Thank you from the bottom of our broken hearts. Stay Golden.
Witness the Postcard Exchange!
Reception on Thursday, April, 28th, 2016 from 5:00 pm to 7:00 pm at The Drawing Room (10253 97 St)
Revera’s three Edmonton area retirement communities are celebrating the conclusion of their first collaborative art project, and we’d like to invite you to join in the festivities.
The residents and staff of River Ridge, the Churchill, and Riverbend have been actively participating in the Postcard Project over the past 4 months. They have created over 100 unique artworks that they are looking forward to sharing with each other and the community.
The Postcard Project is the first visual art collaboration between the three Edmonton area Revera retirement communities. Residents of each community were invited to create a selection of small postcard sized artworks using a variety of materials, techniques, and subject matter to explore and expand their creative vocabulary.
Working both independently and through collaborative workshops, the residents created over 100 unique artworks which will be exchanged between the three sites for display at their community. The closing reception for the Postcard Project will be held at the Drawing Room Studios and Salon in downtown Edmonton and the event will feature an Active Postcard Exchange where residents will be invited to pick out a selection of artwork to take back and display at their site.
RSVP! Please let us know if you plan to be in attendance to Carly Greene, River Ridge, email@example.com, 780-470-7180 or 780-387-1463.
If you’re interested in learning more about Revera’s retirement communities, please be sure to visit our website at http://www.reveraliving.com/retirement-living
Handmade Ukrainian Easter eggs by Kathleen Day
Pysanky Pop Up Runs through 'til April 29
Gallery Hours: 2 p.m. - 6 p.m., Wednesday to Saturday
Bring one of these beauties home for $50!
Profits go to support the Edmonton-born artist and photographer, Catalina eke-ing it out in Berlin.
Pysanky are Ukrainian Easter eggs decorated with traditional Ukrainian designs using a wax-resist (batik) method. This craft was brieﬂy introduced to me when I was in elementary school, then re-introduced by a friend last summer. Initially, I found the patterns very beautiful and the practice of drawing on eggs strange and intriguing. The process of making a pysanka adds to the appeal of this work. Using a batik method, I work backwards, adding wax to the places on the egg where she wishes the colour to remain, then dipping the egg in a new colour of ink. Throughout the process, colour and wax continue to be added. Once ﬁnished, all of the wax is melted off, and I can ﬁnally see what the pysanka looks like. The ﬁnished product is always a surprise, much in the same way a picture developed in the darkroom is.
Growing up in Edmonton, half of my family comes from Ukraine. Even though I have never been there, I feel strong connections to this country. The eggs on display, are decorated with traditional Ukrainian designs, because it is my intention to honour this tradition in the way that it has been developed and practiced for centuries. My background is photography, and in my previous bodies of work I have focused on documenting the people in certain cultures, this collection is different because I am not participating as an outsider, but taking a ﬁrst-hand approach to master a cultural practice.
Kathleen Day is a visual artist, originally from Edmonton, Alberta. She received a degree from The Nova Scotia College of Art and Design (NSCAD) with a major in photography in 2013. In addition, she also completed two off-campus exchanges at L’École Nationale Supérieure des Beaux-Arts in Paris and Ar.co in Lisbon. After spending one year living and working in Madrid she returned to work at the Library and Archives Canada as a digital imaging technician at the Preservation Centre in Gatineau.
Day has been very involved in the arts community in Edmonton and abroad. She has shown her work across Canada and in Europe in several group and solo shows. She also enjoys volunteering at The Drawing Room assisting in the gallery and bookstore! She is currently based in Berlin working as a freelance photographer.
Decorated with traditional Ukrainian folk designs, Pysanky are made using a wax-resist (batik) method. Many other eastern European ethnic groups decorate eggs using wax resist for Easter, including the Belarusians (pisanka), Bulgarians (pisano yaytse), Croats (pisanica), Czechs (kraslice), Hungarians (hímestojás), Lithuanians (margutis), Poles (pisanka), Romanians (ou" vopsite, incondeiate or impistrite), Serbs (pisanica), Slovaks (kraslica), Slovenes (pisanica, pirhi or remenke) and Sorbs (jejka pisac).
