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printmaking catalogue
Citation preview
Prints from the University of Alberta>>
syne
rgie
s 2
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9
Prints from the University of Alberta>>
syne
rgie
s 2
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9
1–28 February 2009
Osmanhamdi Bey Gallery
Mimar Sinan University | Istanbul, Turkey
>> Curated by Liz Ingram
Synergies 2009
Prints from the University of Alberta
First published by the Department of Art & Design
3-98 Fine Arts Building, University of Alberta
Edmonton, Alberta, Canada T6G 2C9
www.ualberta.ca/artdesign
© 2009 Department of Art & Design
ISBN: 978 -0 -9699898 -3- 7
All rights reserved. No part of this publication may be
reproduced, stored in a retrieval system, or transmitted
in any form by any means, electronic, mechanical,
photocopying, recording or otherwise, without prior
permission from the copyright owner.
Printed and bound in Canada
> Editing Liz Ingram, Helen Gerritzen
> Design Susan Colberg
> Photography Steven Dixon
> Printing McCallum Printing Group Inc., Edmonton
> Cover image Tadeusz Warszynski (see page 55)
This exhibition and the accompanying catalogue were
made possible by support from the University of Alberta
Faculty of Arts Endowment Fund for the Future (SAS), the
University of Alberta President’s Fund for the Performing
and Creative Arts and the Alberta Foundation for the Arts.
>>
Table of Contents
Foreword 06
Aysegül Izer
Introduction 07
Liz Ingram
Reciprocities: Istanbul and Edmonton 10
Lianne McTavish
Synergies 2009 Catalogue 17
18 Sean Caulfield
22 Steven Dixon
26 Nick Dobson
30 Helen Gerritzen
34 Liz Ingram
38 Walter Jule
42 Michelle Lavoie
46 Daniela Schlüter
50 Marc Siegner
54 Tadeusz Warszynski
Artists’ Curricula Vitae 58
Exhibition List 69
This exhibition has been organized at Mimar Sinan Fine Arts
University in Istanbul,Turkey in collaboration with the University
of Alberta in Edmonton, Canada. This is the second joint activi-
ty of these two prestigious universities and specifically of our
two departments: the Graphic Design Department of Mimar
Sinan University of Fine Arts and the Department of Art and
Design, Faculty of Arts, University of Alberta. Art on paper and
the printed image is the focus of this event, which brings to-
gether a group of contemporaneous Canadian artists who are
showing their personal collections to a new audience. It is very
important for our students to be offered the opportunity to
share these coeval artists’ experiences and their research efforts.
I am very happy to have this important Canadian print art ex-
hibition at Mimar Sinan Fine Arts University. It is a privilege for
my university, our academics, our students and for the cultural
life of Istanbul. I would like to extend my thanks to the sponsors
from the University of Alberta, to the academics of the Art and
Design Department, and a special thanks to Liz Ingram, a unique
artist and a new friend.
Professor Aysegül Izer
Graphic Design Department, Fine Arts Faculty
Mimar Sinan University of Fine Arts | Istanbul, Turkey
06
>>
Foreword
Often I have asked myself the same question, “why is the world
of printmaking so interconnected and peopled with such wonderful
characters?” In 2006, while producing prints in residence at the
Kloster Bentlage Print Workshop in Germany, Knut Willich, the
workshop organizer, introduced me to the work of Turkish artist
Aysegül Izer. My interest in her work resulted in an exhibition
entitled Aysegül Izer and Emre Senan: Impressions From Turkey,
which also brought both of them as visiting artists to Edmonton
in 2007. Through their works and their lectures, we were intro-
duced to the richness of Turkish printmaking and to a strong
graphic tradition that was new to us. Their visit and the exhibition
were a great success. This publication is the result of a subsequent
invitation to curate an exhibition of works by teaching faculty
from our printmaking program for the most established Fine Arts
University in Istanbul, Mimar Sinan University. The location of the
gallery directly on the water’s edge of the Bosphorus is remark-
able, and we are thrilled at the opportunity to exhibit our works
in such a special historic location.
Canada is a country of vast spaces with great distances between
clusters of population. Edmonton is a northern city, the capital of
Alberta, a city of one million people living in an often difficult and
harsh climate. The arrival of Walter Jule from the USA and Lyndal
Osborne from Australia 38 years ago (to a then much smaller city)
began the rapid growth and development of the printmaking
>>
IntroductionProfessor Liz Ingram, Curator
Department of Art & Design, Faculty of Arts
University of Alberta | Edmonton, Alberta, Canada
program at the University of Alberta. I was one of their early
graduate students, and later joined Walter and Lyndal as part of
a team that for many years has also included our two marvelous
technicians, Marc Siegner and Steven Dixon. It really was a grass
roots situation in the early days, one in which many long hours
were spent pouring over books and catalogues, searching for
the very best print-artists from around the world, brainstorming
about how to attract them as visiting artists, and also about how
to build and develop our facilities into an outstanding place for
the research, study and production of Fine Art prints. The current
state of the facilities and the exciting level of production that is
evident in the following pages attests to the enduring vision and
energy of Jule and Osborne.
This physically isolated city proved to be an ideal location to
develop a vibrant and progressive printmaking community. The
medium’s portability and biennial/triennial international ex-
hibition tradition allowed us to develop an ongoing visual dia-
logue with artists from different parts of the world, in particular
with those from Asia and Europe. Over many years visiting artists
have come from around the world—from Japan, Germany,
Poland, Britain, USA, Czech Republic, Slovakia, Thailand, amongst
others—to influence and interrogate our work, leaving behind
remarkable works and ideas to fill the University Museum’s Print
Study Centre collection and our imaginations. This exhibition
showcases selected print-based works produced by a group of
artist/teachers who have converged in Edmonton from different
backgrounds with diverse past experiences. We find ourselves
working together, teaching and making in synergy, with a com-
mon conviction that printmaking is a boundless medium—
a highly effective medium of unlimited possibilities to visually
convey important and penetrating experiences and ideas.
08
Istanbul is the city of crossroads, the meeting place of Asia and
Europe, a major centre of synergy, a place where a confluence of
varied energies and ideas has produced a remarkably rich and
unique culture. Synergies 2009 offers to this focal point of world
cultures reflections of another confluence of energies and ideas
taking place in a relatively remote northern Canadian city.
I would like to offer thanks to all those who put extra effort to
make this exhibition a possibility: Helen Gerritzen for her long
hours of editing; Susan Colberg for her wonderful catalogue
design; Steven Dixon for photography; Lianne McTavish for her
insightful essay, Matthew Arrigo for assistance with the pack-
ing and shipping; and to my other colleagues, Walter Jule, Sean
Caulfield, Daniela Schlüter, Marc Siegner, Michelle Lavoie, Tad
Warszynski, and Nick Dobson. Above all, I offer my sincerest
thanks to Professor Dr. Aysegül Izer, Head of Graphic Design at
Mimar Sinan University of Fine Arts, for the invitation to curate
this exhibition, and for her hard work collaborating at a distance
to make it all happen.
I would also like to gratefully acknowledge support from Mimar
Sinan University of Fine Arts for the presentation of the exhibi-
tion, and support for the catalogue and travel costs from the
University of Alberta through the President’s Fund for the Per-
forming and Creative Arts and the Faculty of Arts Support for
the Advancement of Scholarship fund.
Reciprocities: Istanbul and Edmonton
Professor Lianne McTavish
Department of Art & Design, Faculty of Arts
University of Alberta | Edmonton, Alberta, Canada
I
Istanbul’s greatest virtue is its people’s ability to see the city
through both western and eastern eyes.
— Orhan Pamuk, Istanbul: Memories and the City
Vintage International, 2006, p. 258
Nobel Prize winner Orhan Pamuk includes some 202 photo-
graphs, drawings and engravings in his intimate account of
Istanbul. The images are embedded throughout the book, not
bunched together at the back as an afterthought. Pictures
of ferries on the Bosphorus, narrow cobblestone streets, and
Pamuk’s grandmother holding a baby illustrate the written
content, but also provide information that words cannot convey,
sometimes even contradicting the author’s descriptions. The
dialogue between image and text created in Istanbul: Memories
and the City explores how representations produce under-
standings of the city, influencing the ways in which inhabitants
and visitors alike both see and remember it.
