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BY RISK & BY RECKONING | 09 University of Alberta Bachelor of Fine Arts Graduates
BY RISK & BY RECKONING | 09University of Alberta Bachelor of Fine Arts Graduates
02 | BFA 2015University of Alberta Bachelor of Fine Arts Graduates
04 | BFA 2015
CONTENTS
EXECUTIVE COUNCIL
PRESIDENT’S MESSAGE
KASIE CAMPBELL
ARIEL DURKIN
HAYLEE FORTIN
VERONICA FRANK
SKY HOFFOS
JESSICA HONG
XINCHUN HU
LEEANNE JOHNSTON
LISA JONES
JEANETTE LAZAR
MAUD MADSEN
ANIA DANIELA M.
PAUL NEIMAN
CLAIRE OTTO
LEANNE JENSEN-SNELLEN
KIRSTY TEMPLETON-DAVIDGE
ADAM WHITFORD
YING YU
ACKNOWLEDGEMENTS
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Maud MadsenPresident
Kirsty Templeton-DavidgeVice-President Internal
Jeaneatte LazarVice-President External
LeeAnne JohnstonTreasurer
Lisa JonesSecretary
Jessica HongDesign Coordinator
Haylee FortinCatalogue Liaison
Leanne Jensen-SnellenAuction Coordinator
Ania Daniela MiklasAuction Coordinator
Ariel DurkinVolunteer Coordinator
VASA EXECUTIVES
Adam WhitfordMember at Large
Ying YuMember at Large
Xinchun HuMember at Large
Agata Garbowska400 Level Representative
Michelle Paterok400 Level Representative
Jessica Gillespie300 Level Representative
We arrived at our title By Risk & By Reckoning after countless hours of brainstorming sessions. To take eigh-teen graduates, each with unique perspectives and under-standings, and come up with a single title that summariz-es all of us appeared impossible. It seemed the only way to find commonalities within our practice was to return to the reason we each began this degree in the first place: our shared passion for exploration and discovery through art. Our final title seemed like a beautiful fit for both our experience within university and how we plan to navigate as emerging professionals into the greater artistic com-munity, both in Edmonton and further afield.
Speaking to the perceived instability of our future as artists, By Risk & By Reckoning also references the risks we take in our daily practices to push the existing bound-aries of what we know and understand. This is tempered by our reckoning, the intuitive and calculated decisions required to ensure the outcomes of the chances we take. We all know that this practice is not without challeng-es. However, it is critical that we continue to share our experiences with the world through art. We each began this degree as risk-takers and as we leave this program to emerge as professional artists, it is important to remem-ber that it takes courage to be a creator.
I would like to take this opportunity to thank all of the individuals who encouraged us to take risks: our friends, families, instructors, technicians, staff, classmates and the Visual Arts Student Association’s executive commit-tee. Congratulations to the 2015 Bachelor of Fine Art’s graduating class. I know that you will continue to flourish in your artistic endeavors for years to come.
Maud MadsenVASA President, 2014-15
PRESIDENT’S ADDRESS
ARTIST PROFILES
Often times, the things that we remember most are things that have left a huge impact on us. My work is focused on the reflection of those moments in life, where we feel the paradoxical attraction and simultaneous tensions between beauty and the grotesque. The choices we make, moment by moment, day by day, lead us to this moment where only partly in control, we stand faced with the vulnerability of having to make choices that draw us towards beauty or even towards being seen as beautiful or decidedly not.
Equivocating in a moment of suspended awareness about attraction and repulsion is literally part of the fabric of my work. Through my work I offer the opportunity to magnify aspects of this psychological charge and aim to redefine the viewers idea of what they find beautiful, grotesque as well as how they experience a degree of self-consciousness themselves.
10 | BFA 2015
Gaze and Grazennylon, wood, cotton batting, wire, thread3 x 7'2014
KASIE CAMPBELLDrawing + Intermedia
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12 | BFA 2015
Perpetual Releasefound object, nylon, thread, cotton batting2.5 x 2 x 5'2015
Scopophilianylon, wood, cotton batting, wire, thread2 x 8'2015
Schaulustvideo2015
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KASIE CAMPBELL
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14 | BFA 2015
My work focuses on exploring the performativity of identity through the lens of self-portrait. It is at the cross section of sexuality, Christianity, and normative gendered structures that I wish to investigate the power dynamics that demarcate them in contemporary culture and art historical discourse. My own body serves as a site for investigation as I draw from personal symbols and symbols from my religious background to translate them into painting, performance, installation, video, and photography.
