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  September 22 to November 3

Audrey Feltham: Transition/Translocation; and Sense of Place: A Cross-Border Print Exhibition

There will be a closing reception and event featuring readings by Jessica Grant, Alistair MacLeod, Randall Maggs, and Lisa Moore and panel discussion with the writers and artists, Iain Baxter& and Audrey Feltham, Nov.2, 4:30 to 6:30 p.m.

Sense of Place: A Cross-Border Print Exhibition is a juried exhibition organized and circulated by Windsor Printmaker’s Forum. True to its title, the exhibition focuses on the many ways that place can be defined or evoked—through memory, landscape, history, people, for example. In the words of Patricia Coates of Windsor Printmaker’s Forum: Sense of Place goes far beyond a literal interpretation of its theme; after all it has been some time since the Group of Seven first broke this trail. The work investigates universal ideas and concerns through a broad range of both traditional and experimental mediums: life’s daily questions, its mysteries, archetypal forms, courage, and belonging, the heritage of time, man’s place in nature and the place of nature in our world. And, she also notes a significant new contemporary place—virtual space.

The works investigate place through an immense variety of print media from the more traditional etching, relief and lithography on paper to digital light boxes, multimedia and three-dimensional objects. As such the exhibition provides a good overview of the art of contemporary printmaking.

The jurors for the exhibition were Windsor-based artist, Iain Baxter&, James Patten, Director of the McIntosh Gallery at the University of Western Ontario, and Nancy Sojka, Curator, Detroit Institute of Arts.

The Windsor Printmaker’s Forum was established in 1987 to serve Windsor regional artists. They have facilities for lithography, intaglio, relief, silkscreen and letterpress printing. In addition they organize exhibitions, support a guest artist program, provide courses, workshops and lectures for members, the regional artistic community and public.
www.wpfstudio.org www.wpfstudio.org

There are 34 artists represented: Joseph Banh, Nadine Bariteau, Mark Bovey, Yael Brotman, Dacia Celeste-Faute, Patricia Coates, Meena Dhar, Lisa Driver, Christopher Durocher, Erik Edson, Joel Fullerton, Sue Gordon, Dieter Grund, Libby Hague, George Hawken, Liz Ingram, Hannamari Jalovaara, Melody Krauze, Bill Laing, Tara Lynn MacDougall, Judy Major-Girardin, Adam Medley, John Montminy, Rory O’Connor, Gary Olson, Terry O’Reilly, Kenneth Pattern, Shannon Phair, Dianna Rae Borel, Victor Romao, Carol Rowland-Ulmann, Dan Steeves, Michele Tarailo, Susan Turner, Terry Vatrt.

The Windsor Printmaker’s Forum was established in 1987 to serve Windsor regional artists. They have facilities for lithography, intaglio, relief, silkscreen and letterpress printing. Like St. Michael’s Printshop in St. John’s, in addition they organize exhibitions, support a guest artist program, provide courses, workshops and lectures for members, the regional artistic community and public.

It has been exhibited in several galleries across the country since first opening in Windsor in 2007.



Terry O’Reilly, Newfoundland Dreams, 2007, woodcut, 24 x 24”            Libby Hague, Everything Needs Everything: Rehearsal for
                                                                                                                             Disaster, 2005 - 2007, woodcut on Okawara, 72 3/8 x 43"____________________________________________________________________________________________________________________

Deer Lake artist, Audrey Feltham’s exhibition, Transition/Translocation explores the play between memory, our past stories, and how we adapt to new environments—be they physical or psychological. It looks at how memory informs our inner landscape and how we filter the present and our present actions and reactions based on the culmination of remembered, stored experience. To represent this process/mechanism, her recent work has become increasingly layered and complex in its combination of print and textile techniques. Images, realized through collograph, etching, relief, letterpress, sewing, chine colle and recently, devore etch, create layered narratives by pairing gestural with representational images.

Feltham’s works offer a unique mix of textile and print. The new works make use of devore etch, a technique developed in France in the 1800’s to produce a fabric that looked like handmade lace but was much less costly. The etched fabric is then laminated onto paper. As the artist states about this technique: For the past 13 years I have explored the incorporation of sewn line, pieced work and other fibre-based elements in my prints. About six years ago I started a body of work that was thematically linked to memory, and I was looking for a technical means of creating a visual metaphor which would speak to that theme. It occurred to me that memory is much like a curtain or blind, and from there it was easy enough to make the leap to fabric and a technical process that would allow me to manipulate the surface of the print with translucent/transparent layers which did not include just ink. The technique offers a tactility and texture to the artwork as well adding to the artist’s vocabulary of marks. Important as well for Feltham is that it introduces the hand of the artist into the work—i.e., makes the hand of the artist more tangible to the viewer.

