synergies 2009

Prints from the University of Alberta>>

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Prints from the University of Alberta>>

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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

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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

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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.

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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.

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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.

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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.

>>

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34

Liz

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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.

>>

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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

< [email protected] > 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


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


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


2006

Spare, Art Gallery of Alberta

Edmonton, Alberta, Canada

2004

Mine Sites, SNAP Gallery



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


< [email protected] >

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


2007

Failure to Communicate, Ursa Gallery


2006

Failure to Communicate & Losing Sight

of Blindness, The Point Gallery

Fulford Harbour, British Columbia, Canada

2003

Losing Sight of Blindness, SNAP Gallery


Losing Sight of Blindness, Artspace

Peterborough, Ontario, Canada

2000

Recent Works, Great Bear Gallery


1998

Exchanger, Prairie Gallery

Grande Prairie, Alberta, Canada

1995

Articles of Faith, Latitude 53 Gallery


1994

Prae Fero, The Link Gallery



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




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


1994

International Triennial of Graphic Art

Bitola, Republic of Macedonia


> University of Alberta, Edmonton, Canada

> The Alberta Foundation for the Arts,

Visual Arts Collection, Canada

> Nickel Arts Museum, Calgary, Canada


2008

Curator, edmonton prints

Society of Northern Alberta Print-artists

(SNAP), Edmonton, Alberta, Canada

2004 – 08

President and Past-President, SNAP


2002– 03

Technical Demonstrator in Printmaking

Department of Art & Design, University of

Alberta, Edmonton, Alberta, Canada

1995–97

President, Latitude 53 Society of Artists


62

Education

1999




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


untruths: an exhibition of prints and paintings

Keyano College Art Gallery


2000

untruths: an exhibition of prints and paintings

Harcourt House, Edmonton, Alberta, Canada


2008

edmonton prints, SNAP/Red Strap Market


2007

Illinois State University Printmaking Faculty:

Five Decades, University Galleries, Illinois State

University, Normal, Illinois, USA

2005

Recent Work, Malaspina Printmakers Gallery






Tokyo, Japan

4th Novosibirsk International Biennial of

Contemporary Graphic Art, Novosibirsk State

Art Museum, Novosibirsk, Russia

Helen GerritzenInstructor of Printmaking & Drawing, Coordinator of Drawing





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



> 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


2001– 02

Instructional Assistant Professor

Intaglio Printmaking, School of Art

Illinois State University, Normal, Illinois, USA

Education

1975

Master of Visual Arts (Printmaking)



2008

J. Gordin Kaplan Award For Excellence

in Research, University of Alberta


Inducted into the City of Edmonton Cultural

Hall of Fame, Edmonton, Alberta, Canada

2000

Canada Council Established Artist “A” Grant


1998

Elected to the Royal Canadian Academy of Art

Ottawa, Ontario, Canada

1987

Silver Award (solo retrospective)

International Exhibition of Graphic Art

Ljubljana, Yugoslavia


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



2009

The 2nd Bangkok Triennale International Print


Bangkok, Thailand

2008

Imagining Science, Art Gallery of Alberta


Biennale Voir Grande, Atelier Circulaire


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


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



> Portland Art Museum, Oregon, USA

> Glenbow Museum, Calgary, Canada

> Universitäts und Landesbibliothek

Münster, Germany

> Sakima Art Museum, Okinawa, Japan

Liz IngramProfessor & Coordinator of Printmaking


< [email protected] > www.lizingram.com


64

Education

1966

Master of Fine Arts (Printmaking & Drawing)

University of Washington, Seattle, USA


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


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


2009

The 2nd Bangkok Triennale International Print


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


> 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


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



Education

1991




2007

Cultural Capital of Canada 2007 (Edmonton)

