Viewpoints

Fresh Unfold

 

1 Fresh Unfold

Traditional printmaking in Canada represents itself through landscape, realistic impressions of architecture and documentation of flora and fauna. The commercial and corporate world has driven the advancement of technology within print media. Fine art printmaking in Canada has adapted to these advances through a shift in subject matter, technique and application methods. This exhibition attempts to portray these advances through parallel dualities: nature versus human impact, outside versus inside and past versus present. Biography Lindsay Everatt is currently the gallery director at Alberta Printmakers Society and Artist Proof Gallery. In 2006, she completed her BFA, majoring in Print Media at Alberta College of Art and Design in Calgary, Alberta. Born in the interior of British Columbia, Lindsay now calls Calgary home. Her current art practice is based around silkscreen in both a commercial and non-commercial setting.

2 The Engraver

The Engraver
The Engraver,
Raymond Gloeckler

In this accurate self-portrait, one can see the printmaker’s deliberate attention to detail. Gloekler hand crafts his plate with the aid of various wood carving tools, a convex glass to magnify and light from the lamp. The Engraver forces the viewer to see the pursuit that has gone into the work of art, with the focus pouring back down on the work itself. Gloekler cleverly allows the viewer to appreciate the fine craftsmanship of the work of art.

3 John De Pol [Self Portrait]

John De Pol [Self Portrait]
John De Pol [Self Portrait],
John De Pol

Here De Pol has “carved himself” into wood as it sits in his studio. The hard facial expression suggests that he is yearning for the outside. The finished woodblock on the counter and the clock in the background that has struck five o’clock confirms this idea. On the table beside his recently carved portrait are the tools used to make this recent creation: chisels, wedges and gouges.

4 Edmonton, Nocturne #13

Edmonton, Nocturne #13
Edmonton, Nocturne #13,
George Weber

George Weber is best known for his serigraphs (silkscreens) of western landscapes. He is responsible for bringing and spreading his knowledge of silkscreen to Alberta. During the fifties, Weber’s subject matter flipped between the pristine, untouched prairies and Rocky Mountain landscape, to growing urban scenes and oil derricks. Edmonton Nocturne #13 authenticates the human impact on nature and growth of the urban environment. The rural and the urban are in near collision if not for the winding North Saskatchewan River valley seen in the middle ground.

5 Decay

Decay
Decay,
Lyndal Osborne

Printmaking has been an integral influence on Osborne’s sculptures and installations. Decay was created on a lithography stone; the image was drawn with greasy litho pencils in five different layers that continuously morphed its shape. Osborne’s body of work looks to nature for inspiration. Decay was sourced from a collection of farm implements that had been allowed to rust and decay in the ground. “I thought of it as an embodiment of tools used by rural Albertans in the past but the colour red gives it a sense of both destruction (splashed with blood) and an iconic object.”

6 Flat Plan, Dump Site

Flat Plan, Dump Site
Flat Plan, Dump Site,
Margaret May

This two-color silkscreen is a social comment that publicizes awareness of human impact on the environment. A garbage dump is a sign of human history and May is commenting on the path this history has taken. Flat Plan, Dump Site has bits and pieces of building or construction materials compounded with more natural looking tree limbs.

7 Classic Support

Classic Support
Classic Support, no date
Ken Webb

Classic Support is an etching with aquatint that has been hand coloured. Webb became interested in architecture and its evidence of history soon after his return from England and the Royal College of Art. The reference to history in this image rivals the foliage seen on the right. Although the foliage is a representation of nature, it represents a controlled nature seen in gardens or houseplants. The graphic nature of the imagery and the obscured spacial planes in Classic Support feed into the reflection of an obscured personal history.

8 Three Room Suite #1

Three Room Suite #1
Three Room Suite #1,
Derek Michael Besant

Besant is best known for his site-specific public works and architectural feats. Currently, he has successfully embraced the printmaking medium in the digital age, along with commercial printing techniques. This earlier work displays the lack of personality attached to this room and its ambiguous location. This image of an empty, cold hotel room explores a space that is both public and private and the lonely psyche that goes with it. The interior space is claustrophobic, uncomfortable and mysterious.