This emphasis on how knowledge is conveyed by visual signs is
refreshing, for scholars have typically favoured writing. Western
historians of the book, for example, stress Gutenberg’s invention
of moveable type in 1452 as a technological breakthrough that
led to the dissemination of ideas, producing both a class of im-
aginative readers and a group of literate artisans engaged in
10
>>
the publishing industry. Yet woodcut prints had spread religious,
medical and other forms of learning long before Gutenberg
experimented with the printing press. From the fifteenth century
onward, engraved and etched images distributed information
among as well as between cultures. Prints were the primary
means by which artistic knowledge was spread, in copies of fa-
mous paintings and sculptures and in original works meant to
be scrutinized, purchased and displayed by a diverse audience.
Artists such as Rembrandt gave printed self-portraits as gifts to
patrons and other artists, enhancing relationships while establish-
ing international reputations. These images held, however, an
important function well beyond the artistic realm. Looking at and
talking about various printed materials was, and arguably remains,
a primary method of gleaning an awareness of the world.
Synergies 2009 insists on the meaningful exchanges enabled by
printmaking. As Liz Ingram points out in her introduction to this
catalogue, the exhibition was inspired by the visit of Turkish artists
Aysegül Izer and Emre Senan to Edmonton in March of 2007,
when their works were featured at the Fine Arts Building Gallery
at the University of Alberta. These artists then reciprocated by
inviting the teaching faculty at the University of Alberta to in-
stall its own productions at Mimar Sinan University in Istanbul.
This cultural conversation—a kind of gift exchange between
cities—is ideally suited to the longstanding function of prints,
linking groups of people across borders. Turkey is the perfect host
for the latest meeting because of its position as a crossroads
between Europe and Asia. As Turkey’s largest city, Istanbul is
uniquely situated on two continents. It therefore offers, as Pamuk
argues, an overlapping of eastern and western ways of seeing,
even as those visions remain distinct. This simultaneous connec-
tion and disparity makes it tempting to compare the two exhibi-
tions. It is difficult to generalize about the varied prints and artists
in the shows, but like Izer and Senan, Ingram and her Canadian
colleagues make work that reveals layers of influence, with
political content suggested in playful or subtle ways. In contrast
to the often colourful silkscreen prints (some with elements
of collage) that Izer and Senan displayed at the Fine Arts Build-
ing Gallery, many of the print-based works sent to Istanbul
from Edmonton embrace a different graphic tradition, tending
to be more abstract, with an overt emphasis on materiality.
At the same time, the greater number of artists involved in
Synergies 2009 results in the use and combination of a wide
range of techniques including mezzotint, chine collé, etching,
photogravure, woodcut, drypoint, spit bite, intaglio, digital,
lithography, embossing, drawing, and painting.
I I
It snowed on average between three and five days a year, with
the accumulation staying on the ground for a week to ten days,
but Istanbul was always caught unawares, greeting each snow-
fall as if it were the first.
— Pamuk, Istanbul, p. 39
The specificity of place is a theme recurring throughout Synergies
2009. This work is in dialogue with a broader scholarly contem-
plation of the invention of place, which considers how spaces
become meaningful places that contribute to the production of
subjectivity and are infused with power relations. A poignant con-
tribution is Helen Gerritzen’s small work called enclosure (2007),
in which a delicate wooden fence encircles an empty space,
marking it as important. By focusing on the human invention of
boundaries, the artist displays how place can be constructed
through the arbitrary separation of spaces, even as the borders
that manufacture those spaces remain fragile, permeable and
12
>>
subject to change. In a series entitled Seductive Echo (2006 and
2007), Liz Ingram is instead inspired by the embodied experience
of domestic space. To create these works the artist took snapshots
of herself in the bathtub, subsequently enlarging and manipu-
lating them. The results suggest an underwater world filled with
organic forms such as seaweed. Ingram’s more recent prints,
Ultimate Synthesis; Finite Source (2008), depict her husband’s body
submerged in a creek located near Edmonton. In this series, she
moves out of doors, fabricating light-filled images that invoke the
inseparability of embodiment and place, while inviting the exam-
ination of ecological issues concerning the preservation of water.
Her reflection on how places are both created and potentially
destroyed by human intervention echoes Pamuk’s melancholy
remembering of the physicality of his childhood experiences
of Istanbul.
In her two prints, Twilight (2008) and Flow (2008), Michelle Lavoie
similarly references local landmarks, but departs from Ingram
by drawing attention to the ways in which the genre of western
landscape painting continues to shape perceptions of the natural
world. This tradition is implied in Lavoie’s works both by their
largely horizontal orientation and references to water, grass, trees
and sky. Spectators familiar with the nationalistic landscape paint-
ings produced by the Group of Seven during the early twentieth
century may understand Lavoie’s images as simultaneously recal-
ling and reinventing fantasies of an ideally rugged Canadian
terrain. Steven Dixon’s series called Mine Site (2002) records a dif-
ferent kind of memory. It employs the painstaking technique of
photogravure to document the particular features of Crowsnest
Pass and Nordegg, small towns at the foothills of the Rocky Moun-
tains in Alberta. By recording abandoned mines and industrial
decline, Dixon’s images are closest to those found in Pamuk’s
book, longing for a sense of place that is deteriorating but not
completely lost.
I I I
The joy I felt upon finishing a painting was so great that I wanted
to touch it, pick out some detail to embrace, even take it into my
mouth, bite it, eat it.
— Pamuk, Istanbul, p. 267
Materiality, desire and knowledge are linked in Synergies 2009.
Material goods are currently of great interest to a range of histo-
rians, anthropologists and art historians who study how such
objects as Chinese porcelain, Indian textiles, Turkish carpets and
a range of prints have traversed the globe, bringing new ideas
and tastes with them. The ability of matter to shape and be shap-
ed by the human hand is foremost in, for example, Walter Jule’s
prints. Some include actual wooden fragments, while others draw
attention to stretched fabric, hard surfaces and the shadows
cast by taciturn things placed in mysterious arrangements. The
Irrlichter series (2008) by Daniela Schlüter has a very different
aesthetic, but it too highlights the materials with which she works.
Combining deliberately crude markings with elusive drawings,
her prints emphasize multiple textures, layers and the receptivity
of paper. Nick Dobson is similarly interested in contrasting tex-
tures, achieved in Blue Flow (2008) by his unusual blend of photo
etching with woodblock techniques.
In sharp contrast, the prints of Tadeusz Warszynksi (2006) and
Marc Siegner (2008) are closer to those of Emre Senan in their
use of colourful forms, and to those of Aysegül Izer in their col-
lage-like amalgamation of fragments gathered from numerous
sources. Siegner is particularly interested in appropriating sci-
entific representations of sea life, recombining them to generate
exotic underwater worlds that resemble those of Ingram but are
utterly lacking in human references, evoking instead the genre
of science fiction. An interest in the signifying systems used by
>>
14
science is even more evident in the recent work of Sean Caulfield.
Shifting Tree (2008), for instance, presents organic drawings and
hand-written notations against a grid-like backdrop, alluding to
the methods of scientific observation which attempt to measure
the natural world. The biological forms subjected to this evalua-
tion defy these efforts to contain them, spilling beyond the edges
of the sheet. Along similar lines, the forms depicted in The Reed
(2007) are laid out like specimens, accompanied by diagrams
apparently meant to reveal their inner structure. The figures
nevertheless remain puzzling, implying that because biological
elements are continually changing, they cannot be fully captured
by the visual language of science. Suggesting that materiality
eludes strictly rational modes of comprehension provides a fit-
ting end to this essay. Despite the diversity of the works included
in Synergies 2009, an emphasis on embodied knowledge and
the physicality of print media binds them together, contributing
to an international conversation that will hopefully continue.
L.M. | 01 January 2009
syne
rgie
s 2
00
9 c
atal
og
ue
The interdisciplinary project called Imagining Science brought
together a group of internationally recognized artists and social
commentators, including philosophers, sociologists, legal scholars
and scientists, in order to produce a body of original art work.
This work, along with accompanying essays, formed an exhibition
that explored the complex legal, ethical and social issues associat-
ed with advancements in life science technologies such as stem
cell research, cloning and genetic testing. In response to ideas
brought up by the Imagining Science project, I initiated a series
of prints, drawings and an installation work with Royden Mills.
The pieces suspend viewers between a number of associations
including historic scientific illustrations, fictional science and
biological forms, while suggesting an imagined world of myth
or religious cosmology. The work fluctuates between micro and
macro readings, on the one hand referencing large-scale maps
depicting river systems and on the other hand, suggesting views
within the interior of a body. These strategies have allowed me
to create imagined spaces, populated by enigmatic objects that
refer to mechanistic and naturalistic forms, in order to explore
themes of mutation, metamorphosis and biological/technological
dichotomy. Although the work looks to the past for inspiration,
it suggests a contemporary context in which advancements in
technology are rapidly changing our relationship to the natural
world, biology and our own bodies.