Explorations Grant, Alberta, Canada


2008

Dislocations, SNAP Gallery


2007

In the Gathering Light, SNAP Gallery


2002

Over Earth, Under Sky, Fringe Galler y



2008

edmonton prints, SNAP / Red Strap Market


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



Rheine, Germany

Michelle LavoieInstructor of Printmaking


< [email protected] > www.shiftinggrounddesign.com






Tokyo, Japan

2005

Busan International Print Art Festival

Exhibition Hall, Busan Metropolitan City Hall

Busan, South Korea

2003

Junge Kunst Im Focus, Waldhof Museum




2001

Perceptions/Conceptions, FAB Gallery


2000

Canada/Japan: 2nd Tama International

Tama Cultural Center, Tokyo, Japan



1999

Lines of Sight, Musashino Art University

Tokyo, Japan and Gulbenkian Gallery



> Sakima Art Museum, Okinawa, Japan

> Tama Art University, Tokyo, Japan

> The Alberta Foundation for the Arts

Visual Arts Collection, Canada



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



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


2003

similia similibus, Bourget Gallery


2001

Kirche, St. Babara, Ibbenbüren, Germany


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




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


2003

rhizome, VAV Gallery


succession, Atelier Circulaire


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


Untergang Venedigs, Festung Rosenberg

Kronach, Germany


> Bibliothèque Nationale de Québec, Canada

> Ruhrakademie, Schloss Haus Ruhr, Germany

> Mathias Stift, Rheine, Germany


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


2008

Fluid Motion, Keyano Art Gallery


2007

Reconstructing Home

NAU Museum & Coconino Center for the Arts

Flagstaff, Arizona, USA

Anthologies, The Point Gallery


2004

Imagining Home, Edmonton Art Gallery


2001

An Elephant in the Forest, Edmonton Art

Gallery, Edmonton, Alberta, Canada


2008



2007

5ième biennale internationale d’estampe

contemporaine de Trois-Rivières

Québec, Canada

2006

5th Minnesota National Print Biennial

Minnesota, USA

2005





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


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




2000

Out of Print, Triangle Art Gallery


Canada/Japan: 2nd Tama International

Tama Cultural Center, Tokyo, Japan




> 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


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


Marc SiegnerTechnical Demonstrator in Printmaking



work shown on pages 50 –53

Education

1996



1980

Master of Music, Academy of Music

Gdansk, Poland


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


2001

Tree of Life, Great Bear Gallery


2000

Rites of Passage, Image 54 Gallery



2008



Agave: A Portfolio of Prints Celebrating 100

Years, FAB Gallery, Edmonton, Alberta, Canada

2007

Reverberated Spaces—Tad Warszynski and

Michelle Lavoie, Point Gallery


2005





Tokyo, Japan



Rheine, Germany

Busan International Print Art Festival

Exhibition Hall, Busan Metropolitan City Hall

Busan, South Korea

2003

Junge Kunst Im Fokus, Waldhof Museum




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


Summer Group Show, Image 54 Gallery


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



> Winspear Centre for Music,

Edmonton, Canada

> Alberta Foundation for the Arts

Edmonton, Canada

> Art Gallery of Alberta, Edmonton, Canada


Museums, Edmonton, Canada

> Ernst & Young, Toronto, Canada

Tadeusz WarszynskiInstructor of Printmaking




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


45.72 × 45.72 cm | 18 × 18 in

> Night Cloud 2008


22.9 × 22.9 cm | 9 × 9 in

> The Passage 2007


30.5 × 30.5 cm | 12 × 12 in

> The Mountain 2007


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


56 × 79 cm | 22 × 31 in

> Figure 3: The Spill 2007


56 × 79 cm | 22 × 31 in

> Figure 6: Shifting Tree 2008


56 × 79 cm | 22 × 31 in

Steven Dixon

> Mine Site No. 19 2002

photogravure

40 × 50 cm | 15.7 × 19.7 in


photogravure

40 × 52 cm | 15.7 × 20.5 in


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


17 × 12 .8 cm | 6.6 × 5 in

> Ultimate Synthesis; Finite Source III 2008


29 × 21 cm | 11.4 × 8.3 in

> Ultimate Synthesis; Finite Source IV 2008


30.5 × 23.5 cm | 12 × 9.25 in

> Ultimate Synthesis; Finite Source V 2008


25 × 18 cm | 10 × 7 in

> Seductive Echo I 2006

photo intaglio, drypoint

66 × 51 cm | 26 × 21 in

> Seductive Echo II 2006


66 × 51 cm | 26 × 21 in

> Seductive Echo III 2007


66 × 51 cm | 26 × 21 in

> Seductive Echo IV 2007


66 × 51 cm | 26 × 21 in

> Seductive Echo V 2007


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


lithograph

29.5 × 22 cm | 11.5 × 8.5 in

> Untitled


lithograph

33 × 16 cm | 13 × 6 in

> Untitled


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



80 × 60 cm | 31.5 × 23.6 in



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


53 × 69 cm | 27.2 × 20.8 in

> Irrlichter 4 2008


53 × 69 cm | 27.2 × 20.8 in

> Irrlichter 12 2008


53 × 69 cm | 27.2 × 20.8 in

> Irrlichter 13 2008


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

synergies 2009

Documents

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