SUMMER HOURS: Tuesday to Saturday: 12:00pm - 4:00pm
THE OTHER PASSPORT June 13 - July 12
Marnie Blair, Jill Ho-You, Heather Huston
“Illness is the night side of life, a more onerous citizenship. Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use the good passport, sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place.”
~ Susan Sontag, Illness as Metaphor
The luxury of the body lies in its ability to (perform, act, engage) and the freedom from (constraints, pain, trauma). In this state defined by range of possibilities as well as absence of limitations, we exist more or less on friendly terms with our moving parts and systems. It's when the balance tips and constraints start to force a new re-definition of self, that we enter a different type of relationship to our bodies. Four Alberta artists examine our insides and their effect on our outsides and consider the parameters of making invisible systems and inner activities visible as they manifest themselves in the form of trauma, scars, and restrictions. This exhibition considers the body as a narrative form that creates opportunities for us to connect and reflect on the range of human experiences not out of pity or as inspiration but simply as manifestations of humanness.
Creating landscapes out of our internal lives within our inner physical structures, Jill Ho-You’s work questions the possibility of our organs harbouring past psychological experiences. Informed by her studies in psychology, her work creates the possibility of interior systems becoming repositories for our lived emotional experiences. Her work draws attention to recent research that has identified a relationship between our lived experiences and the effect on our
genome, sometimes for generations.
Heather Huston reflects on her experiences with chronic illness to question assumptions about identity as a patient who presumes and fears certain limitations and qualities that are associated with multiple sclerosis and inflammatory arthritis. Her work questions social constructions of illness and the ongoing struggle to consider a diagnosis as one aspect of the whole self without being subsumed entirely by it nor ignoring it entirely. By opening this type of dialogue and recognizing the power of metaphor, she argues for the autonomy of the individual to define their own experience and not have to select from a predetermined lexicon (such as “battle” or “fight”) if their own experience suggests otherwise.
Marnie Blair uses her Implantable Cardioverter Defibrillator (ICD) as a starting point to examine questions that surround the intersection of technology and humanity. Her work explores the natural and the artificial and what it means to be dependent on a machine in order to live. Her own experience represents the specific and direct physical relationship that exists between ICD and the electrical activity of the heart. In The Other Passport, Blair employs computer-operated
carving machines to carve woodcuts, which are then hand printed or painted. This reliance on technology references our own increasing dependence on technology and its impact on our daily life.
~ Susan Sontag, Illness as Metaphor
The luxury of the body lies in its ability to (perform, act, engage) and the freedom from (constraints, pain, trauma). In this state defined by range of possibilities as well as absence of limitations, we exist more or less on friendly terms with our moving parts and systems. It's when the balance tips and constraints start to force a new re-definition of self, that we enter a different type of relationship to our bodies. Four Alberta artists examine our insides and their effect on our outsides and consider the parameters of making invisible systems and inner activities visible as they manifest themselves in the form of trauma, scars, and restrictions. This exhibition considers the body as a narrative form that creates opportunities for us to connect and reflect on the range of human experiences not out of pity or as inspiration but simply as manifestations of humanness.
Creating landscapes out of our internal lives within our inner physical structures, Jill Ho-You’s work questions the possibility of our organs harbouring past psychological experiences. Informed by her studies in psychology, her work creates the possibility of interior systems becoming repositories for our lived emotional experiences. Her work draws attention to recent research that has identified a relationship between our lived experiences and the effect on our
genome, sometimes for generations.
Heather Huston reflects on her experiences with chronic illness to question assumptions about identity as a patient who presumes and fears certain limitations and qualities that are associated with multiple sclerosis and inflammatory arthritis. Her work questions social constructions of illness and the ongoing struggle to consider a diagnosis as one aspect of the whole self without being subsumed entirely by it nor ignoring it entirely. By opening this type of dialogue and recognizing the power of metaphor, she argues for the autonomy of the individual to define their own experience and not have to select from a predetermined lexicon (such as “battle” or “fight”) if their own experience suggests otherwise.
Marnie Blair uses her Implantable Cardioverter Defibrillator (ICD) as a starting point to examine questions that surround the intersection of technology and humanity. Her work explores the natural and the artificial and what it means to be dependent on a machine in order to live. Her own experience represents the specific and direct physical relationship that exists between ICD and the electrical activity of the heart. In The Other Passport, Blair employs computer-operated
carving machines to carve woodcuts, which are then hand printed or painted. This reliance on technology references our own increasing dependence on technology and its impact on our daily life.
NOCTURN July 21 - August 15
Alberta Society of Artists
"Landscape 8" Ed Flanagan, ASA
The artworks shown in this Alberta Society of Artists juried exhibition have been selected based upon individual responses to the original call for submissions:
From the Merriam Webster dictionary:
“The origin and etymology of NOCTURN: Middle English nocturne, borrowed from Anglo-French, borrowed from Medieval Latin nocturnus,
going back to Latin, feminine of nocturnus “of the night.” At the time of writing we are past the Winter Solstice when the hours of light and dark reveal the predominance of darkness.
At other times of the calendar year we experience the Summer Solstice as well as the Spring Equinox and the Fall Equinox. This celestial
balance is essential to our existence, giving rise to biological changes as well as inducing memories, dreams and experiences from the past as
well as anticipation for the future. There are very many historical examples that could be used as examples from the disciplines of Music, Literature, Poetry etc. as well as the Visual Arts.