Sean
Cau
lfiel
d
18
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Sean
Cau
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ugh
Des
tina
tion
colla
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ve w
ork
wit
h R
oyd
en M
ills
mix
ed m
edia
inst
alla
tion
vie
w, t
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Art
Gal
lery
of A
lber
ta
7.3 ×
7.3
m |
24
×2
4 f t
200
8
20
Sea
n C
aulfi
eld
Prot
ecti
ng F
lam
esm
ezzo
tin
t, ch
ine
collé
45.7
2 ×
45.
72 c
m |
18 ×
18
in
200
8
Sean
Cau
lfiel
d
The
Reed
mez
zoti
nt,
chin
e co
llé
30.4
8 ×
30.
48
cm |
12 ×
12
in
2007
I have come to view the landscape as a record of the conse-
quences of human endeavor.
It is difficult to remove oneself from the constant reminders of
how we have altered our environment. My work captures still
images from a continuum of events that begins with environ-
mental impact and ends with the archaeological record.
There is a wave of contemporary photography that explores
the contested terrain between human activity and the land-
scape itself. The best of these photographs are simultaneously
beautiful and profoundly disturbing. Working with a similar
awareness, I have created images that function as both docu-
ment and metaphor.
My images evidence the decay of industry but hopefully tran-
scend mere documentation through formal eloquence and
emotional resonance.
My prints allude to both the presence and absence of man.
Stev
en D
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ada
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>>
Stev
en D
ixo
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She l
fdi
git
al p
rin
t o
n J
apan
ese
pap
er m
ou
nte
d o
n p
anel
s
240 ×
30
0 ×
4.5
cm
| 9
4.5
× 1
18.1
× 1
.74
in
2006
24
Stev
en D
ixo
n
Min
e Si
te N
o.7
ph
oto
gra
vure
25.5
× 3
2.5
cm |
10 ×
12
.8 in
2000
Stev
en D
ixo
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Min
e Si
te N
o.15
ph
oto
gra
vure
40 ×
52 c
m |
15.
7 ×
20.5
in
2002
26
My interest in printmaking is founded in the finished print’s meta-
phorical value as an artifact of an event or process. Although this
link between artifact and event could be proposed as true of
any consequence of living activity, I find printmaking emphatic
in this notion—the process makes producers more remote from
their finished products through the use of matrices.
In my recent work I use two diametric printmaking techniques—
photo etching and woodblock—to examine separate expressions
of productivity in order to evoke consideration of their combined
relationship.
Photo etching requires time and intensive preparation before the
image is ready for printing. Through this process, I am depicting
flames as a metaphor for the ephemeral. Alternately, the relief por-
tions of the series are largely unmodified representations of their
woodblock matrices; physical transferences of wood’s worldly ma-
nifestation as revealed by the indifferent and anonymous inter-
vention of a manufacturing process.
By contrasting these two techniques, and the type of productivity
to which they allude, I hope to evoke contemplation of both in-
dividual and collective consequence in the contemporary world.
Nic
k D
ob
son
195
8b
orn
in N
orw
ich
, No
rfo
lk, E
ng
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>>
Nic
k D
ob
son
Plac
es I
Foun
d M
ysel
fw
ood
cut
81 ×
122
cm
| 3
2 ×
48 in
2004
28
Nic
k D
ob
son
Mah
ogan
y D
ream
ph
oto
etc
hin
g, w
ood
cut
60 ×
35.
5 cm
| 2
3.5 ×
14
in
200
8
Nic
k D
ob
son
Blue
Flo
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etc
hin
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ood
cut
24 ×
59.
7 cm
| 9
.5 ×
23.
5 in
200
8
196
4b
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in B
ran
do
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anit
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Can
ada
199
9b
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pri
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30
Hel
en G
erri
tzen
trachea and the hero, and other such stories…
My work has long been involved in the comparison of know-
ledge with the corporeal, referencing the assumed associations
of knowledge with power and the body with vulnerability.
trachea and the hero… is from a recent series of images which
is my attempt at the retelling of the mythological tale of
Daphne and Phoebus Apollo. The narrative is concerned with
his desire and the moment she is becoming the tree—her
trachea at the moment of its last breath.
The images reflect an ongoing search to create a tension
between the body as a product of representational practices,
language and knowledge with that of the physical, mortal
body. One leads to symbols, myths and metaphor, the other
to involuntary states of being, of diseases and desires. The work
questions the body’s long history as a repository of cultural,
sexual, medical and religious meanings.
In my work, I deliberately seek to blur the boundaries between
media, form, knowledge and perception.
>>
Hel
en G
erri
tzen
enc
losu
re
from
Aga
ve, t
he U
nive
rsit
y o
f Alb
erta
Cen
tena
ry P
ortf
olio
etch
ing,
sp
it b
ite,
typ
e on
Ch
ines
e p
aper
, cop
per
dar
t
35.5
× 2
8 cm
| 1
4 ×
11
in
2007
32
He
len
Ger
ritz
en
dou
ble
hero
etch
ing,
sp
it b
ite,
gra
ph
ite,
go
uac
he,
ch
ine
collé
91.4
× 1
22 c
m |
36 ×
48
in
200
6
Hel
en G
erri
tzen
trac
hea
2d
igit
al, e
tch
ing,
ch
ine
collé
28 ×
35.
5 cm
| 1
4 ×
11
in
200
8
194
9b
orn
in B
uen
os
Air
es, A
rgen
tin
a
1975
beg
an te
achi
ng p
rin
tmak
ing
at
Uni
vers
ity
of A
lber
ta
34
Liz
Ing
ram For the past thirty-five years my work has focused on transition-
al states between material presence and the ephemeral.
As a child growing up in India, I was exposed at an early age to
extremes of physical deprivation butted up against heightened
sensuality, exotic rich colours, sounds, smells and ritual practices.
I believe that these early experiences have predisposed me
to my continuing investigations of the human condition with
a focus on the human body and nature.
I am currently using images of glistening water and fragments
of the human body to contribute to the understanding of our
fundamental connections with nature. With the aid of the print-
ed image, paper and ink, glass, light, shimmering pixels and
fabric, I also wish to give the viewer an experience that will
celebrate the wonder of water— an endangered and essential
substance. Without reference to any specific place or specific
socio-political position, I am attempting to connect the viewer
to a sense of our place in nature—a sense of place that seems
to be rapidly disappearing in our highly technological world.
The work is about vulnerability and strength, about a cycle of
disappearing and emerging, about wonder and uncertainty.
>>
dye
su
blim
atio
n p
rin
t on
fab
ric,
inst
alla
tion
vie
w fr
om
Imag
ingi
ng S
cien
ce, A
rt G
alle
ry o
f Alb
erta
4.27
× 3
.66
m |
14 ×
12
ft
2008
Liz
Ing
ram
Perp
lexe
d Re
alit
ies
I
colla
bo
rati
ve w
ork
wit
h B
ernd
Hild
ebra
ndt
36
dig
ital
, etc
hin
g, d
ryp
oint
, ch
ine
collé
29 ×
21
cm |
11.
4 ×
8.3
in
2008
Liz
Ing
ram
Ult
imat
e Sy
nthe
sis;
Fin
ite
Sour
ce II
I
dig
ital
, etc
hin
g, d
ryp
oint
, ch
ine
collé
25 ×
18
cm |
10 ×
7 in
2008
Liz
Ing
ram
Ulti
mat
e Sy
nthe
sis;
Fin
ite
Sour
ce V
194
0b
orn
in S
eatt
le, W
ash
ingt
on, U
SA
1971
beg
an te
achi
ng p
rin
tmak
ing
at
Uni
vers
ity
of A
lber
ta
38
Wal
ter
Jule I have little appreciation for speed. Slowness, however, fascinates.
The slow freezing of water…the slower thawing of hardened
hearts. Rust. Endlessly waiting—passive expectation—the
universe can be glimpsed, reflected in a single drop of water
hanging from a heron’s bill.
Water evaporates, paper shrinks. Held in place by stones, its
movement arrested, wrinkles become a topography.
The world is constructed of infinite planes of interpenetrating
influence. To attend to the constant flow of information enter-
ing through the sense-gates it is not necessary to speed.
The original multi-tasking, it is rarely achieved, even for an instant.
But when we can finally recognize the utter improbability of a
shrunken balloon, a wooden peg, a tear—then what about an
ocean, or a smile?
But we must say without words.
