“….In Makeshift Tales, Elizabeth D’Agostino embraces improvisational experimentation and adaptive problem-solving in both her technical approach to material making and in the conceptual issues she chooses to engage. Drawing on environmental debates surrounding species extinction, biotechnology, genetic engineering, climate change, urban expansion and population pressures, D’Agostino creates a fantastical floating world of miniature architectures and hybrid life forms. Set against a printed backdrop of layered narrative veils illustrating a complex history of sociobiological interactions, her mixed media prints and sculptural assemblages model evolutionary processes in their very construction, tapping into print’s historical propensity for adapting and combining rapidly transforming technologies and strategies of mimetic reproduction….”

– excerpt from Makeshift Tales – exhibition essay by Jenn Law

“….In 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….” 

– excerpt from A room without pictures – exhibition essay by Dan Shipsides 

“…With 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.

The stark and fragile forms that populate this exhibition were born from such instincts…”

– excerpt from exhibition essay by Amanda Clyne

Each 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. 

“For his exhibition at Alberta Printmakers, Erpelding analyzes data from Canada’s S&P/TSX composite index, studying its relationship with the Global Economy. These numbers offer a unique glimpse into Canada’s connection with the rest of the world, and offer the viewer a new platform to consider their own connection with Canada and the globe. It is a relationship that some experts follow closely, but one that most people dismiss or overlook, living their everyday lives without examining its effect on them. Erpelding’s work compiles the data in a new way- far from the news report on the radio, the black and white print in the paper, or the scrolling numbers on a screen. His pieces provide you with an opportunity to consider this visual data as evidence of global relationships, a barometer of a place’s relationship to the world and how you are intricately connected to it…”

– excerpt from exhibition essay by Shaun Crawford