2025. 12 Exhibitions / 2 galleries . We hosted an additional off-site Exhibition in partnership with the AGA entitled Listen to the Land.
Exuberant Multitudes: Queer Ecology Hanky Project
Jan 18 - Feb 22
Queer Ecology Hanky Project (QEHP) is an ongoing traveling exhibition with over one hundred and twenty artists from across North America—organized by Vee Adams and Mary Tremonte. Through exhibitions and interdisciplinary community-centered programming, QEHP showcases a diverse array of artist responses to Queer Ecology—an emerging area of inquiry which unites the study of biology, environment, and sexuality with a framework of queer theory—and celebrates a wide spectrum of print mediums and methods.
QEHP is full of artwork intended for activation—artist bandanas that will hopefully accompany walks in the woods, accessorize outfits at queer dance parties, bundle up foraged mushrooms, and start conversations. In that spirit, our past exhibitions have been accompanied by accessible programming to dive deep into the project’s themes, including: hanky code dance parties, queer ecologies woods walks, fungi fermentation workshops, panel discussions, and a series of workshops exploring printmaking and hanky adornment techniques utilized by artists in the project.
Invitation / Shazia Ahmad
Jan 18- Feb 22
As a mixed-race, interfaith artist, my hybrid identity is manifested in my work through my vibrant colour palette, patterns, and themes I use to create my worlds. My nuanced relationship to this identity is nostalgic, holding on to a past as memories of it recede. These remembrances are expressed in reconstructed repetitive elements, domestic objects, and flora interpreted in different lights on different days. My current body of work evolved from watercolour monotypes made in 2021, into an on-going series of paintings and screen prints. These works combine a palette of cobalt, ultramarine blue, dioxazine violet, magenta, fuchsia and ecru. Blue is a central component in my work, giving it a deeply personal and introspective quality. As such, my chosen colour palette is associated with remembering and misremembering, becoming the conduit by which to connect with my identity.
Tactics / Guen Montgomery and Emmy Lingscheit
Mar 8 - April 5
Artists/partners Guen Montgomery and Emmy Lingscheit present this collaborative exhibition informed by another audacious ongoing collaborative project– that of queer kin-building in the form of parenthood. “Tactics” is first and foremost about the sense of touch– of textiles, of soil, of kin– and how these tactile experiences anchor us in our bodies and to the world, connecting us to the broad web of fellow organisms whose fates are intertwined with ours. This primacy of touch exists in both printmaking and in the care of a small human being; in the embrace of paper to inked matrix, and of body against body, The persistence of the material world–this friction–is by turns smothering, grounding, and liberating, in a time when what we see and experience is increasingly dominated by screens and auto-generated visual noise. In Guen’s work, touch and tactility are centered in both the actual, literal, pressured touch of inked fur or fabric matrix to paper, and in the sense of longing to touch that comes from the printed illusion of fabric or fur. Instead of acting as pictorial reference, these slinky, musty, furred creatures are objects themselves, printed from cut and sewn pelt pieces, and only tangible when pressed, inky, into the paper. Pulled from autobiographical experiences with death, lesbian family life, and infertility, these creatures are both misunderstood, Grendel-adjacent beings, and expressions of a hard-to-name affective phenomenology. Emmy’s work draws on similar themes to explore our entanglements with the non-human world, and our relationship with deep time as finite beings. Recent hand-carved relief print installations embrace the repetition and mutability inherent in printmaking as a hopeful nod to the future continuity of the natural world even in ecologically grim times. Her work is a celebration of the resilient Other, underground ecosystems both literal and symbolic, and the inherent queerness of nature.
where we land / U of A senior Print Class.
April 12 - 26
SNAP is pleased to present Where We Land, featuring new works by students in the 2025 University of Alberta Senior Level Printmaking class. The exhibition will be in the gallery April 12 – 26, 2025.
Artists: Jagoda Bolesta, Hannah Boyle, Juno Dorey, Karys Hallett, Kodiak Pittel, Mayada Rahal, Jose Javier Sanchez, Archana Xavi, Jenna Sampson
a memory of you: of holding, of carrying, together, / Maria-Margaretta Cabana Boucher
Jun 14 - Jul 19
A memory of you: of holding, of carrying together reflects on repetitive everyday acts of labours of love within worldbuilding. Familial documentation, textile practice, and beadwork become visual maps of exchanges with Maria-Margaretta Cabana Boucher, her daughter, their homelands, and shared heritage. Through these offerings of intimacy Cabana Boucher reflects on childhood joy, softness, and rituals of nurturing through witnessing and learning with and from her child. Structures that hold, carry and shelter act as catalyst of re remembering; building and rebuilding gentle places and spaces for dreaming with her daughter.
marrowline/ Evan Robinson
Jun 14 - Jul 19
marrowline brings together sculptural and printed works shaped by memory, mourning, and
spiritual passage. At its core are carved birchwood vessels—sealed boxes printed onto paper to create traces of what’s held and withheld. Alongside these are cyanotype images of horizon lines, evoking shifting atmospheres. Repeated forms—teeth, intestines, coiling figures—gesture toward cycles of strength and vulnerability, survival and surrender. Influenced by Nisga’a understandings of parting as a passage requiring accompaniment, the work echoes gestures of care and remembrance, inviting viewers into a space where recollection moves not behind us, but around us.
finding a form that remembers a future / Carrie Phillips Kieser.