According to many scholars, the art of wax-resist (batik) egg decoration in Slavic cultures, and particularly in Ukraine dates back to the pre-christian era. Scholars They base this on the widespread nature of the practice, and pre-christian nature of the symbols utilized.
As in many ancient cultures, Ukrainians worshipped a sun god, Dazhboh. The sun was important - it warmed the earth and thus was a source of all life. Eggs decorated with nature symbols became an integral part of spring rituals, serving as benevolent talismans.
•••In pre-Christian times, Dazhboh was one of the major deities in the Slavic pantheon; birds were the sun god's chosen creations, for they were the only ones who could get near him. Humans could not catch the birds, but they did manage to obtain the eggs the birds laid. Thus, the eggs were magical objects, a source of life. The egg was also honoured during rite-of-Spring festivals––it represented the rebirth of the earth. The long, hard winter was over; the earth burst forth and was reborn just as the egg miraculously burst forth with life. The egg therefore, was believed to have special powers.
With the advent of Christianity the symbolism of the egg was changed to represent, not nature's rebirth, but the rebirth of man. Christians embraced the egg symbol and likened it to the tomb from which Christ rose. With the acceptance of Christianity in 988, the decorated pysanka, in time, was adapted to play an important role in Ukrainian rituals of the new religion.
The art of the pysanka was carried abroad by Ukrainian emigrants to North and South America, where the custom took hold, and concurrently banished in Ukraine by the Soviet regime (as a religious practice), where it was nearly forgotten.
† • Ukrainians who live in the Carpathian Mountains of western Ukraine ( The Hutsuls), believe that the fate of the world depends upon the pysanka. As long as the egg decorating custom continues, the world will exist. If this custom is abandoned, evil in the shape of a horrible serpent who is forever chained to a cliff will overrun the world. Each year the serpent sends out his minions to see how many pysanky have been created. If the number is low the serpent's chains are loosened and he is free to wander the earth causing havoc and destruction. If, on the other hand, the number of pysanky has increased, the chains are tightened and good triumphs over evil for yet another year. • †
Superstitions and Folk Beliefs
Pysanky are believed to protect households from evil spirits, catastrophe, lightning and ﬁres. Pysanky with spiral motifs were the most powerful, as the demons and other unholy creatures would be trapped within the spirals forever. A blessed pysanka could be used to ﬁnd demons hidden in the dark corners of your house.
Pysanky held powerful magic, and had to be disposed of properly, lest a witch get a hold of one. She could use the shell to gather dew, and use the gathered dew to dry up a cow's milk. The witch could also use bits of the eggshell to poke people and sicken them. The eggshell had to be ground up very ﬁnely (and fed to chickens to make them good egg layers) or broken into pieces and tossed into a running stream.•••
The cloth used to dry pysanky was powerful, too, and could be used to cure skin diseases. And it was considered very bad luck to trample on a pysanka–God would punish anyone who did with a variety of illnesses.
There were superstitions regarding the colors and designs on the pysanky. One old Ukrainian myth centered on the wisdom of giving older people gifts of pysanky with darker colors and/or rich designs, for their life has already been ﬁlled. Similarly, it is appropriate to give young people pysanky with white as the predominant color because their life is still a blank page. Girls would often give pysanky to young men they fancied, and include heart motifs. It was said, though, that a girl should never give her boyfriend a pysanky that has no design on the top and bottom of the egg, as this might signify that the boyfriend would soon lose his hair. ♥
Red - is probably the oldest symbolic color, and has many meanings. It represents life-giving blood, and often appears on pysanky with nocturnal and heavenly symbols. It represents love and joy, and the hope of marriage. It is also associated with the sun.
Black - is a particularly sacred color, and is most commonly associated with the "other world," but not in a negative sense.
Yellow - symbolized the moon and stars and also, agriculturally, the harvest.
Blue - Represented blue skies or the air, and good health.
White - Signiﬁed purity, birth, light, rejoicing, virginity.
Green - the color of new life in the spring. Green represents the resurrection of nature, and the riches of vegetation.
Brown - represents the earth.
Black and white - mourning, respect for the souls of the dead.
