Sunday, April 29, 2018

Goodbye to ACAD

I've spent the past semester teaching printmaking at ACAD (Alberta College for Art and Design) in Calgary. The term has ended and I'm off to new destinations soon. Teaching has taken up much of my time and energy, but I etched a few new plates and did get to try out this big motorized Griffin press to print some test prints. I also played with some toner transfers for the seed jar imagery. I had to teach toner transfers in one of my classes, so I decided to try them in my own work. I'm still debating whether a digital print might be more successful in the long run, since it would be a bit crisper. I'm not quite happy with the prints yet, but I think several of them might grow into something finished eventually.

Detail of test print.

Crackle Effect

Testprint of Crackle Effect. 
I have recently tried a new etching technique to achieve this lovely crackle effect. It's relatively easy to do, but there is a bit of a chance factor involved. I've seen this effect in other printmakers' work, and I ended up following the recipe of Aine Scanell's Blog. I applied a ball ground to the plate, brushed on some talc after it was dry, brushed on gum arabic and put the copper plate on the hot plate at 200 degrees. When heated, the gum contracts as it is drying and pulls the hard ground apart. I had some flaking where the gum was thicker or where the hot plate got hotter, so I did some touch-ups before etching the plate. After cooling, the cracks have to be cleaned really carefully with a solvent to remove and hard ground residue. Then the gum needs to be washed off with water. I also applied an aquatint at the end, since some of the cracks whee rather wide. I am really please with the result and I think this plate and this technique has a lot of potential for my future work. I might tackle some issues about soil degradation or desertification in relation to my grad work about extractivist agribusiness models and monocultures.

Copper plate with hard ground and gum arabic application after being heated.

Tuesday, March 20, 2018


I'm so pleased to be part of the Anthropocities exhibition. It was a collaboration between fine art and history of art, design and visual culture students from the University of Alberta. The exhibition was first on view at the Shaw Centre/Edmonton during an international climate change conference (IPCC/Intergovernmental Panel on Climate Change, which I believe is part of UN Environment) and is on display till March 31 at the University of Alberta Rutherford Galleria Space.

Saturday, February 10, 2018

Artist Visit at Stamps School of Art and Design

I had the privilege to have been invited to the Stamps School of Art and Design in Ann Arbor at the University of Michigan as a visiting artist this week. Thank you to Endi Poskovic and Stamps School of Art and Design for hosting me for a few printmaking workshops and artist talks. Thank you to Lee & Nick for all your help, and of course to all the students who attended, for your interest, engagement, thoughtful questions, and conversations. I greatly enjoyed this visit!
(Photo Credit: Katherine Hunt).

Friday, February 2, 2018


My first experience with public art through YEGCanvas - a program in Edmonton that displays work by local artists at LRT stations and on billboards. My piece was at the Churchill Station from November to December and is currently on display at the Central Station until February 11. The image is a detail of my larger print installation Seeds of Hope.

Tuesday, December 19, 2017

Goodbye SNAP!

Goodbye to the studio and the wonderful people at SNAP (Society of Northern Alberta Printmakers in Edmonton)! It is so great that every major city has a print studio where I can make my work. I worked here for the past six months, editioning the last print from my thesis exhibition and printing a new linocut! Now all my tools, inks, paper and plates are packed up and I'm ready to move on to new adventures.


Intaglio, Chine-Collé.
60cm x 90cm.

I finally finished printing an edition of three of the last print from my thesis exhibition. I worked on this edition over the course of the past three months. I built up the image by printing and layering about thirty (mostly small) printing plates. It's a bit of a crazy process, but when I started the piece, it was a rather experimental image, which made printing the edition a bit of a challenge. I printed one to two plates on each sheet of translucent gampi paper per day at the studio. The ink has to dry in between print cycles. Once finished, I mounted the gampi on a sheet of rag paper.
The imagery in this piece is part of my Dispossession series and depicts the displacement of subsistence farmers that are forced off their lands by the expansion of soy production, represented by the mechanical image element of a pneumatic soy seeder. Please note that some of the figures are carrying seed jars, symbolizing the ongoing effort to save seeds and the hope that more sustainable planting traditions might persist and be saved, even though they might lie dormant for a while.