May 3 - 31
As a print media and drawing artist, I create work that reflects my peripatetic practice of gathering within the porous boundaries of spaces and places. My process is deeply rooted in exploration—both physical and conceptual—as I navigate delicate and complex ecosystems, examining their imagined or perceived borders. Through poetic meditations, I seek to unravel the layered relationships between humankind and nature, bridging emotional realms with intellectual understandings.
My work weaves together themes of romantic yearning and precarious loss, revealing how we are all intimately entangled within the landscapes we inhabit. Each mark, impression, and material choice speaks to the impermanence and fragility of these interconnections, evoking both a sense of longing and an awareness of ecological precarity.
Through my practice, I aim to foster a contemplative space where boundaries dissolve, inviting viewers to engage with the tensions between presence and absence, memory and materiality, permanence and flux. Whether drawn, printed, or gathered, my works serve as quiet acts of observation, devotion, and inquiry—an attempt to make visible the subtle, often overlooked entanglements that shape our world.
Lady Parts / Jacky Tollestrup.
May 3 - 31
Lady Parts * is an assemblage of Jacky Tollestrup’s invitations to queer pleasure. Her
contrasting styles and multiple methods ask us to search for connections to bodies, dimensions
of the erotic, and liberation. In silkscreen, linocut, lithograph, and etching, Jacky navigates from
intimate autobiography to playful metaphor.
Enchanted by Mira Bellwether’s zine “FTW,” Jacky began a screen-printing project in 2023,
focused on genital anatomy and queer pleasure. Lady Parts* is an expansion of this project to
include more of the explicit and subtle operations of power that are reflected in rendering
anatomy, as well as representing the intangible elements of what she defines as her “lady
parts.” By examining her own body and experience, she works to disrupt cis-normative and
heteronormative assumptions that accompany anatomical diagrams, norms of pleasure,
expectations about the functions of genitalia, and the broader cultural topographies that are
mapped onto the gender non-conforming body.
perennial / Amanada Lilleston
Aug 30 - Sept 27
Our bodies are a porous, adaptive environment. I learned this living with an autoimmune disorder—where the body confuses “self” and “non-self”—and this notion intensified through pregnancy and motherhood, when the boundaries between my body and others became even more fluid. Our bodies are open systems, shaped by what lives within us and what surrounds us.
I think of the body as a perennial holobiont—a living ecology that cycles through change, breakdown, renewal, and return. Like the blackberries, lupine, milkweed, and crocuses growing around my home, the body is seasonal, resilient, and continually remade.
mudmap / Matthew James Weigel
Aug 30 - Sept 27
mud map is a record of urban Indigenous joy in the Arts, the Academy, and the Anthropocene. Here, book arts and design are pried apart and remixed to reveal the messy interiority of Edmonton and Strathcona’s history, as read in the biogeochemical makeup of
the mud beneath our feet.
prop your limbs / Kaitlyn Konkin
Oct 11 - Nov 15
Referencing the body, hands tangle behind the back, feet morph into each other, shoulders jut out at unnatural and uncomfortable angles and the rest forms an amalgamation of semi-understandable shapes. Figures resist the weight of gravity – yet integrate into their surroundings – taking cover in the warping of it all. These vessels gesture towards the unease and uncertainty that the body brings, at times disappearing into the background and at others, taking center stage.
This exhibition acts as a collection of memory and manipulated understanding. Through gradual layers these works explore the ways in which our emotions and memories have a tendency to misshape and alter. Scenes and figures are constructed from a repository of imagery and the emotional weight that memories carry. Relating the artificial and the real, this work offers a passage to unusual scenes that beckon to be explored.
The World Is a Very Narrow Bridge / Yael Brotman
Oct 11 - Nov 15
We are living in difficult times. Extreme climatic events and political dramas are creating chaos. The World Is a Very Narrow Bridge, this exhibition’s title, implies that we should be fearful because of the precarious path we are on. When taken literally, I admit that the prospect of crossing a thin suspension bridge causes my vertigo to kick in. But I have developed strategies of watching the horizon and not peering into the chasm below. Metaphorically, we want to remain above that chasm harbouring humanity’s dark impulses. To brace that bridge and calm the confusion around us, we must consider personal actions that we can take: lingering, thinking quietly and cultivating small-scale moments. These would help us make sense of experience and imagine new ways of understanding where we’re at.
SNAP Members Show and Sale
Nov 21 - Dec 16