Exhibition Runs: June 8th to July 31st, 2012
Closing Reception: July 19th, 7 to 8PM
At the UAS +15 Gallery
I beg you to touch me, is a sculptural diptych representing moments of critical self reflection and emotional repair. Cultivating my identity as a woman and the affects a partnership has on that identity act as departure points for my creative process. I find comfort in distilling anxieties into sculptures that do not depict my personal conflicts, but evoke the feelings involved through distortion and decay. The tension created in the work, the residue of performative processes and personal contact with the materials archives these intimate moments in time. The fragmentation and distortion of materials is essential in conveying a sense of inner conflict and turmoil in addition to quiet contemplation. I refer to my processes as being performative because the assemblage of the sculptures is dependent on a very direct interaction between my body and materials. Collecting my hair and manipulating it into forms are two ways in which I imbed my presence in the work as well as the viewers’ experience.
Kirstin Giles is a Calgary based emerging artist and recent under-graduate of the Alberta College of Art and Design. In recognition of her artistic and academic achievements Kirstin is also a recent recipient of the honourary ACAD Board of Governors Award. Currently, her art practice investigates personal narrative through the re-contextualization of grotesque materials and ritualistic processes in the form of sculptural assemblages. I beg you to touch me, marks Kirstin's first solo exhibition in addition to her inclusion in many group exhibitions, including the The Third Space at the UAS in and I am What I am Sam at the Root Cellar Gallery, both in 2011.
Exhibition: April 8 to May 31, 2012
Closing Reception: May 17, 7 - 8pm
At the UAS +15 Gallery
Vanitas is a sculptural landscape. A decaying horizon. The individual woven prisms are constructed by wrapping hay wire around a cardboard form. The paper is then burnt away leaving only the skeletal wire frame. A process of emptying. The prisms are then left in the elements to rust and weather over weeks. Viewed from a distance, the sculpture is a single object, a body in space. Approaching the piece reveals a lesson in the complexities of closer acquaintance and a demonstration of the power of a gathering. As in the masters’ still-life paintings of centuries past, Vanitas is a consideration of the passing of time in our landscape and of our individual role in that passing time.
I am an artist born and raised in Calgary. A devotee of the city, my sculptures have always been inspired by materials and by my environment. I am interested in finding beauty in unlikely sources. My work is heavily influenced by textile and craft traditions as well as minimalist sculpture. A graduate of the Alberta College of Art + Design Sculpture class of 2011, I now continue to live and work as an artist from my home studio in Calgary.
Exhibition Runs: February 8th to March 31st, 2012
Closing Reception: March 15th, 7-8PM
At UAS +15 Gallery
Meet the Morphoids is an overview of the Institute of Morphoid Research, and the creatures it studies. The Morphoids are unusual creatures, identified by the distinct peeling quality of their skin.
The Institute of Morphoid Research is dedicated to the study and preservation of the creatures falling within a new phylum, Morphopodia. The Institute aims to document all aspects of the Morphoids, through many avenues of study and research, including observation, photography, video, drawing, anatomical study, and eventually, dissection.
This exhibit follows the stories of a few of the Morphoids through a museum style, didactic panel presentation. Through this exhibition, the Institute aims to further educate the public, expand its reach and attract a new audience.
For more information, please visit www.InstituteOfMorphoidResearch.com.
Jennifer Akkermans is the Founder and Chief Researcher of the Institute of Morphoid Research. She holds a BFA (with distinction) from the Alberta College of Art + Design, and a PhD in Cryptozoology from Thunderwood College. She has recently participated in Trap/Door Artist Run Centre’s Gushul Studio Residency, completed a short film through EMMEDIA’s Production Access program, and collaborated with a dancer in the Fluid Festival’s Spark program. Along with exhibiting her work, Jennifer is active online, keeping up the IMR’s website, at InstituteOfMorphoidResearch.com, as well as her own, at JenniferAkkermans.com.
Exhibition Runs: December 8th to January 31st, 2012
Closing Reception: January 19th, 7-8PM
At the UAS +15 Gallery
The body recreates itself constantly, generating new forms from old pieces of living matter. The paintings in regenesis are portraits that dissolve the perceived body into archetypal patterns. Following traditions of visionary art, the series of paintings are intuitive reconstructions of inner experience of the other.
The paintings in regenesis reframe literal interpretations of our origin, questioning the belief that humans are above or isolated from nature. Themes of survival, motherhood, sexuality and heredity are revealed in repetitions and visual metaphors that reflect human language.
