Notice Board

Jenna Stanton will be speaking on her ceramic practise and process alongside her career in the arts.  Currently working at Medalta potteries as the Curator of Collections and Exhibitions Jenna also creates out of  Medalta’s international artists in residence studios.  She received her BFA in Ceramics at the Alberta College of Art & design and her Masters in Ceramic Design from Staffordshire University in ‘the potteries’ of Stoke on Trent, England. 

Am I That Name? Feminism and the Category of Women in the Art Museum

Based in an intuitive, material studio practice, Espezel’s work inhabits a feminist-phenomenological discourse, utilizing an intentional engagement with the power and necessity of vulnerability. The work confronts the limits and conceptual dilemmas inherent within representation/mimesis, while striving for corporeal embodiment. The manifestation of anxieties (realized in both psychological and physiological states), empathy, otherness, and the “autobiographical” as a source of influence in interpretation and production, are current thematic concerns.

“Another Part of the Circle”: Positioning the Native Modern and the Contemporary Indigenous In and Out of (Art) History

This lecture explores works made to pay homage to Norval Morrisseau, a very significant First Nations artist. Examining the connection of works by 20th and 21st century artists with diverse practices allows us to consider intergenerational relationships and rethink art historical periodizations using Cree playwright Tomson Highway’s description of life and death as a journey to “another part of the circle.”

Canadian Museums, First Nations, and Repatriation

Mouvelle Artworks

Donald Lawrence teaches in the Visual Arts program at Thompson Rivers University in British Columbia, Canada. He holds a BFA from the University of Victoria and an MFA from York University. Through gallery and landscape-based projects his artistic practice explores the meeting place of urban and wilderness culture. Such projects as the kayak/camera-obscura and the Quidi Vidi Camera Obscura relate his interests in sea kayaking and the ocean environment to a long-standing fascination with pre-photographic optical apparatuses.

This latest body of work by Graeme Patterson tells a nostalgic story of two characters who embark on a series of bittersweet adventures.  From childhood to adulthood, stages of life are conveyed in idiosyncratic animated videos that accompany large sculptures containing highly detailed miniature worlds.  Each of the sculptures reflects on a stage of life.  Though Patterson focuses on male friendships, viewers can relate to the subtleties and complexities inherent in all close relationships.

Antonia Hirsch's practice testifies to a long-standing engagement with the quantitative, spatial and syntactic systems that structure an understanding of our universe.  The opposite of chaos, cosmos can be defined as a complex and organized system: the ordered universe.  Hirsch's work often relates these ordering structures to embodied and visual experience, considering how the ideological nature of these representational systems expresses itself through particular forms of abstraction.

David Hoffos was born in Montréal and grew up in a string of cities in Ontario, Alberta, and Australia.  He began making experimental films at the age of 10.  After many failed attempts to go to film school, Hoffos finally entered the Department of Art at the University of Lethbridge in 1990 where he received his Bachelor of Fine Arts in 1994.  Since 1992 Hoffos has maintained an active  practice – with over 50 group shows, hundreds of screenings, dozens of school and community collaborations, a few works for the stage and over 40 solo exhibitions, including a recent survey at the National