9 Inside Out

Inside Out
Inside Out, no date
William (Bill) John Houston Laing

Inside Out is a beautifully composed image. The juxtaposition of the floral pattern found on the couch and the center panel tree creates the feeling of a controlled/uncontrolled environment. Laing has spent much of his career working out issues of identity and home. His use of abstract spacial planes, veils and pattern contributes to the obscurity of time and place. The bright red and falling veil of leaves creates warning signs of the trees unnatural surroundings.

10 Hot Wire

Hot Wire
Hot Wire,
Margaret May

In Hot Wire May displays nature colliding with and being overtaken by manmade forms: the metal grate with lava flowing over it, tumble weeds made of electrical wire, shredded paper and cubes and bits of plastic juxtaposed with leaves. This work is also an example of advancing technology (photo litho) being spread and made available to the fine art print world.

11 A Lamp to Light the Limbo Stretch

A Lamp to Light the Limbo Stretch
A Lamp to Light the Limbo Stretch,
Walter Jule

Walter Jule has been a major influence in Alberta’s printmaking scene; his innovative techniques are world-renowned. Jule mixes many different printmaking mediums together when producing a print: this print is an etching, lithograph and chine-colle on paper. Jule has opened the world’s eyes and challenged the notion of what a print can or cannot be. A Lamp to Light the Limbo Stretch challenges the viewer with its obscure and illusional spacial planes.

12 #47 Portrait of Meagan Kirk


,

This oil painting from life is a portrait of Meagan Kirk (aka Jane Trash). The painting is part of a series by Holtom called 100 Portraits of Calgary Artists. Jane Trash is a print-based installation artist and silk screener. This portrait shows her in her home studio working on her laptop with her silkscreen mounted in the press beside her. The computer, a fundamental tool for her silkscreen production, is a technologically advanced tool with which one can create graphics, manipulate photos and add text to be outputted onto film positives, which then can be exposed and printed in silkscreen.

Viewpoints Detail - Impress: Prints, Artists and Ideas | Glenbow Impress

Viewpoints

Fresh Unfold

 

1 Fresh Unfold

Traditional printmaking in Canada represents itself through landscape, realistic impressions of architecture and documentation of flora and fauna. The commercial and corporate world has driven the advancement of technology within print media. Fine art printmaking in Canada has adapted to these advances through a shift in subject matter, technique and application methods. This exhibition attempts to portray these advances through parallel dualities: nature versus human impact, outside versus inside and past versus present. Biography Lindsay Everatt is currently the gallery director at Alberta Printmakers Society and Artist Proof Gallery. In 2006, she completed her BFA, majoring in Print Media at Alberta College of Art and Design in Calgary, Alberta. Born in the interior of British Columbia, Lindsay now calls Calgary home. Her current art practice is based around silkscreen in both a commercial and non-commercial setting.

2 The Engraver

The Engraver
The Engraver,
Raymond Gloeckler

In this accurate self-portrait, one can see the printmaker’s deliberate attention to detail. Gloekler hand crafts his plate with the aid of various wood carving tools, a convex glass to magnify and light from the lamp. The Engraver forces the viewer to see the pursuit that has gone into the work of art, with the focus pouring back down on the work itself. Gloekler cleverly allows the viewer to appreciate the fine craftsmanship of the work of art.

3 John De Pol [Self Portrait]

John De Pol [Self Portrait]
John De Pol [Self Portrait],
John De Pol

Here De Pol has “carved himself” into wood as it sits in his studio. The hard facial expression suggests that he is yearning for the outside. The finished woodblock on the counter and the clock in the background that has struck five o’clock confirms this idea. On the table beside his recently carved portrait are the tools used to make this recent creation: chisels, wedges and gouges.

