Open Spaces: Windows to a View (2011-2012)
Diana Un-Jin Cho
"My work is defined as the interplay of colour, pattern, and texture. Colour has always been a driving force in my work. I enjoy the relationship between colours and the effect it has on emotions. In each piece, I tend to use a wide range of bright, solid colours in order to create an intense colour relationship. I am also interested in producing a visual energy that is created by abstract patterns and uneven texture. On the one hand, I am playing with my materials; I am manipulating colours, and textures within a piece to evoke the senses and the emotions while on the other hand, I am subconsciously revealing my cultural background, creating a hybrid of Eastern and Western aesthetics."
Diana Un-Jin Cho, 2010, Korean mulberry paper on canvas
Calgary Clay Arts Association
Calgary Clay Arts Association was developed to support the artistic and professional needs of clay artists in Calgary and area. From incorporation, it was evident that encouraging a community of artists would benefit not only the artists to share ideas and work towards common goals, but to elevate clay arts as a worthy and interesting form of art to look at, enjoy, and create discussion in Calgary. The presenting members are Aldo Marchese, Connie Pike, Constance Cooper, Darlene Swan, John Robertson, Krista Gowland, Monika Smith and Susan Thorpe.
Calgary Clay Arts Association, Krista Gowland, 2011, porcelain
"The solidity of the architectural world becomes tentative as wavy buildings and watery opaque windows seem to suggest a state of mind more than a place... They represent reflections, but also a state of flux. What results is a precarious looking architecture reminding us the impermanence of all things and the constant state of progression as we move through the stream of life."
Barbara Hirst, 2011, acrylic on canvas
Jenna is a local artist currently working towards a double degree in Fine Arts (Art History and Visual Studies), with a minor in Museum and Heritage Studies at the University of Calgary.
Jenna Swift's Close/Lines consists of eight jacket silhouettes, constructed to human scale from the accumulated by-products of her studio practice, as well as text fragments from periodicals and newspapers. According to the artist, the train platform is a “transitional site” and “functions to facilitate the instantaneous convergence of strangers around a common goal: awaiting transit.” Suspended from the ceiling with string and stitching, Jenna’s installation mimics the action played out before the window as the public fall into an uneven line along the train platform, and illustrates the fleeting nature of human relationships, brief and complex as those that transpire in the time between trains.
Jenna Swift, 2011, mixed media installation
Eveline’s practice explores nature, biology and society’s impact on the environment. She currently lives and works in Calgary, where she enjoys being involved with the local arts-community and experiencing the outdoors in the Rocky Mountains.
Eveline Kolijn's installation Plastic Culture features ten colourful prints from her Plastic Fungus series and constructed organisms created from found synthetic objects such as yogurt containers. Referencing fungi, which are agents of decomposition, the artist brings attention to plastic as a problematic waste material. The installation as a whole is intended to make the viewer "more aware of the actual technological value of this material and be less thoughtless and wasteful with it."
Eveline Kolijn, 2006, screen print on paper
Margot van Lindenberg
"Colour and line is what I use to express ideas, exploring identity or the essence of a concept. Much of my inspiration comes from microscopic imagery of DNA, our genetic make-up. I prefer working with fibre because it has both surface design and sculptural abilities and it lends itself well for expression in organic forms. Textile techniques that I work with are silk-screening, devore, hand-dyeing, nuno-felting and threadwork, where I stretch the stitches. Each of these time-consuming processes adds valuable meditation time, often functioning as a metaphor of the meaning of the artwork. Thread in particular, small by itself, but strong when bundled, is able to visualize concepts. Two-dimensionally thread translates into a line. Sometimes I reduce identity or the substance of an idea into a single line."
Margot van Lindenberg, 2009, Freehand screenprint on hand-dyed silk, thread (Japanese dyes and ink on silk)
Nate McLeod & Cassandra Paul
Nate McLeod & Cassandra Paul’s collaborative installation Shimmer & Shine fills the
Open Spaces window space with a floor‐to‐ceiling wall painting. Beams of color
found within the painting draw the viewer’s eye to the center of the window, where
a deer skull projects out from a circle of black cast acrylic. A thick layer of crystals
has been grown upon the surface of the deer’s antlers using a simple process often
taught in elementary school science classes.
Through their collaborative practice, McLeod & Paul often employ man‐made forms of seemingly natural elements such as the home‐grown crystals described above, synthetic hair, or taxidermy supplies, in order to raise questions regarding man’s relationship with nature.
Macleod & Paul, 2011, mixed media installation
Roberta Murray earned a Professional Photography Certificate from the New York Photography Institute (New York) in 1990 and her Masters Spinners Certificate from Olds College, (Olds, Alberta) in 2007. Murray is a native Calgarian who lives and works in Calgary.
In Roberta's words, "Beyond the Looking Glass is a series of pictorialist archival pigment photographs. This series of images, captured in the city of Calgary, question if reality can be distorted by how you look at the world. An individual perception determines what exists. Where one person perceives a nightmare, the other sees a dream."
Roberta Murray, 2011, photograph