Black and red - this combination was perceived as "harsh and frightful," and very disturbing. It is common in Podillya, where both serpent motifs and goddess motifs were written with this combination.
Four or more colors - the family's happiness, prosperity, love, health and achievements.
Help send The Drawing Room out with a BANG at The Grande Finale event featuring Adam's Not Fair Karaoke!
Come sing @AdamWB approved songs in the ambiance of performances, projections and intermedia artworks by Leslie Sharpe, Andrew Buzschak, Elvira Palazuelos, Mark Feddes and Chelsea
Cash Bar! Live Music! Karaoke DJ!
Thanks to Designer and Illustrator Christine Carey for the great gif!
Black mountains of glass-like waste material (slag) appear where iron and other metals are smelted or refined. These paintings, through intuited processes, arrive at something in response to these human-made topographies. Material experiments and open-ended methods of accrual and removal make up a series of actions, reflective of the reconfigured landscape as well as underlying geological processes.
In geology, the term ‘series’ refers to rock layers formed during a certain interval in time. As units, they are themselves subdivisions and also further subdivided.
Through the play of gesture, colour, form and texture in materials such as beeswax, oil and latex paint, each panel represents a record of its own cumulative time, each a facet or segment of the next.
Exhibition runs April 7 to April 29
Admission $5 or pay what you can to the Artist
Opening Reception at 7 pm on Thursday, April 7
About the Artist
Kristen Keegan is an artist born and based in Edmonton, Alberta. Her work was most recently exhibited in the 2015 Alberta Biennial of Contemporary Art, Parade Gallery, Exposure Photography Festival, and Latitude 53 Gallery. She has travelled to attend residencies both remote and urban, and at the end of 2015 was artist-in- resident for two months at Messen in Ålvik, a small factory town in Norway. A road travel enthusiast, she gets around in a grey station wagon known as Alice.
Come one, come all! The Drawing Room Salon is now home to new vendors. In addition to artists' books, zines and notecards in our shop, Undercover Books Etc., we now have offerings from a sampling of local artists:
Handmade jewellery and ceramic ring-holders by Karma Victoria Jewellery
Vintage fashion curated by Candice Kelly of Local Gifts
Embroidered patches by Amoira Borealis
Tapes and merch by Sweety Pie Records
Pendant lamps by Granville Woods
Desk accessories by MAAKE
Used records and more!
Welcome to the sound bath! Join us for the loudest party ever to grace the Drawing Room. The featured Artist, Danny Milanese and two special guest performers will create live sound art throughout the night. Pairs well with some bubbly!Read More
Public Art Opportunity
You are invited to participate in a community engagement workshop, Saturday March 5th, with Artist, Destiny Swiderski at The Drawing Room. The workshop will be held from 2 to 4 pm. Participants will be encouraged to tell their own story through textile drawings and colouring inside each bird profile given to them. The drawings created at the workshop will then be silk-screened onto steel birds and attached to the Beaver Hills House Park wall, located in the Alley of Light. This is a permanent display as part of the public art in downtown Edmonton. Participants will be acknowledged on a plaque as a part of the project.
Please send a message with your name, phone number and email address to firstname.lastname@example.org to register for this event!
We are proud to have Diane Connors' upcoming exhibition titled Entanglement at the Drawing Room from February 10 until 27. Donations go to the artist. Please pay what you can.
Art provides a way to engage with concepts and ideas intuitively - for this reason, I orbit around art that conveys complex social and environmental justice themes in simple ways. Topics that address consumerism, feminism, oppression, well-being, social psychology, biology, identity, and politics have held my interest since I started exploring them artistically for conceptual drawing projects in university. I see my art-making as a way to express and engage others on what can be complicated subjects - usually I begin with a very intentional message or thought about a particular issue that I’m trying to convey, and try to create it in such a way that it is easy and elegant to understand. I often reflect my work off my myself to own my personal connection to the culture being commented on or critiqued - I find this allows the viewer the space to reflect on themselves as well, and removes some defensiveness that art-as-social-commentary can provoke. As the personal is political, I think these personal reflections are key to meaningfully connecting to larger social issues.
