2019. 13 Exhibitions / 2 galleries
BIMPE X
Jan 5 - Jan 19
BIMPE X is the tenth iteration of the traveling exhibition, which showcases small scale works measuring no more than 8 ½” x 11,” and is open to images made using all printmaking techniques from traditional line etching to contemporary digital processes. From the hundreds of entries submitted by printmakers from across the world, a jury panel of three accomplished printmakers views each submission in the original and selects the exhibited works.
The prints come from all around the world – in 2018, BIMPE X presents 402 prints by 193 artists from 36 countries at four different venues: The Federation Gallery at the Federation of Canadian Artists, Dundarave Print Workshop + Gallery, UBC Okanagan Campus, and the Society of Northern Alberta Print-Artists (SNAP).
The exhibition is organized in conjunction with New Leaf Editions on Granville Island.
Coping Mechanisms / Heather Leier
Mar 22 - Apr 27
By pairing internal utterances with celebratory sprinkles, Leier explores the ways in which she copes and endures with traumatic experience. She poses dichotomies of protection and vulnerability, openness and closure as well as internal struggles and outward projections of joy in order to create a complex viewing experience akin to her own of negotiating the uncertain world around her. She asks what goes unnoticed and unattended to when we are merely coping and she presents the opportunity for viewers to consider their own coping mechanisms and methods of endurance.
Insincere Comforts / Tamara Deedman
Mar 22- Apr 27
Identifying as a collector her entire life, Tamara documents the process, deconstruction, and liberation from what she describes as her Insincere Comforts. Tamara intends to recontextualize coping mechanisms, insecurities that come with learned behaviours and survival mechanisms. Through presenting her own coping mechanisms, she hopes to be able to create understanding, empathy and solidarity.
Faulty Poetics | U of A senior printmaking class
Apr 30 - May 11
This exhibition is a result of one year’s worth of self-directed studio and academic research by the senior level printmaking students and first-year graduate students in the Department of Art and Design, at the University of Alberta. Faulty Poetics celebrates the creative accomplishments of these individuals over a wide range of media including: relief, etching, silkscreen, ink-jet, and mixed-media. The work engages with a multitude of themes such as cultural identity, memory, personal storytelling, shame, lived experience of trauma, and recovery.
Featuring works by: Jason Abma, Jondrei Alcain, Alicia Campbell, Jeraldine Chong, Vera Consolo, Holly de Moissac, Norman Fournier, Jamie-Lee Girodat, Nicholas Hertz, Xi Jin, Stacie Kingsley-Sorochan, Rebecca Lai, Jessica Nobert,Breanna Thompson, Qi Zhou.
In the Absence of Knowing / Deltra Powney
May 17 - Jun 22
This exhibition explores the theme of sensed tension within liminal space. Memory, story, object, natural, and manmade environments inform narrative within the work, considering the ways in which experience poses juxtapositions.
“I would like to acknowledge the 2018 Canadian Wilderness Artist Residency and participants. Thank you for providing the opportunity to experience the liminal spaces within my being while immersed in the immensity of Canada’s wild north.” – Deltra Powney
Layering Light / Marc Siegner
May 17 - Jun 22
In Layering Light, I contemplate trees, thinking of them as enchanted beings that move slower than us, live longer and provide an essential bridge between nature and our constructed urban environments.
Through the use of lithography and the colour separation process I am able to layer each colour as I build a Cubist-like image. Assembling multiple bands of light and articulating the qualities of that light create a complex multi-band image that re-creates a space where nostalgia merges with the present. The result is an image that is both dreamlike and oddly familiar.
Costume Jewelry / Max Keene
Jul 5 - Aug 10
The exhibition Costume Jewelry utilizes large format analog photography to depict highly constructed scenes made up of found and sculpted objects. Questioning the notion that photography is an objective medium, this work portrays simulated or impossible forms with implied motion that appear simultaneously shoddy and spectacular.