>>
Wal
ter
Jule
Unt
itle
d, fr
om
th
e Re
visi
on o
f For
war
d Se
ries
litho
gra
ph
, woo
d
29.5
× 2
2 cm
| 1
1.5 ×
8.5
i n
200
8
40
Wal
ter
Jule
Unt
itle
d, fr
om
th
e Re
visi
on o
f Fo
rwar
d Se
ries
litho
grap
h
33 ×
16
cm |
13 ×
6 in
200
8
Wal
ter
Jule
Unt
itle
d, fr
om
th
e Re
visi
on o
f For
war
d Se
ries
lith
ogra
ph
, wo
od
23 ×
21
cm |
9 ×
8.2
5 in
200
8
These new works explore media’s influence and bearing upon
content; specifically, how we see, come to perceive, and remem-
ber through the multiple filters of technologies. Technologies
become transparent, over time, with interaction and we do not
perceive their influences upon our lives. I want to make these
filters opaque and to acknowledge their existence and influ-
ence upon our perception and memory. Technology extends
our vision, enabling us to see through different eyes—to see
microscopic views of intercellular activity and to view distant
galaxies. We have embraced, and on some levels embodied,
these inventions so that these technologies are simply a part
of our day to day existence.
I begin with photography. To heighten a sense of tactility and to
infuse the photograph with feeling, the images are transformed
through a second technological filter using digital manipulation.
The resulting digital output is fused with physical and tangible
forms of traditional printmaking. Movement, energy, time, effort
and intention push and sculpt the material resulting in a physical
trace, an impression, embossed and imprinted into the surface
of the paper. When the digital and traditional forms of print-
making merge, they create a surface which is both tangible and
ethereal—a surface which posits the image in a place which is
both real and dream.
Mic
helle
Lav
oie
42
196
5b
orn
in P
eter
bo
rou
gh
, Ont
ario
, Can
ada
1991
beg
an te
achi
ng p
rin
tmak
ing
at
Uni
vers
ity
of A
lber
ta
>>
Mic
hel
le L
avo
ie
Twili
ght
dig
ital
, scr
eenp
rin
t, em
bos
smen
t
42 ×
59
cm |
16.
5 ×
23.2
5 in
2008
44
Mic
hel
le L
avo
ie
Impe
dim
ent
dig
ital
, scr
eenp
rin
t
60 ×
40 c
m |
23.
25 ×
15.7
5 in
2008
Mic
hel
le L
avo
ie
Flow
dig
ital
, scr
eenp
rin
t, em
bos
smen
t
42 ×
60
cm |
16
.5 ×
23.
75 in
2008
My work is influenced by the discussion on decoding genetic
material. I want to stress the importance of our traditional
concept of personhood and to focus attention on the impact
of purely scientific, or language-based explanations.
The work grows out of my reflections on the moral implications
of the shift in perception of selfhood and authorship (value
discussion versus pure explanation). Why do we seem to feel
a kind of malaise? Why are we afraid of being reduced to some-
thing merely material, if it would not alter our way of perceiving
the world in kind? I am looking into the archaic world of dramas,
philosophy and history and I combine these ideas with current
issues and developments such as gene-technology to find
traces and repetitions. My work asks questions about essential
issues of the conditio humana. Its central theme is the human
being, all embracing.
The archaic Gods, which had the characteristics of humans,
have been replaced with our biological blue print. We might be
able to change it according to our hopes, as the ancients in-
tended to please the Gods in order to be spared their wrath
and unpredictability. On the other hand, we might not succeed.
Then this symbol, too, will join the others in the gallery of
human images.
46
1974
bo
rn in
Sü
dlo
hn
, Ger
man
y
200
8b
egan
teac
hing
pri
ntm
akin
g a
t U
nive
rsit
y o
f Alb
erta
Dan
iela
Sch
lüte
r >>
Dan
iela
Sch
lüte
r
Irrli
chte
r 3in
tag
lio
53 ×
69
cm |
27.
2 ×
20
.8 in
2008
48
Dan
iela
Sch
lüte
r
sim
ilia
sim
ilibu
s 16
mo
no
pri
nt,
draw
ing,
dig
ital
, pai
ntin
g
80 ×
60
cm |
31.
5 ×
23.
6 in
200
4
Dan
iela
Sch
lüte
r
sim
ilia
sim
ilibu
s 9
mo
no
pri
nt,
draw
ing,
dig
ital
, pai
ntin
g
80 ×
60
cm |
31.
5 ×
23.
6 in
200
4
Recently my art practice has been concerned with aspects of
containment and permeability. The imagery is informed by
recent scientific research of the flora and fauna from some of
the deepest parts of our oceans, the benthic region.
Initially my interest was sparked by vintage illustrations of
anemones. I was further inspired by a poem by Matthew Arnold
called The Forsaken Merman. I am drawn to these strange marine
formations, finding them at once alluring and suggestive,
embedded with contradiction. As containers they are, for the
most part, translucent and appear accessible and porous.
I regard many of these plants and animals as otherworldly
and alien-like. For me, it is their exoticism that makes them so
desirable and I am intrigued by the knowledge that they exist
just out of sight, below the surface.
Mar
c Si
egn
er
50
195
6b
orn
in O
ttaw
a, O
nta
rio,
Can
ada
1981
beg
an te
achi
ng p
rin
tmak
ing
at
Uni
vers
ity
of A
lber
ta
>>
Mar
c Si
egn
er
Neb
ela
& S
peno
deri
ad
igit
al, l
itho
grap
hy,
sc r
eenp
rint
, chi
ne
c ollé
83.8
× 6
0.9
cm |
33 ×
24
in
2008
52
Mar
c Si
egn
er
Tran
smig
rati
on o
f the
Tra
wl M
outh
Are
ad
igit
al, l
itho
gra
ph
y, sc
reen
pri
nt,
chin
e co
llé
83.8
× 6
0.9
cm |
33 ×
24
in
2008
Mar
c Si
egn
er
Scav
engi
ng o
n th
e A
byss
ald
igit
al, l
itho
grap
hy,
sc r
eenp
rint
, chi
ne
c ollé
60.
9 ×
83.8
cm
| 2
4 ×
33 in
2008
Change, passage of time, cycles of birth and death are the
themes that are always present in my work. As an artist,
I am interested in re-creating sensations that are unspoken
and universal at the same time. I think that is why I create
art in the first place, because of this sense of premonition,
an urge.
Very often there is a paradox or contradiction that brings
feelings of uncertainty or suspension. This is important to me
because it helps to create an ongoing, continuous dialogue
with the viewer, becoming a metaphor for life where nothing
is as it seems.
The process of printmaking enhances and enriches my work.
The multi-layered images create the emotional density and
the tonal qualities I am looking for.
Tad
eusz
War
szyn
ski
195
5b
orn
in G
dan
sk, P
ola
nd
1993
beg
an te
achi
ng p
rin
tmak
ing
at
Uni
vers
ity
of A
lber
ta
54
>>
Tad
eusz
War
szyn
ski
Reve
rber
ated
Spa
ces
wo
odcu
t
60 ×
90
cm |
23.
5 ×
35.
5 in
2007
56
Tad
eusz
War
szyn
ski
In B
lue
Ligh
tw
ood
cut
60 ×
90
cm |
23.
5 ×
35.