My hair was long, curly, and beautiful. It would catch in crevices, tangle in chains, hold my head in place when trapped under pack straps and chair backs, and wrap around my neck and face, obscuring my view and inhibiting my movement. I wanted to cut it for years - but something held me back. I came to realize my hair was a marker of my identity as a woman, and my feelings of physical entanglement had social and emotional parallels. The way that femininity was woven into my life was beginning to become more apparent and more structured. My hair suddenly became very political to me - I was beginning to understand what was meant by the feminist assertion that “my body is a battleground.”
In an act of personal political subversion, I chopped my locks. For a time, I wasn’t sure what to do with them. I decided to keep the hair and ruminate on a way to use it to express these complex feelings I had about my identity and the press of expectations and limitations imposed on me because of it. After disconnecting myself so violently from this part of my body, I wanted to engage with my hair in a way that was thoughtful and intimate. I wanted the finished piece of art to be the result of a deliberate process that embodied minimalist ideals and respected the hair in its own materiality.
I began to do what came naturally - I started to braid it, in the same way I had done since I was a young child learning to make friendship bracelets. I can’t even remember when I learned to braid; it feels like a childhood skills that came with the package of wearing dresses and playing with dolls. I used to braid my long hair for comfort when I was feeling bored or anxious - many collective hours pulling greasy strands into backwards french braids while writing university papers, countless tiny braids slowly coming undone after thoughtlessly fingering them together around the base of my neck. And so braiding began my process - a meditation, a space to think, a time to heal, an opportunity to reflect on my identity and the society that shaped it.
As I braided, I thought about the labour I was doing and how it connected to women through the generations and across the world. I thought about the intersectionality that this part of my body represented - not just gender, but race, class, health, sexuality, age - and how hair is so diversely symbolic in human society. During the process, I took time to listen to the voices of people who talk about oppression and social justice, and sought out the knowledge of strong women, non gender-conforming individuals, and men who challenge social norms by simply existing and speaking their truth.
After many hours, the braiding was finished and I needed to decide the actual physical shape of the piece. Within the theme of facing femininity I chose two paths: to seek out someone who could spin the “cast-off” loose strands into a useable thread or yarn (that I would later crochet), and to sew the mass of tiny braids into different patterns of my liking. It was during this time that I began to appreciate how undervalued “traditional women’s work” can be. The attention, skill, patience, and perseverance required to spin, weave, knit, crochet, or sew anything by hand is something I might not master for years. I was fortunate enough to become acquainted with a friend of a friend who is a skilled spinner; it was a distinct pleasure to connect and discuss the work, comparing our experiences as women from different generations.
In all, the piece is an embodiment of a journey that I started and will continue will continue on for the rest of my life. Knots done up, knots undone; I will never be fully disentangled.
The Drawing Room presents an exhibition of recent works by Nora Meyers running January 6th through 27th. Admission is $5 or pay what you can.
Join the opening reception, January 8 at 7 pm!
Nora Myers is a multidisciplinary artist from Southern Minnesota. She holds a BFA in Painting and Printmaking and a Minor in Art History with an emphasis on Folk Art, Intuitive Art, and Art Brut, from the Minnesota State University, Mankato. She graduated last December from the University of Alberta with an MFA in Painting. Her current research focuses on the effort to translate memory into language. She aims to create work that may inspire the investigation in the beauty and complexity of our personal histories.
This show is a collection of two developing series, North in the Night and Everywhere and Here. The collection contains paintings and drawings that make reference to the landscape and contain elements of poetry, obscured private spaces, and dark mental landscapes.
Hello everyone! We are so excited to tell you about our latest show at the Drawing Room. Until December 11th, we are showcasing recent work by Ann Metheun-Hall, a prolific painter based out of Chrysalis Creative Arts Studio. We were drawn in by Ann’s use of bright colours and unique renderings of people, places and inanimate objects. Ann’s artwork usually tells a story or a “scene” from her life, a visual memory of a moment in time. Her work is personally meaningful and a vehicle for connecting with others.
Ann loves to talk about what she is painting, and the subjects of her work are carefully thought out. Ranging from abstract to realistic, her strength as an artist is in her ability to use line, pattern and colour to create vibrant, multi-textured canvases. She chooses the colour palette carefully for each painting, and likes to emphasize pattern and line in her work. Her drawing style tends to flatten the image so there is minimal depth or perspective.