Feltham was a member of the first graduating class of the Visual Arts Program at Grenfell. She also holds a B.A. and B.Ed. from Memorial University of Newfoundland. Since graduating she has exhibited her work in numerous group and solo exhibitions across Canada and internationally. She has received several awards and grants including several Newfoundland and Labrador Arts Council Project Grants and recently, the St. Michael’s Printshop Residency Grant. Her work may be found in such collections as the Beaverbrook Art Gallery; National Concert Hall, Dublin; The Rooms Provincial Art Gallery, St. John’s; World Printmakers collection, Granada, Spain; Northern Print Studio, Newcastle on Tyne, U.K.; and The Print Studio, Hamilton, ON. She has participated in several artist residencies including Northern Print, Newcastle on Tyne, U.K.; West Yorkshire Printmakers, West Yorkshire, England; Blackchurch Printshop, Dublin, Ireland; and Malaspina Printshop, Granville Island, Vancouver, B.C. Feltham was a co-founder of League of Artists of Western Newfoundland.



Audrey Feltham, Wanderlust, 2012, etching, relief, collograph, thread, devore etch, 22 x 30”

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Indiscretions: Narrative Painting Now

Indiscretions: Narrative Painting Now explores that question by showing the work of six Ontario-based artists who all look at how time can be successfully represented in their paintings. In viewing these large-scale narrative paintings, viewers can relate to a specific story or they can create their own story based on the imagery they see. Each painting has visual cues implying that an event has unfolded or is just about to unfold. A strong sense of emotion is rendered to captivate the viewer and move them to contemplate the scene or character depicted. Exhibiting artists are: John Abrams, Gillian Iles, Phil Irish, Scott Sawtell, Paul Robert Turner and Natalie Waldburger.

Scott Sawtell makes the point that with the advent of time-based media, the notion of narrative art has changed and evolved. He says: one feature in all of these artists’ work is the central role played by the paint itself. In no way can these images be reduced to language: the physical experience of looking and making determine the meaning of the work. The abstract processes of painting carry meaning, altering how we relate to whatever representation it offered.



Gillian Iles, That's not how we do things here 05                             Phil Irish, The Pier, 2009, oil and digital print on panel
2011, oil, acylic, pastel on canvas

John Abrams, Little Soldier - Planes, 2007                                                                      Scott Sawtell, New Skin for the Old Ceremony: A Complete History
oil on panel                                                                                                                             of Civilization (abbr.), 2010, oil on canvas

Natalie Waldburger, The Only One Here, 2009                                           Paul Robert Turner, The World is a Darker Place Now, 2011
encaustic on panel, 48 x 48"                                                                            oil, acylic, graphite on panel

For more information please contact the gallery

Grenfell Campus Art Gallery is located off the second-floor atrium of the Fine Arts Building. Short-term parking is available in front of the Fine Arts Building. The gallery is wheelchair accessible. Admission is free.

Gallery Hours: Tue - Fri, 11 am - 5 pm

                           Sat, 12 pm - 4 pm

For more information or to book a tour, please contact:

Charlotte Jones, Acting Director

cjones@grenfell.mun.ca

Tel: (709) 637 6209 or (709) 637 6200 ext. 6379


Exhibitions	Upcoming	Past
September 22 to November 3 Audrey Feltham: Transition/Translocation; and Sense of Place: A Cross-Border Print Exhibition There will be a closing reception and event featuring readings by Jessica Grant, Alistair MacLeod, Randall Maggs, and Lisa Moore and panel discussion with the writers and artists, Iain Baxter& and Audrey Feltham, Nov.2, 4:30 to 6:30 p.m. *Sense of Place: A Cross-Border Print Exhibition* is a juried exhibition organized and circulated by Windsor Printmaker’s Forum. True to its title, the exhibition focuses on the many ways that place can be defined or evoked—through memory, landscape, history, people, for example. In the words of Patricia Coates of Windsor Printmaker’s Forum: *Sense of Place* goes far beyond a literal interpretation of its theme; after all it has been some time since the Group of Seven first broke this trail. The work investigates universal ideas and concerns through a broad range of both traditional and experimental mediums: life’s daily questions, its mysteries, archetypal forms, courage, and belonging, the heritage of time, man’s place in nature and the place of nature in our world. And, she also notes a significant new contemporary place—virtual space. The works investigate place through an immense variety of print media from the more traditional etching, relief and lithography on paper to digital light boxes, multimedia and three-dimensional objects. As such the exhibition provides a good overview of the art of contemporary printmaking. The jurors for the exhibition were Windsor-based artist, Iain Baxter&, James Patten, Director of the McIntosh Gallery at the University of Western Ontario, and Nancy Sojka, Curator, Detroit Institute of Arts. The Windsor Printmaker’s Forum was established in 1987 to serve Windsor regional artists. They have facilities for lithography, intaglio, relief, silkscreen and letterpress printing. In addition they organize exhibitions, support a guest artist program, provide courses, workshops and lectures for members, the regional artistic community and public. www.wpfstudio.org www.wpfstudio.org There are 34 artists represented: Joseph Banh, Nadine Bariteau, Mark Bovey, Yael Brotman, Dacia Celeste-Faute, Patricia Coates, Meena Dhar, Lisa Driver, Christopher Durocher, Erik Edson, Joel Fullerton, Sue Gordon, Dieter Grund, Libby Hague, George Hawken, Liz Ingram, Hannamari Jalovaara, Melody Krauze, Bill Laing, Tara Lynn MacDougall, Judy Major-Girardin, Adam Medley, John Montminy, Rory O’Connor, Gary Olson, Terry O’Reilly, Kenneth Pattern, Shannon Phair, Dianna Rae Borel, Victor Romao, Carol Rowland-Ulmann, Dan Steeves, Michele Tarailo, Susan Turner, Terry Vatrt. The Windsor Printmaker’s Forum was established in 1987 to serve Windsor regional artists. They have facilities for lithography, intaglio, relief, silkscreen and letterpress printing. Like St. Michael’s Printshop in St. John’s, in addition they organize exhibitions, support a guest artist program, provide courses, workshops and lectures for members, the regional artistic community and public. It has been exhibited in several galleries across the country since first opening in Windsor in 2007. Terry O’Reilly, Newfoundland Dreams, 2007, woodcut, 24 x 24” Libby Hague, Everything Needs Everything: Rehearsal for Disaster, 2005 - 2007, woodcut on Okawara, 72 3/8 x 43"____________________________________________________________________________________________________________________ Deer Lake artist, Audrey Feltham’s exhibition, Transition/Translocation explores the play between memory, our past stories, and how we adapt to new environments—be they physical or psychological. It looks at how memory informs our inner landscape and how we filter the present and our present actions and reactions based on the culmination of remembered, stored experience. To represent this process/mechanism, her recent work has become increasingly layered and complex in its combination of print and textile techniques. Images, realized through collograph, etching, relief, letterpress, sewing, chine colle and recently, devore etch, create layered narratives by pairing gestural with representational images. Feltham’s works offer a unique mix of textile and print. The new works make use of devore etch, a technique developed in France in the 1800’s to produce a fabric that looked like handmade lace but was much less costly. The etched fabric is then laminated onto paper. As the artist states about this technique: For the past 13 years I have explored the incorporation of sewn line, pieced work and other fibre-based elements in my prints. About six years ago I started a body of work that was thematically linked to memory, and I was looking for a technical means of creating a visual metaphor which would speak to that theme. It occurred to me that memory is much like a curtain or blind, and from there it was easy enough to make the leap to fabric and a technical process that would allow me to manipulate the surface of the print with translucent/transparent layers which did not include just ink. The technique offers a tactility and texture to the artwork as well adding to the artist’s vocabulary of marks. Important as well for Feltham is that it introduces the hand of the artist into the work—i.e., makes the hand of the artist more tangible to the viewer. Feltham was a member of the first graduating class of the Visual Arts Program at Grenfell. She also holds a B.A. and B.Ed. from Memorial University of Newfoundland. Since graduating she has exhibited her work in numerous group and solo exhibitions across Canada and internationally. She has received several awards and grants including several Newfoundland and Labrador Arts Council Project Grants and recently, the St. Michael’s Printshop Residency Grant. Her work may be found in such collections as the Beaverbrook Art Gallery; National Concert Hall, Dublin; The Rooms Provincial Art Gallery, St. John’s; World Printmakers collection, Granada, Spain; Northern Print Studio, Newcastle on Tyne, U.K.; and The Print Studio, Hamilton, ON. She has participated in several artist residencies including Northern Print, Newcastle on Tyne, U.K.; West Yorkshire Printmakers, West Yorkshire, England; Blackchurch Printshop, Dublin, Ireland; and Malaspina Printshop, Granville Island, Vancouver, B.C. Feltham was a co-founder of League of Artists of Western Newfoundland. Audrey Feltham, Wanderlust, 2012, etching, relief, collograph, thread, devore etch, 22 x 30”
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Indiscretions: Narrative Painting Now Indiscretions: Narrative Painting Now explores that question by showing the work of six Ontario-based artists who all look at how time can be successfully represented in their paintings. In viewing these large-scale narrative paintings, viewers can relate to a specific story or they can create their own story based on the imagery they see. Each painting has visual cues implying that an event has unfolded or is just about to unfold. A strong sense of emotion is rendered to captivate the viewer and move them to contemplate the scene or character depicted. Exhibiting artists are: John Abrams, Gillian Iles, Phil Irish, Scott Sawtell, Paul Robert Turner and Natalie Waldburger. Scott Sawtell makes the point that with the advent of time-based media, the notion of narrative art has changed and evolved. He says: one feature in all of these artists’ work is the central role played by the paint itself. In no way can these images be reduced to language: the physical experience of looking and making determine the meaning of the work. The abstract processes of painting carry meaning, altering how we relate to whatever representation it offered. Gillian Iles, That's not how we do things here 05 Phil Irish, The Pier, 2009, oil and digital print on panel 2011, oil, acylic, pastel on canvas John Abrams, Little Soldier - Planes, 2007 Scott Sawtell, New Skin for the Old Ceremony: A Complete History oil on panel of Civilization (abbr.), 2010, oil on canvas Natalie Waldburger, The Only One Here, 2009 Paul Robert Turner, The World is a Darker Place Now, 2011 encaustic on panel, 48 x 48" oil, acylic, graphite on panel
For more information please contact the gallery