5 in
2006
Tad
eusz
War
szyn
ski
The
Shap
e of
Thi
ngs
wo
odcu
t
18 ×
23
cm |
7 ×
9 in
2007
arti
sts’
curr
icu
la v
itae
Sean CaulfieldCanada Research Chair, Professor of Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
< stc@ualberta.ca > www.seancaulfield.ca
work shown on pages 18 –21
Education
1995
Master of Fine Art (Printmaking)
University of Alberta, Edmonton, Canada
Selected awards & grants
2007
SSHRC Aid to Research
Workshops & Conferences
Imagining Science: An Artistic Exploration
of Science, Society and Social Change
Government of Canada
Koerner Visiting Artist, Queen’s University,
Kingston, Ontario, Canada
2004
SSHRC Research/Creation Grant
Government of Canada
2001
Visual Arts Fellowship
Illinois Arts Council, Illinois, USA
1995
Grand Prize in the Third 21st Century Grand
Prix Exhibition, Tokyo, Japan
Selected solo exhibitions
2007
Darkfire, Douglas Library, Special Collections
Queen’s University, Kingston, Ontario, Canada
Recent Prints, Koichi Gallery, Yokohama, Japan
2005
Recent Prints, Yanagisawa Gallery, Saitama,
Japan travelling to Gallery YU, Gifu, Japan
Incursion, Atelier Circulaire
Montréal, Québec, Canada
2004
Inferno, Open Studio, Toronto, Ontario, Canada
Selected group exhibitions
2009
The 2nd Bankok Triennale International Print
and Drawing Exhibition, Silpakorn University
Bankok, Thailand (Triennale Prize)
2008
Return to the Surface (two-person)
Davidson Gallery, Seattle, Washington, USA
The 13th International Biennial Print Exhibition
ROC, National Taiwan Museum of Fine Arts
Taiwan, ROC
The 7th Kochi International Triennial Exhibition
of Prints, Ino-cho Paper Museum, Kochi, Japan
2007
Layered Inventions II, Ruthe G. Pearlman
Gallery, Art Academy of Cincinnati, Cincinnati,
Ohio, USA
2006
14th Seoul Space Print Biennal
Seoul Museum of Art, Seoul, Korea (award)
2005
Los Angeles Printmaking Society 18th National
Exhibition, The Armory Center for the Arts,
Pasadena & Saddleback College
Mission Viejo, California, USA
2003
11th International Biennial Print and Drawing
Taiwan Museum of Art, Taichung, Taiwan
International Print Biennial in Beijing
Beijing Yan Huang Art Gallery, Beijing, China
The Print Center’s 77th Annual International
Competition, The Print Center
Philadelphia, Pennsylvania, USA
Lines of Site 2003, Sherman Gallery
Boston University, Boston, USA
2001
New Prints 2001, International Print Center
New York, New York, USA
2000
International Print Triennial Kracow 2000:
Bridge to the Future, Kracow, Poland
Selected public collections
> Fitzwilliam Museum, Cambridge, England
> Blanton Museum of Art, University of Texas
Austin, Texas, USA
> Taiwan Museum of Art, Taichung, Taiwan
> LiuHaisu Art Museum of Shanghai, China
60
Education
1995
Master of Fine Arts (Printmaking)
Arizona State University, Tempe, Arizona , USA
Selected awards & grants
2006
Certificate of Merit and Bronze Medal
The 5th Egyptian Print Triennial, Giza, Egypt
1997
Second Prize in the Great Canadian
Printmaking Competition, Ernst & Young
Toronto, Ontario, Canada
Selected solo exhibitions
2006
Spare, Art Gallery of Alberta
Edmonton, Alberta, Canada
2004
Mine Sites, SNAP Gallery
Edmonton, Alberta, Canada
Selected group exhibitions
2008
Edmonton Print International, AFA Gallery
Edmonton, Alberta, Canada (award)
13th International Biennial Print Exhibition
ROC, National Taiwan Museum of Fine Arts
Taiwan, ROC
Cross-currents: International Prints from
the University of Alberta, Schneider Museum
of Art, Southern Oregon University
Ashland, Oregon, USA
2007
5th Novosibirsk Graphic Art Biennial
Novosibirsk State Art Museum
Novisbirsk, Siberia, Russia
2006
Exposure 2006/ Photogravures
Whyte Museum of the Canadian Rockies
Banff, Alberta, Canada
The 5th Egyptian Print Triennial, Giza, Egypt
Steven DixonTechnical Demonstrator in Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
< sd6@ualberta.ca >
work shown on pages 22 – 25
Remnants of Industry, Open Studio Gallery
Toronto, Ontario, Canada
2005
Biennale internationale d’estampe contempo-
raine de Trois-Rivières, Québec, Canada
Cinquième Biennale Internationale de Gravure
Ville de Liège, Belgium
2003
17th National Exhibition, Los Angeles Print-
making Society, Armory Centre for the Arts
Pasadena, California, USA (award)
The 1st International Print & Drawing Biennial
Silpakorn University, Bangkok, Thailand
International Print Triennial, Krakow, Poland
Compelling Behaviours, The 8th Annual Great
Canadian Printmaking Competition, Edward
Day Gallery, Toronto, Ontario, Canada (award)
2002
Traces, Vaasan Taidehalli, Vaasa, Finland
The 5th International Triennial Exhibition
of Prints 2002, Kochi, Japan
12th Space International Print Biennial
Seoul, Korea
2001
Chronicles, The 7th Annual Great Canadian
Printmaking Competition, Edward Day
Gallery, Toronto, Ontario, Canada
Third Engraving Biennial of Ile-de-France
Versailles, France
Canada-Japan: The 2nd Tama International
Print Exhibition, Tama City Cultural Centre
Tokyo, Japan
2000
Lines of Sight 2000, Old City Hall Galler y
Prague, Czech Republic
Selected professional experience
2003–04
Visiting Professor, Thompson Rivers Univer-
sity, Kamloops, British Columbia, Canada
1998–99
Visiting Instructor, Capilano College
Vancouver, British Columbia, Canada
Education
1994
Master of Fine Arts (Printmaking)
University of Calgary, Alberta, Canada
Student Exchange, University of Calgary/
Royal College of Art, London, England
Selected solo exhibitions
2007
Failure to Communicate, Ursa Gallery
Edmonton, Alberta, Canada
2006
Failure to Communicate & Losing Sight
of Blindness, The Point Gallery
Fulford Harbour, British Columbia, Canada
2003
Losing Sight of Blindness, SNAP Gallery
Edmonton, Alberta, Canada
Losing Sight of Blindness, Artspace
Peterborough, Ontario, Canada
2000
Recent Works, Great Bear Gallery
Edmonton, Alberta, Canada
1998
Exchanger, Prairie Gallery
Grande Prairie, Alberta, Canada
1995
Articles of Faith, Latitude 53 Gallery
Edmonton, Alberta, Canada
1994
Prae Fero, The Link Gallery
Royal College of Art, London, England
Selected group exhibitions
2005
Collaborative Print Exhibition between
Silpakorn University, Tama Art University and
the University of Alberta, Silpakorn Universit y
Bangkok, Thailand and Tama Art University
Tokyo, Japan
4th Novosibirsk Graphic Art Biennial
State Art Museum, Novosibirsk, Russia
Nick DobsonInstructor of Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
< njdobson@telus.net >
work shown on pages 26 – 29
Synergies: Prints from the University of Alberta
Westfalische Gallery, Rheine, Germany
2001
Standing Room Only
SNAP Gallery, Edmonton and Keyano Gallery,
Fort McMurray, Alberta, Canada
2000
Canada-Japan: The 2nd Tama International
Print Exhibition, Tama City Cultural Centre
Tokyo, Japan
1997
Kaleidoscope, Triangle Gallery
Calgary, Alberta, Canada
1996
Material Matters, Vortex Gallery
Fulford Harbour, British Columbia, Canada
Forty Degrees Celsius, Commerce Place
Edmonton, Alberta, Canada
1994
International Triennial of Graphic Art
Bitola, Republic of Macedonia
Selected public collections
> University of Alberta, Edmonton, Canada
> The Alberta Foundation for the Arts,
Visual Arts Collection, Canada
> Nickel Arts Museum, Calgary, Canada
Selected professional experience
2008
Curator, edmonton prints
Society of Northern Alberta Print-artists
(SNAP), Edmonton, Alberta, Canada
2004 – 08
President and Past-President, SNAP
Edmonton, Alberta, Canada
2002– 03
Technical Demonstrator in Printmaking
Department of Art & Design, University of
Alberta, Edmonton, Alberta, Canada
1995–97
President, Latitude 53 Society of Artists
Edmonton, Alberta, Canada
62
Education
1999
Master of Fine Art (Printmaking)
University of Alberta, Edmonton, Canada
Selected solo exhibitions
2007
trachea and the hero, and other such stories...
Open Studio, Toronto, Ontario, Canada
2006
trachea and the hero, and other such stories...
SNAP Gallery, Edmonton, Alberta, Canada
2001
exhibition of small prints, New Leaf Editions
Vancouver, British Columbia, Canada
untruths: an exhibition of prints and paintings
Keyano College Art Gallery
Fort McMurray, Alberta, Canada
2000
untruths: an exhibition of prints and paintings
Harcourt House, Edmonton, Alberta, Canada
Selected group exhibitions
2008
edmonton prints, SNAP/Red Strap Market
Edmonton, Alberta, Canada
2007
Illinois State University Printmaking Faculty:
Five Decades, University Galleries, Illinois State
University, Normal, Illinois, USA
2005
Recent Work, Malaspina Printmakers Gallery
Vancouver, British Columbia, Canada
Collaborative Print Exhibition between
Silpakorn University, Tama Art University and
the University of Alberta, Silpakorn Universit y
Bangkok, Thailand and Tama Art University
Tokyo, Japan
4th Novosibirsk International Biennial of
Contemporary Graphic Art, Novosibirsk State
Art Museum, Novosibirsk, Russia
Helen GerritzenInstructor of Printmaking & Drawing, Coordinator of Drawing
Department of Art & Design, University of Alberta, Edmonton, Canada
< heleng@ualberta.ca >
work shown on pages 30 – 33
Synergies: Prints from the University of Alberta
Westfalische Gallerie, Kloster Bentlage
Rheine, Germany
2004
Quintessence, Nanaimo Art Gallery
Nanaimo, British Columbia, Canada
2003
Lines of Site 2003, Sherman Gallery
Boston University, Boston, Massachusetts, USA
Sixième Triennale Mondiale D’Estampes Petit
Format, Chamalieres, Auvergne, France
Junge Kunst im Fokus, Waldhof Museum
Bielefelder Kunstverein, Bielefeld, Germany
SNAP member exhibition, Print Arts Northwest
Portland, Oregon, USA
2002
2nd Biennial International Miniature Print
Exhibition, Vancouver, British Columbia
Canada (award)
1st LUC Print Biennial, Loyola University
Chicago, Illinois, USA (first prize)
2001
Faculty Biennial, University Galleries
Illinois State University, Normal, Illinois, USA
Third Biennial of Engraving in Ile-de-France
Versailles, France
2000
Lines of Site 2000, Old Town Hall Gallery
Prague, Czech Republic
Selected public collections
> Novosibirsk State Art Museum
Krasny Prospect, Novosibirsk, Russia
> University of North Texas, USA
> Gallery San Chun, Calgary, Alberta, Canada
> Normal Editions Workshop, Illinois State
University, Normal, Illinois, USA
> The Print Study Center, University of Alberta
Selected professional experience
2001– 02
Instructional Assistant Professor
Intaglio Printmaking, School of Art
Illinois State University, Normal, Illinois, USA
Education
1975
Master of Visual Arts (Printmaking)
University of Alberta, Edmonton, Canada
Selected awards & grants
2008
J. Gordin Kaplan Award For Excellence
in Research, University of Alberta
Edmonton, Alberta, Canada
Inducted into the City of Edmonton Cultural
Hall of Fame, Edmonton, Alberta, Canada
2000
Canada Council Established Artist “A” Grant
Government of Canada
1998
Elected to the Royal Canadian Academy of Art
Ottawa, Ontario, Canada
1987
Silver Award (solo retrospective)
International Exhibition of Graphic Art
Ljubljana, Yugoslavia
Selected solo exhibitions
2008
Source: Prints by Liz Ingram, Malaspina Print
Gallery, Vancouver, British Columbia, Canada
2003
Fragile Source II, Installation, Open Studio
Gallery, Toronto, Ontario, Canada
2001
Fragile Source, Art Gallery of Alberta
Edmonton, Alberta, Canada
Selected group exhibitions
2009
The 2nd Bangkok Triennale International Print
and Drawing Exhibition, Silpakorn University
Bangkok, Thailand
2008
Imagining Science, Art Gallery of Alberta
Edmonton, Alberta, Canada
Biennale Voir Grande, Atelier Circulaire
Montréal, Québec, Canada
2007
Prints Tokyo, Tokyo Metropolitan Museum
of Art, Tokyo, Japan
2006
DruckArt 2006, Kloster Bentlage Museum
Rheine, Germany
2005
Bharat Bhavan International Print Biennial
Museum of Fine Arts, Bhopal, India
International Biennial of Drawing and Graphic
Arts, Municipal Museum of Art, Gyor, Hungary
2004
human/nature: Contemporary Canadian
Installation, Doland Museum of Modern Art
Shanghai/Hong Kong Visual Arts Centre
Hong Kong, China
Sublime Present: International Aspects
of Contemporary Print and Art Education
Musashino Art University Museum
Tokyo, Japan
The Plates, Chenretsukan Gallery
Tokyo National University, Tokyo, Japan
2003
Lines of Site 2003, Sherman Gallery, Boston
University, Boston, Massachusetts, USA
International Print Triennial, Krakow, Poland
2002
2nd BIMPE, New Leaf Editions, Vancouver,
British Columbia, Canada (award)
2001
Tallinn Print Triennial, Tallinn Museum of Art
Tallinn, Estonia
Miniprint Finland, Lahti Art Museum
Lahti, Finland (award)
2000
International Print Triennial, Krakow, Poland
Selected public collections
> Portland Art Museum, Oregon, USA
> Glenbow Museum, Calgary, Canada
> Universitäts und Landesbibliothek
Münster, Germany
> Sakima Art Museum, Okinawa, Japan
Liz IngramProfessor & Coordinator of Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
< lizingra@ualberta.ca > www.lizingram.com
work shown on pages 34 – 37
64
Education
1966
Master of Fine Arts (Printmaking & Drawing)
University of Washington, Seattle, USA
Selected awards & grants
2007
Inducted into the
City of Edmonton Cultural Hall of Fame
Killam Research Fund Grant
University of Alberta
2006
University of Alberta /Faculty of Arts Unit
Teaching Awards, Printmaking Division
1998
Inducted into the
Royal Canadian Academy of Arts
Selected solo exhibitions
2009
SKIN: Walter Jule, Selected Works 1968 –2008
The Nickle Arts Museum, Calgary, Canada
2005
Lamps for the Limbo Stretch
Open Studio Gallery, Toronto, Ontario, Canada
2002
Walter Jule, Recent Works: Prints, Gallery Jin
Tokyo, Japan
2000
Rain Imagination, Art Gallery of Alberta
Edmonton, Canada
Selected group exhibitions
2009
The 2nd Bangkok Triennale International Print
and Drawing Exhibition, Silpakorn University
Bangkok, Thailand
Los Angeles Printmakers 19th National
Exhibition, Riverside Art Museum, Pasadena,
California, USA (LAPS Foundation award)
2006
14th Space International Print Biennial
Seoul, Korea (award)
2005
Tokyo International Mini-Print Triennial
Tama Art University, Japan (award)
2004
Hanga –The Wave of Exchange Between
West and East, Tokyo National University of
Fine Art and Music Museum, Japan
Sixth Bharat Bhavan International Biennale
of Print-Art, Roopankar Museum of Fine Arts
Bhopal, India (award)
Sublime Present, Musashino Art University
Museum, Tokyo, Japan
2003
International Print Triennale Krakow 2003
Contemporary Art Gallery, Palace of Art
Krakow, Poland
Los Angeles Printmakers 17th National
Exhibition, Armory Center for the Arts
Pasadena, California, USA (award)
2002
12th Space International Print Biennale
Sungkuk Art Museum, Seoul, Korea
2001
The XIII Biennale de San Juan del Grabado
Latinoamericano y del Caribe, Antiguo
Arsenal de la Española, Puerto Rico
Selected public collections
> National Gallery of Canada, Ottawa
> Museum of Modern Art, Lodz, Poland
> National Gallery of India, New Delhi
> Tochigi Prefectural Museum of Art, Japan
> The Israel Museum, Jerusalem
> National Gallery of Scotland, Edinburgh
Selected professional experience
2008
General Secretary
Edmonton Print International 2008, Canada
2007
Curator, Canadian Section
Fifth Novosibirsk Graphic Art Biennial, Russia
2002
Curator, Canada Prints Now
Liu Hai Su Museum of Art, Shanghai, China