The works in this exhibition reveal the diversity of artistic response. Some pieces are very universal in concept as with Annette Resler’s “Melody And Mood” or Ed Flanagan’s “Landscape 8” and others are very personal such as Jay Looy’s “Bearing the Unwanted Cross” or E. Ross Bradley’s “Nocturnal Animals.” The net result is one of the most intriguing thematic exhibitions the Alberta Society of Artists has held. The exhibition will be staged in several Alberta locations over the next two years. Look into the darkness and find the other half of yourself!
From the Merriam Webster dictionary:
“The origin and etymology of NOCTURN: Middle English nocturne, borrowed from Anglo-French, borrowed from Medieval Latin nocturnus,
going back to Latin, feminine of nocturnus “of the night.” At the time of writing we are past the Winter Solstice when the hours of light and dark reveal the predominance of darkness.
At other times of the calendar year we experience the Summer Solstice as well as the Spring Equinox and the Fall Equinox. This celestial
balance is essential to our existence, giving rise to biological changes as well as inducing memories, dreams and experiences from the past as
well as anticipation for the future. There are very many historical examples that could be used as examples from the disciplines of Music, Literature, Poetry etc. as well as the Visual Arts.
The works in this exhibition reveal the diversity of artistic response. Some pieces are very universal in concept as with Annette Resler’s “Melody And Mood” or Ed Flanagan’s “Landscape 8” and others are very personal such as Jay Looy’s “Bearing the Unwanted Cross” or E. Ross Bradley’s “Nocturnal Animals.” The net result is one of the most intriguing thematic exhibitions the Alberta Society of Artists has held. The exhibition will be staged in several Alberta locations over the next two years. Look into the darkness and find the other half of yourself!
CROWSNEST ENCOUNTERS August 25 - September 19
Angelique Gillespie
"Gushing Bride", acrylic, Angelique Gillespie
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While on my Gushul Residency in 2018, I explored the beauty of the Crowsnest Pass by taking a closer look at the people, places, and the culture which evolved in my exploration in 2014. The exhibit I shared with Heather Fletcher in 2015 showed a macro view of some of the hidden gems of abandon buildings, historical locations and the scenic beauty with little focus on the people. This new exhibition explores more about engaging with the locals , including the artists, as I encountered the wonder and delight of the people in this incredible place. When a person spends a length of time in one location they discover a deeper sense of community and in turn a deeper commitment to express these encounters. Along with all of this is the artistic growth the artist experiences from the concept to the completion of the project. The biggest challenge for me is molding the unexperienced medium of clay into something that enhances the story I am telling. I hope that what I have completed will be inspirational for everyone involved and that the visual results will be a delight to the visitors to the Crowsnest Pass Art Gallery. ~Angelique Gillespie
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"Coleman Antiquity", acrylic, Angelique Gillespie
"About Town", acrylic, Angelique Gillespie
"Matilda" clay, Angelique Gillespie
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GLORIOUS AND FREE September 29 - October 24
Liz Sullivan
"Lily Lake Reflections, Purple Shades" acrylic, Liz Sullivan
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"Ascent of the Innocent" - detail of earthly boot, mixed media, Liz Sullivan
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Glorious and Free is a phrase Canadians know all to well. These words from our National Anthem convey my approach to art and life. From humble rural beginnings with immigrant parents to my own creative journey and migrating West, my artwork explores the “glorious & free” in family story and place. This title serves to unite two unique bodies of work: my FREEDOM series and HIGH Landscapes.
MY NAME IS NOT TREE Oct 31 - Nov 29
Penny Corradine
"backlit" acrylic & paint sticks on canvas, Penny Corradine
"treesaid" acrylic & paint sticks on canvas, Penny Corradine
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"After reading The Hidden Life of Trees by Peter Wohlleben, I started seeing trees as individuals. I didn’t just see them as green specks on a landscape or even as different species (pine, spruce, birch), but I started seeing them as individuals or families with lives of their own. I began to feel a closeness to them that I didn’t acknowledge before.
I find this connection works best for me when I’m alone in nature. I live in a cabin in a forest and the woods are a constant and close part of my life. The woods have a mystery that envelopes me: I feel I am being allowed into a sacred space. I want to reciprocate with reverence. I believe that artists are called into the company of Spirit, and that the forest is my guide. I want these paintings to speak for trees. I want the paintings big and assertive. I don’t want the trees to be insignificant sticks in the ground or clumps of green shapes, just add-ons to a pretty picture. My trees started with gathering material from my sketchbooks made on different hikes, locations, and times. I decided the canvases should incorporate drawing as a painting medium, using a limited palette. Franz Kline’s gestural black and white canvases influenced my thinking. Using my sketches as reference, my tree paintings rapidly took shape. Drawing trees calls on my experience in drawing from a model. Trees are great practice for drawing the human form. My trees are like quick gesture drawings of the human form, where we try to abstract and capture essential information. I want to catch the elemental feel of the tree." Penny Corradine |
Allied Arts Council of Pincher Creek
We wish to gratefully acknowledge our relationship with the Allied Arts Council of Pincher Creek. We will keep you informed of the ongoing schedule of exhibitions happening at their Lebel Gallery, in Pincher Creek. Check out their website here:
We wish to gratefully acknowledge our relationship with the Allied Arts Council of Pincher Creek. We will keep you informed of the ongoing schedule of exhibitions happening at their Lebel Gallery, in Pincher Creek. Check out their website here:
