Monthly Visual Art Exhibitions in the Front Space
Reception on November 21st at 6:30 pm
November featured artist is Phoebe Hunter.
Each piece in the series ‘The Ripening’ revels in the layering of illuminated light, evoking an abstract fluidity of form that serves to transcend the material world. The warm folds of their natural patterns inspire ‘make believe’ with the sensations of a mystical dream that is alive in Phoebe’s garden and greenhouse, at this time. ‘The Ripening’ celebrates both blossoming and decaying hues as the natural layers float “between worlds”, a sensation Phoebe feels energetically in the aliveness of all things.
Curated by Dawn Saunders Dahl, the Front Window space will be animated by a new artist each month. Drop in and check out the work and be sure to meet the artist during our monthly artist receptions.
Curator Dawn Saunders Dahl
Dawn Saunders Dahl has a deep interest in place, genealogy, and reconciliation with Canada’s Indigenous communities. Many years of professional arts administration have allowed her to generate big ideas, that explore powerful and potentially healing intersections between art, artists, and the community.
She is fascinated with genealogy and the impact the land has on our experience of life. While her family’s mixed origins are British, Irish, Scottish, Swedish, French, Norwegian and Metis (Red River Ojibway), she has intentionally begun to align her life’s work with her Metis and settler heritages. She was raised in small town Alberta, with stories her mother would tell about her great- grandparents and the challenges they faced as Canadians…a narrative that has deeply influenced her arts administrative and her studio practices.Her work reflects the fleeting nature of our personal and collective history, and strives to generate discussion and awareness around issues of Indigeneity, community, culture and identity.
September – AJA Louden
RECEPTION September 21st 6:30 pm
Louden (AJA sounds like ‘Ajay’, short for Adrian Joseph Alexander) is an artist based in amiskwaciwâskahikan (Treaty 6, Edmonton, Alberta). Born to a family tree with roots split between Jamaica and Canada, Louden is a child of contrast. Bold and arresting freehand spray-painted portraits of pop culture figures from Jimi Hendrix and Richard Nixon to local heroes like Rollie Miles often alternate with hand-lettered designs and vibrant patterns borne of a background in graffiti. Louden looks to bring a multifaceted, collaborative, and multi-narrative approach to contemporary urban muralism.
October -Kristen Hutchinson
Kristen’s recent mixed media collages (2018-2019) explore themes including supernatural creatures, environmental issues, landscape, beauty, memory, embodiment, and consumption. These artworks experiment with and push the boundaries of collage practice by incorporating objects, sculptural elements, and her own photography with found imagery.
Kristen Hutchinson is an art historian, visual artist, curator, and writer. She is a contract instructor in the Art & Design and Women’s & Gender Studies departments at the University of Alberta. Kristen also offers independent seminars about art history, film, television, feminism, and popular culture in her living room. She is the co-director of fast & dirty, an Edmonton based rotating collective of artists and curators and has participated in solo and group exhibitions in Canada, the UK, and the US. Kristen received her PhD in the History of Art from University College and a BFA from Emily Carr Institute of Art and Design. She is currently writing a creative non-fiction book about supernatural creatures in contemporary art, film, and television and is the editor-in-chief of Luma Quarterly.
November – Phoebe Hunter
Each piece in the series ‘The Ripening’ revels in the layering of illuminated light, evoking an abstract fluidity of form that serves to transcend the material world. The warm folds of their natural patterns inspire ‘make believe’ with the sensations of a mystical dream that is alive in Phoebe’s garden and greenhouse, at this time. ‘The Ripening’ celebrates both blossoming and decaying hues as the natural layers float “between worlds”, a sensation Phoebe feels energetically in the aliveness of all things. Phoebe Katherine Hunter currently lives in a historical village called Métis Crossing where for the past five years she has been a resident artist, gardener, and wild-crafter. Phoebe’s passion for folk herbalism has taken her to develop programs for tourists and school groups at Métis Crossing as well as fuel her blossoming daily art practices. All of Phoebe’s work is derived from original sources and personal photographs.
December – Heather Shillingslaw
Heather Shillinglaw, an Apeetogosan, equipped with a camera and sketchpad in the Cold Lake-Primrose Air Weapons Range. Shillinglaw hears the whispers of the forest… “tree ghosts on a path that my grandfathers and grandmothers hunted and gathered medicine on. Today we see the bruising of the Athabasca Tar Sands as the gurgle of an oil spill works its way into our environment and water table. As an artist we carry these stories within us, translating the vanishing landscape and our culture to remember what is left.”
She was born on the prairies in Daysland, Alberta and grew up near Cooking Lake. Making art that is installation based using mixed media and reflecting on the perspective oral histories of her families past while visualizing her Nohkoms (her grandmothers) as healers, while making art utilizing the Apeetogosan connection to the four-legged, two legged, the winged, and the water to sustain us.
January – Maya Candler
All That is Lost and Found magnifies past mythology by combining natural elements with the uncanny. This narrative brings our ecological anxieties into a not so distant future. It begins with the Planter who is earthy and mammalian. Her skin is covered in fur and soft organs used to gather and create hopeful new life. She plants her larvae in hopes of building a thriving new world. Amidst the inhabitable landscape the Collector searches for surviving flora and fauna. She is a healer and a haven. Lastly, The Keeper, oversees death, decay, and rebirth of life in this narrative. She is a treasurer of memory and legacy. Her task is to create an arc that stores and transforms the past into a viable future. The three sisters of fate are the last stewards of this earth tasked with creating a new story of survival.
February – Carly Greene
In SCAFFOLDING, Greene investigates the imperfect relationships between memory, objects, and interpretation through the mediums of sculpture and drawing. Referencing personal and industrial objects and structures, she works intuitively to deconstruct, replicate, combine, and improvise until forms and materials diverge from original references and narrative is disjointed. The seemingly utilitarian sculptures are visual metaphors for the infrastructure of memory, neurons subverted by material and process with glimpses of clarity in the familiar objects that adorn them. The approximated forms and nearly blank palette undermine specificity and
context, allowing viewers to project their own narratives as they move through the work. SCAFFOLDING responds to Greene’s time working with people living with degenerative cognitive conditions like Alzheimer’s disease and dementia; an experience that sharpened her respect for and interest in the inconsistent and fragile nature of human memory, particularly how it informs interactions with objects and spaces in daily life.
March – Rosanna Terracciano
A quiet flamenco exposes the introverted and vulnerable aspects of flamenco dance through interlapping/ contrasting/ complementing/ experimenting works in sound and film. It is an immersive sensory experience, which makes/opens/allows space for perhaps unexpected variations of flamenco expression. All films are filmed, directed and edited by Terracciano, each featuring a different Canadian or international flamenco artist revealing themselves with each new creation and expression. “I want each of us to find ourselves in a flamenco song or dance. I want flamenco to find itself in each of us. I want us all to meet each other — maybe all over again, and maybe for the first time.”
April – Evan Wong
May – Jeremy Gordaneer
This project looks at documentation as a source point, and as a way to think about how the document can be something more, or exist as its own entity with its own agency and extend from where it originates. Working specifically with dance, the work also is in fact a dance, or a choreographic study. Gordaneer is not interested in the truth of the document, so much as how it can slide or jaywalk across forms. This idea of slide comes directly from the practice of Thea Patterson, which, in her performance work functions to destabilize the spectatorial contract. Here in the paintings and drawings, one can find the same concept at work in regards to the way the work slides into and away from figuration, form, and gesture.
June – Darren Kooyman
Darren Kooyman was born in Red Deer Alberta in 1967. Kooyman works primarily in abstract acrylic painting but has additionally done work in screen-printing, digital imaging, and musical composition. He attended Red Deer Collage taking Art and Design and has a diploma in Publishing Techniques and Technologies from Langara College in Vancouver British Columbia. The paintings he does are improvisational with a concentration on colour and surface. His inspiration comes from the urban surroundings of where he’s lived in Ottawa and Vancouver, the human figure and the prairie landscapes of his youth. He has had solo shows in British Columbia and Alberta and has been involved in group shows in Ontario, Alberta, and British Columbia.
July – Arsan Buffin
New to the practice of seed beading Arsan Buffin learned to bead in early 2019 so that his daughter could have beadwork on her Jingle Dress regalia. Arsan regards learning to bead as a rite of passage for himself as a First Nation’s individual who is trying to find his own tradition and thus learn about his Indigenous culture. Coming from a family in which both sides are colonized to a point where tradition or ceremony is no longer practiced, creates an uphill battle, to learn these teachings which have existed for a long time. Through beading he wanted to add unorthodox materials to the projects, such as sealing wax, painting the beads, and repurposing jewelry to create new and exciting ways to look at things as simple as earrings. Beading is very symbolic in Aboriginal culture. Through his journey he aims to show people that they can learn beading and make it their own, thus establishing their own personal or even family tradition.