Animals, planets, and plants are woven together with the human body and elements of the landscape. Each portrait of a human or animal is reduced to graphic, geometric simplicity and a basic colour palette. The circle is always present, a reminder of the cycles that continue beyond our individual stories.
Exhibition: June 8th to July 31st, 2011
Reception: July 21st, 7 - 8pm
In the +15 Window Gallery
Subject-Abject is an exploration of the space between beautiful and the un-placed, and between ourselves and the objects we see – and then start to relate to. The work is inspired by thing theory (cf Bill Brown), particularly the “magic” when an object stops being a part of one's surroundings and becomes a sort of entity, and explores the visual space where the beautiful can become unknown and lose the innocence of its beauty. It's an opportunity to sit with questions about what this “other” is, and what is beautiful what is strange. Hopefully, we can get a bit closer to reconciling the beauty and the disturbance of ourselves, looking – someday, to the point where the two qualities resist like magnets with the same polarity.
Curated by: by Nate McLeod and Matthew Mark
Artists: Nate McLeod, Matthew Mark, Cassandra Paul, Tyler Los-Jones, and Larissa Tiggelers.
Main Space Exhibition Runs: April 29 - May 20, 2011.
Opening Reception: April 29, 2011, 7 - 10 PM
+15 Exhibition Runs: April 8 - May 31, 2011.
Opening Reception April 8, 2011, 7 - 8 PM.
- In conjunction with The New Gallery.
PHASE SIX is the sixth installment in a ten-part series of multidisciplinary events curated by Nate McLeod and Matthew Mark. The series is characterized by a lack of continuity between each event, and at times within the same event. Similar to "happenings", occurring most significantly in New York City in the late 1950s and early 1960s, these events are curated specifically with the intention of drawing an audience concerned with seeing the unexpected, rather than coming with a preconceived notion of what to expect.
Exhibition: December 8th, 2010 to January 31st, 2011
Reception: January 20th, 8 - 10pm, 2011
At the UAS +15 Gallery
This winter, get up close and personal with two Calgary artists/peers who share a unique connection at the In-Definite Arts Society.
Brad and Diane are both artists with developmental disabilities who are committed to taking risks, pushing boundaries, and challenging (mis)perceptions about disability. They are also best friends who inspire each other to try new things inside the art studio and out in the community. Sometimes their practice is one of co-authorship, while at other times Brad and Diane choose to work independently, using visual artwork to tell their stories and to express themselves creatively.
Together, Brad and Diane’s artworks celebrate the many talents of artists with disabilities. Their visual legacy, marked by a unique relationship as friends and peers, speaks to the indefinite creative potential of all people.
-- Roxanne Taylor, Exhibition Coordinator, In-Definite Arts Society
In-Definite Arts Society
In-Definite Arts promotes opportunities for artists with developmental disabilities to express their identities and uniqueness in a supportive learning environment. Valuing respect, diversity and inclusion, In-Definite Arts serves as a venue where creative minds come together to explore new approaches toward contemporary visual art practice.
We're Better Together, Brad McCaull and Diane Heemskerk:
A Celebration of the Arts of People with Disabilities.
Artistic expression provides a vehicle of communication that disafirms stereotypes of adults with disabilities as removed from having a “voice”. Through the process of art making, themes emerge of dreams, memories, life experiences and emotions that are expressed with a combination of sensitivity and complexity. Societies that foster and teach the creative process to adults with disabilities embrace the individuality of each artist. As a result, artists with disabilities develop their own lucrative art practice full of impressive and expressive art forms.
The exhibit “We're Better Together” is the collaborative pairing of artists Brad McCaull and Diane Heemskerk. They are long time friends that encourage and nurture each other in their visual art practices. Heemskerk is often the visionary for their collaborative works, while McCaull encourages the collaborative process through his drive to stay on task. They are currently creating a large scale fibre art project, a rug hook diptych, to be completed sometime in the next few years.
McCaull's art practice features exotic landscapes and buildings reminiscent of a Mediterranean colour palette. They feature his desires and dreams of travel. He incorporates a range of brushstrokes that evoke a sense of volume in his paintings. His urban landscapes depict a hub of excitement with crowds of people on streets and sailboats in sea ports.
His art practice also explores three dimensional art forms. Utilizing his vibrant colour scheme, McCaull's fuzed glass pieces dynamically illustrate abstract geometries and organic patterns and forms.
