“…Stacey talks about living and dying with art pieces- allowing objects to affect us over time. Each framed story is a recollection, an echo, of a time when she and others brought alchemical, cinematic, otherworldly, magical art, directly into the everyday. Why not? The fabrication of a “well for bad wishes” out of paper and wheat glue, transforming ubiquitous cheap plastic cd covers into a crystal palace of fractal wonder, reenacting trench warfare, being enveloped by the darkness of night skies under billowing sails… In these escapades with friends and places, the artist exercises making life more wonderful without reserve. Superseding everyday aesthetics, which looks for transcendence in the mundane, everyday activities such as chores, these projects say “to hell with the everyday”, and make each day an epic quest for the sublime. Living with the props and aids to these extra-quotidian experiences means carrying with us reminders of the potential for flight into other realms. Failure is a constant bystander, as it must be, when the utopic impulse reaches toward open play, collaboration and serendipity…”

– excerpt from exhibition essay by Andrea Williamson

Robert Lemermeyer is a visual raconteur who shares his fascination with people, places and objects through photography for 25 years.

“…Although the context for this exhibition may seem melancholy in tone, there is a dark beauty to the prints, expressed in the lyrical quality of Rudolph’s line, the softness of the figures, delicate grass pattern, and painterly dark clouds. Rudolph is rigorous in her approach to printmaking, using a systematic medium to investigate a systemic problem. What distinguishes printmaking from other media is its reproducibility, which Rudolph takes full advantage of in creating multi-layered, narrative images. Using a library of plates, each etched with images that draw upon specific elements relating to themes of deforestation, enclosure, private property, displacement, cattle ranching, soy production, and indigenous land rights, Rudolph takes these individual elements (images of forests, clouds, fences, cattle, and groupings of figures) and prints, overlaps and flips them, working intuitively to construct rich narratives…”

– excerpt from exhibition essay by Dana Tosic

“…The modern empire of mass media bombards the world with an unending montage of shallow images, creating a collective hyper reality that blinds its people to the uniqueness of their own critical thinking. This is the time and space that we live in. And this is the world from which Marek Pośpiech sets out to address the collective consciousness and the matrix entwined with it. His series of works titled simply Sign I through Sign VIlI presupposes that people are submerged in this hyper reality, created by our collective actions and perceptions.

The result is a vague pattern of place – a simulation of the urban environment, reminiscent of all form and meaning…

– excerpt from exhibition essay by Shaun Crawford

“…In God Love Brigus II, Cooper presents an alluring representation of personal, historical and weather research that she collected during a 3 week residency with Landfall Trust at a 200-year-old cliff side cottage in Brigus, Newfoundland. In line with other Weather Girl explorations, this exhibition continues to blend a scientific perspective of weather with the human experience of it. Particularly noteworthy in this collective work, is that a discernable dichotomy between the two is almost entirely removed. In a way, Cooper is drawing us in, inviting us to vicariously experience and consider Brigus fully, as a “landscape where nature is at the helm,” and as a unique place where “fog lies thick on the harbor” and a clear distinction between history, weather and daily experience is notably obscured…”

– excerpt from exhibition essay by Tracy Wormsbecker