“As each cell of the individual is unique in its fleeting way, each of Ho-You’s drawings conveys a unique and undeniable mystery. From the vague renderings of organs and microscopic fauna, to the striking Rorschach blots, the work alludes to a deeper meaning. Much like a scar that can neither confirm, nor deny violence, Ho-You’s work relies on the viewer to fill in the gaps. The conundrum of the physical memory is that it is both concrete and fluid, and this is captured in the work through a dynamic range of mark making and media.

At times both abstract and technical, Ho-You’s body of work asks a straight forward, yet unanswerable question: “In what ways are personal memory, emotion and cognition expressed through the physicality of the body?”

Though science can dissect your body and infer elements of your life and behavior based on a near infinite number of factors, a human being’s thoughts, emotions and memories require computational power and storage space that eclipses the modern supercomputer. We can examine the heart and lungs and determine a life of cigarette smoking, but we may never know why this young person picked up such a destructive habit. Was the habit inherited from a family member, or was the habit picked up to impress a member of the opposite sex…”

– excerpt from Jill Ho-You: Between Vessels – exhibition essay by Jaron James Whittingham

“….Jacinthe Loranger’s work may be psychedelic but it is also firmly grounded in the labours of putting together a silkscreen print. Her artistic practice has taken her down the rabbit- hole; viewers can follow her trail through investigations into installation, performance, photography and collage. However, there is always the print. Popping up again and again, there they are: finely crafted serigraphs.

Every piece Jacinthe completes is like the crescendo. There are no dull moments; collisions abound…”

– excerpt from Jacinthe Loranger: I am the one, Orgasmatron – exhibition essay by Stacey Watson

“…Liquid drips and swirls, and repetitive, organic shapes and lines suggest nature and landscapes in movement in Kyla Fischer’s exhibit Origin Returning. Viewers may find themselves oscillating between viewing the works as non-objective explorations of media and technique, and also as poignant, otherworldly landscapes. An upward thrust of a mountain, an icy peak of snow, a turbulent swirl of water, or an ominous churning cloud emerge from the pools and splatters of Fischer’s abstract prints.

Fischer’s process is a comfortable tension between chaos and order, marrying painterly dripping and splattering with more structured printing techniques. The compositions have been carefully considered, and each print is comprised of a collage of 4 – 8 photo etching or photolithography plates. Paper is used as a medium in itself as Fischer prints on both sides of thin Japanese parchment to create a distinct veiled effect…” 

– excerpt from Reflective Movement in Kyla Fischer’s Origin Returning – exhibition essay by Sarah Nordean

“…The tapestries of swirling organic shapes created by Quebec artist Lisette Thibeault exhaust a vast range of possibilities that contemporary printmaking has to offer. Lisette is attracted to small and hidden organisms from miniature environments. She was inspired by botany for her most recent series of works, which are on display at the Artist Proof Gallery.

In the collections from the Herbarium of Quebec, she found a particular interesting specimen of lichen. She deconstructed this lichen through capturing a singular, material strand from the specimen into an ephemeral, digital image. Subsequently, she proceeded to rebuild it in Photoshop into multiple different configurations. Guided by the principle of multiples in printmaking, she cleverly mimicked the fractal structures found in nature where self-similarity, split into multiple smaller copies of itself, creates the most intricate patterns…”

– excerpt from Lisette Thibeault – exhibition essay by Eveline Kolijn

“…Séripop is the name under which Yannick Desranleau and Chloe Lum create screen-printed posters, album covers, books, prints, and most recently print installations. This Montreal duo has made a name for itself based primarily on their bold colours, experimental, graphic approach, and pop aesthetic.

Initially the two produced numerous screen-printed posters for their band AIDS Wolf, and others; postering them around the cities they perform in. Over time the works were torn down, collected, obscured and covered by other promotions, and the posters’ pristine appearance was transformed or destroyed by the elements. These days Séripop rarely produces posters in this vein, and has since focused their creative energy on reinterpreting the poster and this experience…”

– excerpt from Séripop – exhibition essay by Lisa Turner