Heemskerk has an art practice that revolves around large scale detailed works. These offer her challenges and a sense of accomplishment. Themes of the Alberta landscape and memories of her family's homestead emerge through her chosen media of fibre art and painting. Stylistically, her works are noted for their colourful vibrancy and often incorporate bands of coloured, multi-textured wool in her original latch hook designs.
McCaull and Heemskerk's studio practice is based out of In-Definite Arts Society, a large meeting place that encourages and facilitates enjoyment in the arts for people with developmental disabilities. The In-Definite Arts Society studio offers a large, friendly visual arts program brimming with vibrancy. The society fosters respect, determination, inclusion, and creativity in a celebration of the arts and themselves. The staff of practising artists instruct participants in the areas of woodworking, painting, drawing, fibre arts, ceramics and sculpture. It is here where the art collaboration began and flourished between friends McCaull and Heemskerk. Through the encouragement and support of In-Definite Arts Society, Brad McCaull and Diane Heemskerk are celebrated artists winning numerous art awards and exhibiting across Alberta in group and collaborative efforts, and most recently McCaull has exhibited in Santa Monica, California.
Exhibition: August 8th to September 30th, 2010
Reception: September 16th, 2010
At the UAS +15 Gallery
We are four local photographers who are interested in the cityscape, the ebb and flow of life on the street, and the ways people affect their environment. UCFK aims to make photography more present in Calgary, and start a critical dialogue about photography and image-making.
This proposed work is about traces and marks humans make on their environment. Our urban landscape is splattered with evidence of humanity, sometimes lost in the architecture and often right in our faces.
This installation examines the bodily, ethereal and concrete messages that we leave for each other as signs speaking of society's excess, waste, paranoia, and temporality. These everyday images are often stepped over, passed by and generally overlooked, yet they're fascinating, conveying multiple meanings as symbols.
Curated by Angela Inglis
Exhibition: June 8th to July 31st, 2012
Closing Reception: July 15th, 2012
At UAS +15 Gallery
"Snapshots from the Garden is a collection developed from a fascination with the camera and my passion for gardening. It is about the fleeting moment of simple beauty and the attempt to capture it for enduring enjoyment. The oil paintings originate from close-up photography and an ensuing fascination with depth of field. The blur and clarity that emerge from the scrutiny of the camera not only intrigue me but also provide a greater insight into how we interpret the world around us; it seems confusion reveals certainty. The drawings are pocket-sized keepsakes, tiny vignettes of seasonal treasures. And, the mixed media paintings are a personal rendering and reinterpretation of what the camera has captured. The work has become an authentic reflection of my environment in the most realistic terms.
I have always been drawn to the landscape and, in my practice, concerned with its place in contemporary Canadian art; as a result, much of my work embraces both conceptual and material experimentation where I look for the unexpected but respect the traditions that comprise landscape genre. My aim is to provide a transcendent sense of nature that is recognizable but not always understood; the work is intended to innervate a sense of place rather than merely impart an image."
Exhibition: April 4th to May 31st, 2010
Closing Reception: May 20th, 2010
At the UAS +15 Gallery
"This series started with a chance remark, a phrase we have likely all heard or said: 'She has such beautiful bone structure.' It's not always a flattering comment about someone, so I started wondering what if our bones were beautiful, not in the sense of the wonder of the human body's design, or as a perfect armature, but as decorated objects themselves. To most people, body parts bring an image to mind of gore, decomposition, murder or war, abandoned bodies and tortured souls. To some they are merely frameworks, scientific bases to build on, yet to others therein lies a beauty of form in the abstract. This work is not necessarily meant to be 'pretty', but seeks to emanate a sense of loss; warmth; familiarity; even humour. So many common phrasings originate with the body: 'beautiful bone structure', 'thin-skinned', 'all-legs', 'air-head', 'eye-candy', 'bleeding-heart', 'body politic'---since I love word-play and puns, it seemed natural for me to explore those cues through art.
Over the past year I have been exploring interpretations of the human form in textiles and textile-techniques. The Artist's Body is a personal odyssey, with colour and line depicting the rhythms and paths my own has taken. Personal symbols radiate across each piece, showing directions I feel I am taking as I return to the basics of my stitch history. Cloth--like skin, bone, and organ--can be soft or hard depending on its treatment and use. As with fabric, we can stitch body parts together to mend or alter. Our very being is created from fiber, our bodies a network of threaded veins and seamlessly knitted bones.
Each body part presents itself as a separate entity in this series. As I've worked through this collection, it's less about figurative realism and more about emotion and the sense of what's hidden from ordinary senses."Artist St