For over 6 years she has been working tirelessly on her drawing and painting skills. She has participated in shows for The Works Festival and the Edmonton International Airport and exhibited for seven years at the Chrysalis Annual Art Show!
"In 2015, Ann started experimenting with clay sculpture and photography. Many of her photographs have been very popular at the Annual Art Show. Ann is also a talented dancer, singer and actor. She belongs to the Musical Theatre group, Drama group, Music group and participates in the Drumming program," says Carmella Haykowski, Artist and Facilitator at Chrysalis Creative Studio.
Please join Ann Methuen-Hall to celebrate the opening of her show at the Drawing Room! A public reception will be held on November 27 from 1 pm to 5 pm. Raise a glass to Ann and support her awesome passion for painting and making art. Paintings available for purchase and 100% of proceeds will go directly to the artist.
The paintings will be on view until December 11th during gallery hours between 2 p.m. - 7 p.m. Wednesday through Saturday.
On Friday September 18th, PARK(ing) Day returned to the Boyle Street area of Edmonton, along Namêw Ave (97 Street) and Okîsikow Way (101a Avenue). PARK(ing) Day is an annual event taking place internationally where citizens, artists and activists collaborate to temporarily transform metered parking spaces into PARK(ing) spaces: temporary public places (parkingday.org). Twenty street parking spots were reimagined by local artists and organizations, and turned into sites for imagination and community building. From interactive art installations, rap battles, tai chi and yoga, unique information booths, to a clothing swap, each of the stalls promoted conversation and connection in our community.
Everyone had a blast! The weather was perfect and the crowd fantastic. We could not have asked for a better afternoon! Here are some snaps from PARK(ing) Day 2015!
Photography by Charmaine Lowe
PARK(ing) Day 2015 was a massive success! We couldn't have done it without our partners CITYlab, City Region Studies Centre, The Quarters Downtown, and Stantec.
We would also like to acknowledge the hard work of the participants and artists who helped reimagine a better use for parking stalls. Thanks also to the hard working volunteers on this project, Jeana Ridley, Jodie McKague, Charmaine Lowe, Max Atchison, and Tom Young.
Have you seen our front window lately? Take a walk past one evening and see this neon installation created especially for our storefront window by the one and only Mark Clintberg.
Our Arrangement (2) illustrates two interlocking anchors. This piece is part of a larger series of works. Each combination of anchors represents a different short- or long-term relational arrangement. This series of signs features many quantities of anchors interlocking in different patterns, signifying agreements made between one, two, three, four or more individuals.
Mark is an artist who works in art history. In 2013 he was shortlisted for the Sobey Art Award. He earned a PhD in Art History at Concordia University in Montreal. As of September, he holds a position as Assistant Professor in the School of Critical and Creative Studies at the Alberta College of Art + Design. Lucky Calgary! You might recognize his painted barn wood wall piece Behind this lies my true desire for you from 2012 at the AGA. In the Summer of 2015, Mark Clintberg completed a public artwork titled Water Vessels with collaborator Jeff Kulak at the Heritage Valley Fire Hall in Edmonton, Alberta.
As a part of Edmonton's first ever Nuit Blanche event, the Drawing Room Collective created a series of short films called Phantasmagoria for the all night art event. Originating in Paris and now taking place around the world, Nuit Blanche is an all night art party that transforms cities into giant art galleries from dusk 'til dawn.
Drawn by flashing lights, gaudy posters and the smell of popcorn, a line forms outside a storefront along a busy downtown street. A small group is ushered into a tight, dark space to watch a series of short films, only to be ushered out again after several minutes and replaced with another group of excited viewers. Coined in 1905, the term Nickelodeon combines the words “nickel,” the price of admission, with the ancient Greek word “odeion,” meaning a covered theatre. The small, storefront theatres were popular in the early 1900s until longer films and larger theatres became more common. Although maligned by some as cheap and tawdry, Nickelodeons were the egalitarian entertainment of their time, offering the working class an escape from their everyday lives.