4 Edmonton, Nocturne #13

Edmonton, Nocturne #13
Edmonton, Nocturne #13,
George Weber

George Weber is best known for his serigraphs (silkscreens) of western landscapes. He is responsible for bringing and spreading his knowledge of silkscreen to Alberta. During the fifties, Weber’s subject matter flipped between the pristine, untouched prairies and Rocky Mountain landscape, to growing urban scenes and oil derricks. Edmonton Nocturne #13 authenticates the human impact on nature and growth of the urban environment. The rural and the urban are in near collision if not for the winding North Saskatchewan River valley seen in the middle ground.

5 Decay

Decay
Decay,
Lyndal Osborne

Printmaking has been an integral influence on Osborne’s sculptures and installations. Decay was created on a lithography stone; the image was drawn with greasy litho pencils in five different layers that continuously morphed its shape. Osborne’s body of work looks to nature for inspiration. Decay was sourced from a collection of farm implements that had been allowed to rust and decay in the ground. “I thought of it as an embodiment of tools used by rural Albertans in the past but the colour red gives it a sense of both destruction (splashed with blood) and an iconic object.”

6 Flat Plan, Dump Site

Flat Plan, Dump Site
Flat Plan, Dump Site,
Margaret May

This two-color silkscreen is a social comment that publicizes awareness of human impact on the environment. A garbage dump is a sign of human history and May is commenting on the path this history has taken. Flat Plan, Dump Site has bits and pieces of building or construction materials compounded with more natural looking tree limbs.

7 Classic Support

Classic Support
Classic Support, no date
Ken Webb

Classic Support is an etching with aquatint that has been hand coloured. Webb became interested in architecture and its evidence of history soon after his return from England and the Royal College of Art. The reference to history in this image rivals the foliage seen on the right. Although the foliage is a representation of nature, it represents a controlled nature seen in gardens or houseplants. The graphic nature of the imagery and the obscured spacial planes in Classic Support feed into the reflection of an obscured personal history.

8 Three Room Suite #1

Three Room Suite #1
Three Room Suite #1,
Derek Michael Besant

Besant is best known for his site-specific public works and architectural feats. Currently, he has successfully embraced the printmaking medium in the digital age, along with commercial printing techniques. This earlier work displays the lack of personality attached to this room and its ambiguous location. This image of an empty, cold hotel room explores a space that is both public and private and the lonely psyche that goes with it. The interior space is claustrophobic, uncomfortable and mysterious.

9 Inside Out

Inside Out
Inside Out, no date
William (Bill) John Houston Laing

Inside Out is a beautifully composed image. The juxtaposition of the floral pattern found on the couch and the center panel tree creates the feeling of a controlled/uncontrolled environment. Laing has spent much of his career working out issues of identity and home. His use of abstract spacial planes, veils and pattern contributes to the obscurity of time and place. The bright red and falling veil of leaves creates warning signs of the trees unnatural surroundings.

10 Hot Wire

Hot Wire
Hot Wire,
Margaret May

In Hot Wire May displays nature colliding with and being overtaken by manmade forms: the metal grate with lava flowing over it, tumble weeds made of electrical wire, shredded paper and cubes and bits of plastic juxtaposed with leaves. This work is also an example of advancing technology (photo litho) being spread and made available to the fine art print world.

11 A Lamp to Light the Limbo Stretch

A Lamp to Light the Limbo Stretch
A Lamp to Light the Limbo Stretch,
Walter Jule

Walter Jule has been a major influence in Alberta’s printmaking scene; his innovative techniques are world-renowned. Jule mixes many different printmaking mediums together when producing a print: this print is an etching, lithograph and chine-colle on paper. Jule has opened the world’s eyes and challenged the notion of what a print can or cannot be. A Lamp to Light the Limbo Stretch challenges the viewer with its obscure and illusional spacial planes.

12 #47 Portrait of Meagan Kirk


,

This oil painting from life is a portrait of Meagan Kirk (aka Jane Trash). The painting is part of a series by Holtom called 100 Portraits of Calgary Artists. Jane Trash is a print-based installation artist and silk screener. This portrait shows her in her home studio working on her laptop with her silkscreen mounted in the press beside her. The computer, a fundamental tool for her silkscreen production, is a technologically advanced tool with which one can create graphics, manipulate photos and add text to be outputted onto film positives, which then can be exposed and printed in silkscreen.