Our contemporary moment is marked by a pervasive cultural nostalgia. The internet, once heralded as a force for progress, has allowed for our past to feel closer than ever and provided ample space for reactionary politics to develop. This “retro” sensibility is persuasive, but exists seamlessly alongside the rise of automation and AI. This collision of past and future is key to my work. Much of my practice involves producing objects and images that are wholly physical or analog but appear to be digitally manipulated. I use large format analog photography to depict sculptures and found objects in a precise, curated manner that confuses scale and material. While the photographs I take are “real” in the sense that they are images of actual objects recorded onto photographic film, they appear manipulated or digitally rendered. It is true they are deceptive, but not through digital alteration. Rather they are deceptive because the nature of photography itself allows for a great degree of deception.
Doppelgängers / Kristie MacDonald
Jul 5 - Aug 10
Doppelgängers is an ongoing body of work, which sets found paper objects and meticulous copies side-by-side. Each small detail of the found papers is copied using like materials and actions to imitate those observed. At first glance these Doppelgängers might appear identical, while upon closer inspection they exhibit subtle inevitable differences. The relationship between these found and fabricated objects becomes a means of exploring the limits of reproduction, through the labour of observation and duplication. The act of copying within Doppelgängers is not undertaken with the goal of achieving perfection, but rather to realize a sameness that acknowledges difference. Pairs provide an occasion to perform direct comparison – to move back and forth between one object and the other. Here, the copy is not produced to deceive or to disseminate, but to accompany the original. Regardless of the most perfect resemblance, a copy is always distinct from its original in time, space, and matter.
Affective Bodies / LeeAnne Johnston
Oct 11 - Nov 16
The internal landscape of the body is a complicated space. Through their work, LeeAnne represents the layers of scars and wounds inflicted upon our psyche as a result of trauma and time. They draw upon their own experience with mental health, internal conflicts, and chronic pain to build a representation of the scars that such experiences build. Growths, malformations, twists, and grooves form the dialogue of intangible experiences.
Through their work, LeeAnne wants to open a dialogue for those who suffer from invisible illness, providing a means to share such isolating experiences when words and explanations fail us. The pieces in this show encompass both the exploration of personal experience through sketchbooks and the culmination of refined concepts executed in print media.”
The Rest and the Void / Christeen Francis
Oct 11 - Nov 16
The Rest and the Void constructs landscapes by rearranging and stacking artifacts collected from sites of architectural destruction and construction in Montreal. These images are edited and laser engraved into the paper itself. They are then relief printed using sheets of compressed wood to reference building materials, and to create interruptions in the print surface. This breaks down the image of architecture, and combined with the chaotic pattern of the pressed wood, creates a visual confusion as the eye moves in and out of recognition. Through this method The Rest and the Void hopes to convey an uneasiness, as well as a space to question the current shifts in cities, and to consider the possibilities for coexistence and change within them.”
SMILING PILE / Amery Sanford
Aug 23 - Sep 28
In SMILING PILE, I am most curious about the fabrication of manicured spaces used for the purpose of leisure or entertainment. Drawing from a collection of images of landscaped areas and architectural spaces that are constructed for an event or celebration, I am taken by the way that the binary between beautification and destruction exists in such close proximity to each other in urban environments. To reflect this binary, and the idea of spaces in the process of being transformed, SMILING PILE experiments with drawing and intuitive approaches screen printing and lithography. Moving away from the editioned print and developing compositions during the printing process, this work strives to capture fleeting moments within constructed spaces that elicit cuteness, humour, or absurdity.
Microbial Aura / Nicole Edmond
Aug 23 - Sep 28
Microbial Aura is a series of prints exploring the human micro-biome. This work is an investigation of how a microbial cloud follows us everywhere we go in our everyday existence. This is at once terrifying and revolting but also astounding and exactly why cellular life is so fascinating.
SNAP Members Show & Sale
Nov 23 - Dec 14