What happens when I use my own female body to inter-pret my identity that is in a state of flux? And can I trans-late that into image? Every piece I make is a question of who I am, what am I feeling, thinking, being. What is the outcome of me being female, coming out of a Christian way of thinking and relating to sexuality?
ARIEL DURKINDrawing + Intermedia
Paintingaerhiver.com
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Baby Cloud Paintedoil on canvas60 x 72"2015
BY RISK & BY RECKONING | 17 16 | BFA 2015
Baby Cloud4 channel video installation2015
Memory Retrieval Devicevideo2015
Do you want to know about my lifevideo2014
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ARIEL DURKIN
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BY RISK & BY RECKONING | 19 18 | BFA 2015
My work often investigates the constructed nature of the spaces and interactions we make for ourselves. I find there is an element of truth in the way we mediate our experience of the world which can be comedic, beautiful and painful. My practice typically involves video, perfor-mance, audio and installation.
The time I have spent in the BFA program here at the U of A has brought me into contact with many people who have shown me how to think and engage with the world in new and unexpected ways. I would like to thank Brad Necyk especially for the encouragement he has given me throughout my degree. It is hard to imagine what these three years would have been like without his sage wisdom and support.
HAYLEE FORTINDrawing + Intermedia
hayleefortin.carbonmade.com [email protected]
Interstitial (video still)video and audio installation2014
BY RISK & BY RECKONING | 21 20 | BFA 2015
HAYLEE FORTIN
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Untitled (video stills)video and audio installationvariable dimensions2015
Lurker (video stills)video and audio installationvariable dimensions2015
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BY RISK & BY RECKONING | 23 22 | BFA 2015
I spend a lot of time considering the struggle to capture moments in the midst of movement, including the at-tempt to make sense of a swift loss of personal control in the face of degenerative disorders and the very late stages of life. Specifically, I examine the structures that are clung to in an effort to preserve what we hold dear—often, these structures themselves experience strain and break-down, but we hold onto them still. In turn, these issues of disintegration amid structure are mirrored in my process as I produce fragile, ultimately perishable printed works on paper. The pieces will not last forever, but the system-atic practice of printmaking is embedded in my art.
Personally, I’ll always try to hold on to memories of my top-notch studio-mates, teachers (especially but not limited to Sean Caulfield, April Dean, and Liz Ingram), technicians who are also invaluable teachers (Marc Siegner and Steve Dixon), and my main squeeze, the handsome Griffin Intaglio Press.
VERONICA FRANKPrintmaking
Her Impeccable Broken Storiessilkscreen19 x 28"2014
BY RISK & BY RECKONING | 25 24 | BFA 2015
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VERONICA FRANK
Machine Gun (Islands - artist book)photo-etching, silkscreen, chine collé 5 x 11"2015
Wrapping Iphoto-etching, silkscreen, chine collé 14 x 21"2013
Remind Me Your Namesilkscreen13 x 18"2015
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BY RISK & BY RECKONING | 27 26 | BFA 2015
My art is based largely around nature, my interaction with nature, and my experience of leaving the country to be in the city for school. Throughout my degree I have worked a lot with wood, and attempted to incorporate my personal blacksmithing and leatherworking into it. This has led only to my own frustration in attempting to define the line between art and craft. I believe the final few weeks of BFA have been the most productive weeks so far, in the attempt of making a piece one may call Art. This piece has also, finally, achieved my tireless goal to represent myself and my soul within a single piece of art. Coming into the city every day has been very startling and constricting on my soul. Thus my art has become my refuge when I am there.