Walter JuleProfessor Emeritus of Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
work shown on pages 38 – 41
Education
1991
Master of Fine Art (Printmaking)
University of Alberta, Edmonton, Canada
Selected awards & grants
2007
Cultural Capital of Canada 2007 (Edmonton)
Explorations Grant, Alberta, Canada
Selected solo exhibitions
2008
Dislocations, SNAP Gallery
Edmonton, Alberta, Canada
2007
In the Gathering Light, SNAP Gallery
Edmonton, Alberta, Canada
2002
Over Earth, Under Sky, Fringe Galler y
Edmonton, Alberta, Canada
Selected group exhibitions
2008
edmonton prints, SNAP / Red Strap Market
Edmonton, Alberta, Canada
Agave: A Portfolio of Prints Celebrating 100
Years, FAB Gallery, Edmonton, Alberta, Canada
Prints from the University of Alberta, Schneider
Museum of Art, Ashland, Oregon, USA
2007
Prints Tokyo 2007: International Print Compe-
tition, Tokyo Metropolitan Museum of Art
Tokyo, Japan
Reverberated Spaces—Tad Warszynski and
Michelle Lavoie, Point Gallery
Salt Spring Island, British Columbia, Canada
2006
Close Encounters, Works from the Print Study
Center, University of Alberta, FAB Gallery
Edmonton, Canada
2005
Synergies: Prints from the University of Alberta
Westfalische Gallerie, Kloster Bentlage
Rheine, Germany
Michelle LavoieInstructor of Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
< mlavoie@ualberta.ca > www.shiftinggrounddesign.com
work shown on pages 42 – 45
Collaborative Print Exhibition between
Silpakorn University, Tama Art University and
the University of Alberta, Silpakorn Universit y
Bangkok, Thailand and Tama Art University
Tokyo, Japan
2005
Busan International Print Art Festival
Exhibition Hall, Busan Metropolitan City Hall
Busan, South Korea
2003
Junge Kunst Im Focus, Waldhof Museum
Bielefelder Kunstverein, Bielefeld, Germany
Lines of Site 2003, Sherman Gallery, Boston
University, Boston, Massachusetts, USA
2001
Perceptions/Conceptions, FAB Gallery
Edmonton, Alberta, Canada
2000
Canada/Japan: 2nd Tama International
Tama Cultural Center, Tokyo, Japan
Lines of Site 2000, Old Town Hall Gallery
Prague, Czech Republic
1999
Lines of Sight, Musashino Art University
Tokyo, Japan and Gulbenkian Gallery
Royal College of Art, London, England
Selected public collections
> Sakima Art Museum, Okinawa, Japan
> Tama Art University, Tokyo, Japan
> The Alberta Foundation for the Arts
Visual Arts Collection, Canada
> The Print Study Center, University of Alberta
Selected professional experience
2008 –
Term Faculty, Drawing, Centre for Arts and
Media, MacEwan College, Edmonton, Canada
2002
Instructor, Printmaking, Department of Art,
Queen’s University, Kingston, Ontario, Canada
2001
Assistant Professor, Printmaking, Nova Scotia
College of Art and Design, Halifax, Canada
66
Education
2004
Master of Fine Arts (Print Media)
Concordia University
Montréal, Québec, Canada
Selected awards & grants
2003
HEXAGRAM Prize, Institute for Research/
Creation in Media Arts and Technologies
2002
Concordia University Graduate Fellowship
DAAD Grant: Jahresstipendium
(German Academic Exchange Service)
2001
Scholarship, Aldegrever Gesellschaft Münster
Oslo, Norway
Selected solo exhibitions
2003
similia similibus, Bourget Gallery
Montréal, Québec, Canada
2001
Kirche, St. Babara, Ibbenbüren, Germany
Selected group exhibitions
2008
Gallery Atelier Limited, Münster, Germany
Faculty Show, Felician College
New Jersey, USA
Mathias Stift, Rheine, Germany
2007
Kunst gegen Rechts, Kreishaus
Borken, Germany
Climate Change: How It Impacts Us All
60th Annual DPI/NGO, United Nations
New York, New York, USA
encounter, Kloster Bentlage Museum
Rheine, Germany
Gallery Bengelstraeter, Iserlohn, Germany
2006
E3 Gallery, New York, New York, USA
Daniela SchlüterAssistant Professor of Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
< schlter@ualberta.ca >
work shown on pages 46 – 49
2005
DARE-DARE dépôt, Montréal, Québec, Canada
Leipziger Buchmesse (bookfair)
Leipzig, Germany
2004
D-Light DAAD, Young German Artists in NYC,
Elisabeth Foundation for Arts, New York, USA
Gallery San Chun, Calgary, Alberta, Canada
BIMPE, International Biennial of Miniature
Prints, New Leaf Editions
Vancouver, British Columbia, Canada
2003
rhizome, VAV Gallery
Montréal, Québec, Canada
succession, Atelier Circulaire
Montréal, Québec, Canada
2002
Frankfurter Buchmesse (bookfair) Germany
Bourget Gallery, Montréal, Québec, Canada
2001
Der Untergang Venedigs
Gallery Bregenz, Austria
Gallery Allmenningen, Bergen, Norway
Print 2001, Rheine, Germany
Plegnitzer Kulturtage, Germany
2000
Eurpese Bienale voor Grafische Kunsten
Brügge, Belgium
Junge Kunst im Fokus, Waldhof Museum
Bielefelder Kunstverein, Bielefeld, Germany
Untergang Venedigs, Festung Rosenberg
Kronach, Germany
Selected public collections
> Bibliothèque Nationale de Québec, Canada
> Ruhrakademie, Schloss Haus Ruhr, Germany
> Mathias Stift, Rheine, Germany
Selected professional experience
2007– 08
Assistant Professor for Art and Design
Felician College, Lodi, New Jersey, USA
Education
2003
Master of Fine Arts, Norwich University
Vermont College of Fine Arts
Montpelier, Vermont, USA
Selected solo exhibitions
2008
Fluid Motion, Keyano Art Gallery
Fort McMurray, Alberta, Canada
2007
Reconstructing Home
NAU Museum & Coconino Center for the Arts
Flagstaff, Arizona, USA
Anthologies, The Point Gallery
Salt Spring Island, British Columbia, Canada
2004
Imagining Home, Edmonton Art Gallery
Edmonton, Alberta, Canada
2001
An Elephant in the Forest, Edmonton Art
Gallery, Edmonton, Alberta, Canada
Selected group exhibitions
2008
edmonton prints, SNAP / Red Strap Market
Edmonton, Alberta, Canada
2007
5ième biennale internationale d’estampe
contemporaine de Trois-Rivières
Québec, Canada
2006
5th Minnesota National Print Biennial
Minnesota, USA
2005
Collaborative Print Exhibition between
Silpakorn University, Tama Art University and
the University of Alberta, Silpakorn Universit y
Bangkok, Thailand and Tama Art University
Tokyo, Japan
Alberta Biennial of Contemporary Art
Art Gallery of Alberta, Edmonton and
Walter Phillips Gallery, Banff, Alberta, Canada
2003
Presence & Absence, Keyano Art Gallery
Fort McMurray, Alberta, Canada
Footnotes: Artist-Made Shoes, Edmonton Art
Gallery, Edmonton, Alberta, Canada
Interconnection—Japan & Alberta
Gallery San Chun, Calgary, Alberta, Canada
Junge Kunst Im Fokus, Waldhof Museum
Bielefelder Kunstverein, Bielefeld, Germany
Lines of Site 2003, Sherman Gallery, Boston
University, Boston, Massachusetts, USA
2000
Out of Print, Triangle Art Gallery
Calgary, Alberta, Canada
Canada/Japan: 2nd Tama International
Tama Cultural Center, Tokyo, Japan
Lines of Site 2000, Old Town Hall Gallery
Prague, Czech Republic
Selected public collections
> Alberta Foundation for the Arts, Canada
> Canada Council Art Bank, Ottawa, Canada
> Claudio Moreno Peralta
Mexico City, Mexico
> Edmonton Art Gallery, Canada
> Ernst & Young, Toronto, Canada
> Walter C. McKenzie Health Sciences Centre
Edmonton, Canada
> Museum Narodowe w Warsza
Warsaw, Poland
> Petro Canada, Calgary, Canada
> Trans Canada Pipe Lines, Calgary, Canada
> University of Minnesota, USA
Selected professional experience
1981– 82
Master Printer Apprentice, Don Phillips/
Sword Street Press, Toronto, Ontario, Canada
1983
Co-Founder, Society of Northern Alberta
Print-Artists, Edmonton, Alberta, Canada
