.\nI want a room that’s empty. Can we go to a room without pictures?\nThey are so freaky.\nYes\, I know. Spooky and monstrous too.\nAnd lots of naked people\, some of them being chopped up or stabbed. I know. I guess they try to make you imagine the bad things that might happen\, or show the horror of the world then or to fear the spirit world. But why are there pictures of that?\nWell\, they are stories which were made to be very vivid and dramatic so people would remember them and probably then be worried about themselves.\nI think they also show that some people are the winners and that the losers are punished either by god or by the laws made by the winners. So the dead people are bad people?\nThat’s often the idea but sometimes it flips around so the dead people are meant to be the good people but the pictures show that they suffered for their goodness.\nBut it’s so real and those people look poor and weak\, not like baddies.\nAh well\, yes that’s true… \nThe architectural face of the city is designed to mask the horrors of exploitation\, the core business of capital\, often in a morally encoded form of awe\, a surface veneer of sheen\, civility and moral power. ‘Everything here is Normal\, Proper and Right… ‘\, but behind that countenance there’s a sniggering\, lusting\, reveling\, wild heart of darkness that no architectural fac;ade can truly keep at bay. \nYet this masking acts as deception that quick turns to absurdity. Sisyphus is not pushing his rock up the mountain for fun\, it’s because it is the only action allowed to him as a punishment for daring to enact his own will. There’s nothing now he can do to escape his task but acknowledge its absurdity and push on. This absurdity of meaningless agency is an agency that nonetheless shifts responsibility to the individual to deal with the consequences (thank Sigmund and his nephew for that…). \nAbsurdity and its proximity to the grotesque darkness of selfish power is well revealed\, in what is the prototype of the Theatre of the Absurd\, in Alfred Jarry’s Ubu plays. Ubu is the absurd central character who gains power and acts in such a clearly nakedly unveiled manner that it’s impossible not to recognize that any fac;ade is absent. He kills\, steals\, brings upon his subjects a magnificent benevolence and then with equal measure capricious terror. All the acts of a man in power who cares for nothing but the immediate desires and cravenness of the self. He is unmasked and unchecked in equal proportion to the city which is fully masked and apparently ‘in check’. \nIn Huskisson’s compelling images\, gallery installations and urban interventions the darkly absurd is unmasked\, paradoxically often through the wearing of masks(or as human-animalhybrids)\, but it is not unchecked. Rather the work becomes the screening\, surfacing and texturing of our experience. The inner and concealed is openly revealed or acted out on the surface\, above ground\, in the open. But its revealing isn’t unchecked because there lies a level of filtering which synthesizes with humor and craft which is turned to critique\, self-exploration and honesty. A judgement is at play which is finely tuned to the affective so that the viewer is faced with their own subject-hood and implicated as the source or absence of meaning as much as the artist. In Huskisson’s work a sense of the overwhelming or excess is active but here it is not an exercise of power like the city’s architecture or the megalomaniacal behaviour of leader\, the aesthetic power here pitches towards states of unbecoming and draws from a combustible mixture of nineteenth century transcendentalism and from Beckettian animalistic rituals of repetitive failure. \nOf course there’s no room without stories because every wall embeds our desires\, dreams and delusions and even the wide-open wilds populate with our myths\, monsters and morality-traps. \nAbout the Artist\nJacqueline Leigh Huskisson considers herself primarily an artist who draws. Everything she does starts with the lines that lift off the page and evolve into video\, installation\, printmaking\, comics\, and illustration. Her art can be a question\, a reflection or a joke of the human condition and how one perceives our place in the universe. She was born and raised in Calgary and started her artistic career with a B.F.A in 2011 from the Alberta College of art and Design. Looking for a challenge she migrated to the emerald isles\, and in 2017\, earning a M.F.A from the Belfast School of Art. Currently Huskisson pursues a studio practice in Calgary and is awaiting her next adventure.
URL:https://albertaprintmakers.com/event/absurd-walls/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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