SKY HOFFOSSculpture
Old Man Pinepine log3.5'2014
BY RISK & BY RECKONING | 29 28 | BFA 2015
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SKY HOFFOS
Into the Forest, Into my Soulwood, rope, steel8 x 12 x 9'2015
Barbed Wireburned paper18 x 14"2015
The Instrumentburned paper12 x 20"2015
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BY RISK & BY RECKONING | 31 30 | BFA 2015
This current body of work focuses on advertising values, consumer culture and the prevalence of buying and selling in urban life. It also examines the redefined role of food in commercial advertising. Through the use of video and printmaking, viewers are persuaded to buy into the subject matter: a slice of cake, a lemon and an egg. What is real and artificial come into question as viewers are subjected to carefully constructed commercials that are tidy, cheerful, uncomfortable and humorous.
My practice often explores themes of duality, the relation-ship between image and language, everyday life and mul-tiplicity. To further investigate these topics, I currently use methods of printmaking, photography and video.
JESSICA HONGPrintmakingjesshong.com
Cakedigital photograph2014
Lemondigital photograph2014
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BY RISK & BY RECKONING | 33 32 | BFA 2015
JESSICA HONG
Eggvideo2015
BY RISK & BY RECKONING | 35 34 | BFA 2015
XINCHUN HUPainting + Printmaking
I have always been interested in people. I am interested in their stories, thoughts, and feelings; I find that portrai-ture allows me to focus on those interests. I usually have a photo session with my subjects. I start by asking what their happiest memories are, and then expand the conver-sation from there. The reason why I chose to focus mostly on happiness is that I could barely remember any happy memories of me growing up, so I began to wonder what are the things that make other people happy, and then, hopefully, I could find some of my own.
While my subjects and I converse, I constantly press the shutter to take a variety of photographs of my subjects. Usually, after the photo session, certain parts of the conversation stick with me; I then go through the photo-graphs to find one that can best resemble my perception of the subject. I collage elements that have certain con-nections to my subjects into my work to create narrative, and to aid me in delivering certain feelings or messages to the viewers.
Fatherhoodoil on canvas38 x 40"2014
BY RISK & BY RECKONING | 37 36 | BFA 2015
XINCHUN HU
Glue Bearoil on canvas36 x 48"2014
An Urban Talelithography27 x 21"2014
This Is How Much I Love Crème Brûléeoil on canvas48 x 40"2015
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ADAM WHITFORD
38 | BFA 2015
Throughout my time in university I have grown sub-stantially both as an artist and as a person. When I first began this journey I was quiet, anxious, and unsure; I have since opened up and now am able to defend my ideas and channel my anxieties. In my final year as a student I have narrowed my focus and applied all the skills I have learned into examining my difficulties with anxiety and depression. Never before have I been comfortable enough with myself and my mindset to be willing to tackle this subject, until now. With the encouragement of my teachers, classmates, and family, I have begun to examine a part of myself which I often ignore. The work I have created this year is a visual representation of my personal experience, and frustration with an anxiety disorder. It is a frustration which many deal with day to day and is an aspect of myself that I no longer wish to deny. I could not have fathomed when I began in the Visual Arts that this would be where my art would take me, but I am forever grateful for every moment of this journey.
Unidentifiablecopper etching, chine collé2014
LEEANNE JOHNSTONPrintmaking + Painting
leeannejohnston.com [email protected]
BY RISK & BY RECKONING | 41 40 | BFA 2015
LEEANNE JOHNSTON
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This Creature of Mineacrylic, collage16 x 20"2015
Everyone Feels Like a Monster - artist book pagecopper etching, chine collé8 x 11" 2015
Come on Homelinocut24 x 36"2013
A Rough Startacrylic, collage16 x 20"2015
Breathing Troublecopper etching 2015
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BY RISK & BY RECKONING | 43 42 | BFA 2015
As my sixth year of education at the University of Alberta draws to a close, I am immensely grateful for having had the chance to refine my skill set and develop as a visual artist. My latest work has been inspired by the circus, in particular the North American travelling circus prac-tices of the late 19th and early 20th centuries...a time when exploitation was commonplace, of performers and animals alike. In dealing with the circus as the subject matter of my art, I am dealing with parts of myself that I wish to understand better; the less desirable parts. As lion tamers kept large and unruly mammals at bay, so have I struggled to keep parts of myself from gaining the upper hand. Having struggled with the disease of addiction in the past, I feel as though I can empathize with the performers I choose to paint.These people were a spectacle, their lives comprised of rehearsed performanc-es, as sometimes, I feel is my own. I strive to create art that falls somewhere between the realm of the comedic and the sinister.