1985 – 99
Chairman, Latitude 53 Society of Artists
Edmonton, Alberta, Canada
Marc SiegnerTechnical Demonstrator in Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
< msiegner@ualberta.ca >
work shown on pages 50 –53
Education
1996
Master of Fine Art (Printmaking)
University of Alberta, Edmonton, Canada
1980
Master of Music, Academy of Music
Gdansk, Poland
Selected awards & grants
2000
Honourable mention, The Sixth Annual
Great Canadian Printmaking Competition
Ernst & Young, Toronto, Ontario, Canada
1993
KPMG Graduate Award for Excellence in
Printmaking, Edmonton, Alberta, Canada
Selected solo exhibitions
2001
Tree of Life, Great Bear Gallery
Edmonton, Alberta, Canada
2000
Rites of Passage, Image 54 Gallery
Calgary, Alberta, Canada
Selected group exhibitions
2008
edmonton prints, SNAP / Red Strap Market
Edmonton, Alberta, Canada
Agave: A Portfolio of Prints Celebrating 100
Years, FAB Gallery, Edmonton, Alberta, Canada
2007
Reverberated Spaces—Tad Warszynski and
Michelle Lavoie, Point Gallery
Salt Spring Island, British Columbia, Canada
2005
Collaborative Print Exhibition between
Silpakorn University, Tama Art University and
the University of Alberta, Silpakorn Universit y
Bangkok, Thailand and Tama Art University
Tokyo, Japan
Synergies: Prints from the University of Alberta
Westfalische Gallerie, Kloster Bentlage
Rheine, Germany
Busan International Print Art Festival
Exhibition Hall, Busan Metropolitan City Hall
Busan, South Korea
2003
Junge Kunst Im Fokus, Waldhof Museum
Bielefelder Kunstverein, Bielefeld, Germany
Lines of Site 2003, Sherman Gallery, Boston
University, Boston, Massachusetts, USA
2002
Polish Contemporary Printmakers
Manitoba Printmakers Association
Winnipeg, Manitoba, Canada
Ordinary Miracles, with Marlene MacCallum
Image 54 Gallery, Calgary, Alberta, Canada
2001
Standing Room Only
SNAP Gallery, Edmonton/Keyano Art Gallery
Fort McMurray, Alberta, Canada
Summer Group Show, Image 54 Gallery
Calgary, Alberta, Canada
Third Engraving Biennial in Ile-de-France
Versailles, France
The Sixth Annual Great Canadian Printmaking
Competition, Edward Day Galler y
Toronto, Ontario, Canada (award)
2000
Out of Print—New Wave in Contemporary
Printmaking of Alberta, Triangle Gallery of
Visual Art, Calgary, Alberta, Canada
1999
Lines of Sight, Musashino Art University
Tokyo, Japan and Gulbenkian Gallery
Royal College of Art, London, England
Selected public collections
> Winspear Centre for Music,
Edmonton, Canada
> Alberta Foundation for the Arts
Edmonton, Canada
> Art Gallery of Alberta, Edmonton, Canada
> The Print Study Center, University of Alberta
Museums, Edmonton, Canada
> Ernst & Young, Toronto, Canada
Tadeusz WarszynskiInstructor of Printmaking
Department of Art & Design, University of Alberta, Edmonton, Canada
< twarsz@shaw.ca >
work shown on pages 54 – 57
68
exh
ibit
ion
list
70
Synergies 2009 Exhibition List
Sean Caulfield
> The Reed 2007
mezzotint, chine collé
30.5 × 30.5 cm | 12 × 12 in
> Protecting Flames 2008
mezzotint, chine collé
45.72 × 45.72 cm | 18 × 18 in
> Night Cloud 2008
mezzotint, chine collé
22.9 × 22.9 cm | 9 × 9 in
> The Passage 2007
mezzotint, chine collé
30.5 × 30.5 cm | 12 × 12 in
> The Mountain 2007
mezzotint, chine collé
30.5 × 30.5 cm | 12 × 12 in
> Figure 2: Twin Flames 2008
mezzotint, etching, digital, chine collé
55.9 × 78.7 cm | 22 × 31 in
> Diagram 2: Miracle of the Reed 2007
mezzotint, etching, digital, chine collé
56 × 79 cm | 22 × 31 in
> Figure 3: The Spill 2007
mezzotint, etching, digital, chine collé
56 × 79 cm | 22 × 31 in
> Figure 6: Shifting Tree 2008
mezzotint, etching, digital, chine collé
56 × 79 cm | 22 × 31 in
Steven Dixon
> Mine Site No. 19 2002
photogravure
40 × 50 cm | 15.7 × 19.7 in
> Mine Site No. 15 2002
photogravure
40 × 52 cm | 15.7 × 20.5 in
> Mine Site No. 7 2000
photogravure
25.5 × 32.5 cm | 10 × 12.8 in
Nick Dobson
> Mahogany Dream 2008
photo etching, woodcut
60 × 35.5 cm | 23.5 × 14 in
> Blue Flow 2008
photo etching, woodcut
24 × 59.7 cm | 9.5 × 23.5 in
Helen Gerritzen
> enclosure 2007
etching, spit bite, type on Chinese paper,
copper dart
28 × 35.5 cm | 11 × 14 in
> trachea 2 2008
digital, etching, chine collé
28 × 35.5 cm | 11 × 14 in
> trachea 2005
digital, etching, spit bite, type, chine collé
28 × 35.5 cm | 11 × 14 in
> fleeting breath of comprehension 2007
etching, spit bite
48.25 × 38 cm | 19 × 15 in
Liz Ingram
> Ultimate Synthesis; Finite Source I 2008
digital, etching, drypoint, chine collé
17 × 13. 5 cm | 6.6 × 5.5 in
> Ultimate Synthesis; Finite Source II 2008
digital, etching, drypoint, chine collé
17 × 12 .8 cm | 6.6 × 5 in
> Ultimate Synthesis; Finite Source III 2008
digital, etching, drypoint, chine collé
29 × 21 cm | 11.4 × 8.3 in
> Ultimate Synthesis; Finite Source IV 2008
digital, etching, drypoint, chine collé
30.5 × 23.5 cm | 12 × 9.25 in
> Ultimate Synthesis; Finite Source V 2008
digital, etching, drypoint, chine collé
25 × 18 cm | 10 × 7 in
> Seductive Echo I 2006
photo intaglio, drypoint
66 × 51 cm | 26 × 21 in
> Seductive Echo II 2006
photo intaglio, drypoint
66 × 51 cm | 26 × 21 in
> Seductive Echo III 2007
photo intaglio, drypoint
66 × 51 cm | 26 × 21 in
> Seductive Echo IV 2007
photo intaglio, drypoint
66 × 51 cm | 26 × 21 in
> Seductive Echo V 2007
photo intaglio, drypoint
66 × 51 cm | 26 × 21 in
Walter Jule
> Untitled
from the Revision of Forward Series 2008
lithograph
23 × 21 cm | 9 × 8.25 in
> Untitled
from the Revision of Forward Series 2008
lithograph
29.5 × 22 cm | 11.5 × 8.5 in
> Untitled
from the Revision of Forward Series 2008
lithograph
33 × 16 cm | 13 × 6 in
> Untitled
from the Revision of Forward Series 2008
lithograph
26 × 18 cm | 10.25 × 7.25 in
> Excursion 2003
lithograph
25.5 × 19 cm | 10 × 7.5 in
> Untitled 2002
etching, lithograph
33.5 × 25.5 cm | 13.25 × 10. 25 in
> Opaque Disclosure:
observation of the transparent wall 2002
etching, lithograph
57 × 44.5 cm | 22.25 × 17.25 in
> Shifting Centre 2002
etching, lithograph
56.5 × 38 cm | 22.25 × 15 in
> Toward an Impure Thought 2002
etching, lithograph
63 × 44.5 cm | 25 × 17.5 in
72
Michelle Lavoie
> Twilight 2008
digital, screenprint, embossing
42 × 59 cm | 16.5 × 23.25 in
> Impediment 2008
digital, screenprint
59.5 × 40 cm | 23.5 × 15.75 in
Daniela Schlüter
> similia similibus 9 2004
monoprint, drawing, digital, painting
80 × 60 cm | 31.5 × 23.6 in
> similia similibus 12 2004
monoprint, drawing, digital, painting
80 × 60 cm | 31.5 × 23.6 in
> similia similibus 19 2004
monoprint, drawing, digital, painting
80 × 60 cm | 31.5 × 23.6 in
> Irrlichter 1 2008
intaglio, digital, monoprint
53 × 69 cm | 27.2 × 20.8 in
> Irrlichter 3 2008
intaglio, digital, monoprint
53 × 69 cm | 27.2 × 20.8 in
> Irrlichter 4 2008
intaglio, digital, monoprint
53 × 69 cm | 27.2 × 20.8 in
> Irrlichter 12 2008
intaglio, digital, monoprint
53 × 69 cm | 27.2 × 20.8 in
> Irrlichter 13 2008
intaglio, digital, monoprint
53 × 69 cm | 27.2 × 20.8 in
Marc Siegner> Scavenging on the Abyssal 2008
digital, lithography, screenprint, chine collé
60.9 × 83.8 cm | 24 × 33 in
> Transmigration of the Trawl Mouth Area 2008
digital, lithography, screenprint, chine collé
83.8 × 60.9 cm | 33 × 24 in
Tadeusz Warszynski> In Blue Light 2006
woodcut
60 × 90 cm | 24 × 36 in
> Reverberated Spaces 2007
woodcut
60 × 90 cm | 24 × 36 in
Recommended