In The Nickelodeon Project, a multimedia installation for Nuit Blanche 2015, we transformed the Drawing Room into a storefront cinema to screen a series of short videos created by members of The Drawing Room Collective. The exhibition features past and present members, Chelsea Boos, Sean Bliss, Cynthia Dovell, Devon Beggs, Robert Harpin, Olivia Chow, Tory Culen and Carly Greene.
We could not have made it happen without the Quarters Arts Society, Nuit Blanche Edmonton, Oliver Apt and all our volunteers. We'd like to thank Robyn Webb, Krystal Selbee, Sarah Hoyles, Vedran Skopac, Catalina Dia, and everyone who attended our opening night! You can come out and see the Nickelodeon Project between 2 p.m. and 7 p.m. on Wednesday through Saturday this October. For a taste of what you will see, here are a couple of the seven vids we are screening.
This past August, the Drawing Room played host to another exciting exhibition: Explore Your Illustrations by Brandi Strauss. Featuring several collages and screenprints by the Edmonton-based artist, the pieces explore the paradox between the mundane and complex nature of the subconscious imagination, creating the impression of conflict and a sense of disconnection.
With no formal training, Brandi's foray into collage began by creating paper zines. All her images are created by hand with no digital manipulation. In the words of the artist, "image making through collage is limitless with its inexhaustible variety of styles, approaches and techniques. Collage allows me to deconstruct and reconstruct images the way I view the world. "
The Drawing Room recently had the pleasure of hosting Timeline by Stacey Cann. In the words of the artist:
"This body of work takes a phenomenological approach to the exploration of time and labour. Through its creation, the work inscribes time's passage, and although the processes used to make the work are labourious, there is no clear meaning or direction to the output. The viewer is left to interpret these works, and to come to their own assessment of what they are seeing."
Each large scale work is a futile gesture to the pointlessness in the act of making., and reference the passing of time. The pieces become repetitious and boring; a mark of rigorous labour rather than creativity. The viewer is left to contend with the tension between an intense commitment to labour, and the dullness that the effort produces. These works use the windows and walls to envelop the audience in these patterns. Some are handmade marks, other marks are made by technology but each displays a pointlessness in the act of making.
Recently The Drawing Room sent out a call for participants in an initiative entitled Mutt Art; a site-specific outdoor exhibition, taking place this August at the Muttart Lands in North East Edmonton. In late July on a beautiful Sunday afternoon, a group of local visual artists answered our call, and joined together at the project site to get creating!
These lands have a long and influential history in Edmonton, one that will be intrinsically linked to the upcoming exhibition and reflected in the artists’ works. A notable Edmonton locale, the Muttart Lands have witnessed the growing of our city and contributed to it, from housing Muttart Lumber in the mid-20th century, to playing a part in the lesser known heritage of the area.
While the memories contained within the land will inform Mutt Art, artists and organizers alike envision the upcoming show as a bridge between the past of the site and its future.
In our effort to do something meaningful, we invited Bob Cardinal and his helper Dr. Dwayne Donald to visit the Mutt Art site, and were so honoured they gave this project their blessing. Together we prayed and smudged the site.
We would like to acknowledge that we are working on Treaty 6 territory, an area with a history of colonial displacement, erasure and violence. Our hope is to honour the Indigenous people of these ancestral lands, and will do our best to produce an event that is sensitive and respectful of Indigenous knowledges and traditions, while creating respectful relationships between the diverse people that call this city home.
Cooperation and community is a big part of this project. If you'd like to get involved, contact us at email@example.com. Please check the facebook page Mutt Art to stay up to date! More details about our event schedule is coming soon!
Undercover Books Uncovered:
Book Series by Brandi Strauss ($9 each)
Do you like films but lack the attention span to sit through a Tarkovsky or Buñuel masterpiece? Well then, Brandi Strauss’ collages are for you. Each of Strauss’ books brandishes roughly a dozen different collages—all seriously cinematic in scope. Piecing together found images into carefully crafted chaos, each collage condenses what feels like a three hour exploration of human perception and imagination into one immediate Drop of Doom experience. Each book contains its own coherent theme, tackling it all: man vs. nature, machine, history, and, last but not least, mortality. Strauss’ aesthetic is undeniably low-fi video, but the content is definitely highbrow filmic genius. Now playing in a bookstore near you!
Can’t get enough of Edmonton’s very own Brandi Strauss? Join us at The Drawing Room Friday, August 14th at 8pm, for the opening reception of her show, Explore Your Illusions: Fragments of the Mind. The exhibition will feature a number handmade collages and silkscreened prints, and will run from August 14th – September 5th, 2015.
Contact Static Control for commissions or digital prints: firstname.lastname@example.org. Check out more of her stuff here: staticcontrol.tumblr.com.
Undercover Books Uncovered is a new series of book reviews written by Stephanie Bailey about titles found in our shop.
The Drawing Room presents an exhibition by Edmonton-born visual artist and wanderer Catalina, Notions of Space and Time before she returns to Europe to focus on developing her photography. In this collection of mostly Polaroid photographs, Catalina studies how culture and identity inform each other. “By documenting a person posed in a certain space,” she says, “I am communicating the identity of the person as well as the location, in order to memorialize the moment and understand the fluid and reciprocal nature of the subject and their environment.”
Exhibition runs through July 10
Opening at The Drawing Room on June 25, 2015
Artist Talk at 6 p.m.
Reception at 8pm
Admission $5 or pay what you can
As a student, I participated in off-campus exchanges in Paris and Lisbon that became the catalysts for Notions of Space and Time. The subjects in my photographs are positioned in particular spaces, in order to exploit the history and culture of the city or country and identify how a community thinks about itself. By documenting a person posed in a certain space, I strive to communicate the identity of the person and of the location. Knowing the history of a place gives insight to the culture, as the choices and the consequences of the past give context to what is occurring in the present.
Portraits provide a method to connect with someone else. When I meet a person, I see something in them I feel I have the ability to bring out that is specific to the relationship we share. Photography therefore becomes incredibly important, as we catch fleeting glimpses of relationships – relationships with people and with our surroundings. This speaks to the central theme of my practice, and of photography in general, which is the memento mori. There are about 30 photographs in this exhibition, however as I continue to travel, the work grows and evolves.
The process for this concept is to search for ways to document people, or traces of people in their environment. My objective is to understand the way a culture feels about itself. This work is about understanding people. However, my role in the person’s life is combined with the role of her environment, and my goal is to document all of these subjects informing each other.
Catalina is a visual artist born in Edmonton, Alberta. In 2013 she received her Bachelor of Fine Arts from the Nova Scotia College of Art and Design with a major in photography. During the course of her education, she had the opportunity to develop her work while participating in two off-campus exchanges. The first at École Nationale Supérieure des Beaux-Arts in Paris, and the second at the Centro de Arte e Comunicação Visual in Lisbon.
Catalina has shown her work across Canada and in Europe, and has been published internationally as well. Until recently she was working for the Library and Archives Canada as a digital imaging technician, and is now preparing to return to Europe to focus on photography.
For sales inquiries, please contact Chelsea Boos at 780 760 7284 or email@example.com
We still can't believe it! On June 21st, the longest day of the year, our community co-created an epic mural on an abandoned warehouse in the Boyle Street neighbourhood. Everyone was welcome to imagine, “How do you see Home?" in a 40-meter exterior mural with their neighbours. Artists, neighbourhood agencies, community groups, students, and engaged citizens of Edmonton were invited to paint, draw and collage this piece of collaborative public art. This is was an amazing opportunity for a diverse group of people to come together to create a striking contemporary artwork that builds community resilience and reflects the people and spirit of this place that remains on public view until redevelopment of the land next year. You can see it in person from the train or multi-use path along the LRT line between Stadium station and Churchill.
This project could not have happened without the support of Brookfield Residential, Make Something Edmonton, CITYlab, Harcourt House, the team of organizers, and all the participants that took time out of their busy day to make this happen. Thank you!
The House + Home mural is the first part of a large-scale urban intervention called Mutt Art going on from August 20 until September 9! This exhibition will feature site-specific sculptural installations and a program of special events with music, dance, and more. Want to get involved? Send a message to firstname.lastname@example.org to register for the Mutt Art Workshop on July 18!