LISA JONESPainting + Printmaking
Our Finest Hourlithograph22 x 30"2014
BY RISK & BY RECKONING | 45 44 | BFA 2015
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LISA JONES
Man-Bear-Clownoil on canvas36 x 30"2015
The Organ Grinderoil, charcoal on canvas36 x 30"2015
Three Little Monkeysoil, charcoal on canvas36 x 30"2015
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BY RISK & BY RECKONING | 47 46 | BFA 2015
Currently my work is an examination of everyday experi-ence’s ability to simultaneously inform and misinform an individual. What happens when elements of the external environment contradict inherent expectations of an indi-vidual? My two current topics of interest are the inherent assumptions present in historical understanding, as well as the ability of plastics and synthetic materials to alter daily experience.
My practice centers on constructing experiences that contain elements of the everyday, but also have implant-ed within them aspects that are atypical to the viewer, as means to engage with development and the ability of technology to distance individuals from the environment around them. I currently engage with these subjects through painting, printmaking, photography as well as installation.
JEANETTE LAZARDrawing + Intermedia
Printmakingjeanette-lazar.squarespace.com
Friezepermanent marker on styrofoam 83 x 31 x 3" 2014
BY RISK & BY RECKONING | 49 48 | BFA 2015
Vanitas series (IV) digital photograph25 x 16"2014
Vanitas Series (VI) digital photograph25 x 16"2014
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JEANETTE LAZAR
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BY RISK & BY RECKONING | 51 50 | BFA 2015
Citrineclay8 x 18 x 10"2015
MAUD MADSENPainting + Sculpture
maudmadsen.com [email protected]
Much of the reality was filtered out in the static little black and white image … the subject and the picture were not the same thing, although they would afterwards seem so.
— John Szarkowski, The Photographer’s Eye
I am currently interested in the complexity of intimate relationships and the ability of portraiture to both simultaneously distance and involve the viewer in the subject-artist relationship.
When I began to document my subjects through pho-tography, I was surprised at how the camera’s presence rendered my loved ones unrecognizable. The rigidity of their poses and the refusal of eye contact transformed my experience from a friend with a camera to an unwel-come observer.
It is only through my reproduction of the photographic image by means of painting, sculptural process and ma-terial that I hope to communicate my knowledge (though simple perceptions) of the subject’s true character and personality –not just their physical likeness. These works are an investigation into my various subjects and reconsiders the experiential nature of intimacy.
BY RISK & BY RECKONING | 53 52 | BFA 2015
Kaleb (Eye of the Prophet)mixed media22 x 30"2015
Christopher (Born Across the River)mixed media22 x 30"2015
Marie (Pleine de Grace)mixed media22 x 30"2015
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MAUD MADSEN
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BY RISK & BY RECKONING | 55 54 | BFA 2015
ANIA DANIELA M.Drawing + Intermedia
Paintinganiadaniela.com
If there is one sentence that could establish who I am as an artist and as a person, it would be: I am not talented; just passionately curious.
As a dancer, incorporating dance into visual works is an integral part of my artistic process. There is fine line be-tween contemporary dance and performance art, which I strive to push and pull in different directions until the movement becomes an image and an image becomes a movement. I continually explore the idea of dance as a form of visual culture by taking the body away and depicting the experience one has while dancing rather than depicting the act of dancing itself. The scale of my work forces the viewer to think about their own body in relation to the work and how their experience of viewing affects their senses. It is the experience that is at the core of my practice. The fusion of my two passions of dance and fine art and how they touch another human being is at the heart of my artistic endeavors.
Quantum Momentsvideo installation5 x 5’2014
BY RISK & BY RECKONING | 57 56 | BFA 2015
ANIA DANIELA M.
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Hybrid performance/video art inspired by Loie Fullerphoto courtesy of Royden Mills2015
Art Collaboration with Kasie Campbellperformance, wearable sculptures2015
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BY RISK & BY RECKONING | 59
ADAM WHITFORD
58 | BFA 2015
PAUL NEIMANPrintmaking + Sculpture
Standing Figurewire steel, copper, brass78 x 19 x 33" 2015
In the time I have spent working towards my BFA I have found interest in the disciplines of Printmaking, Sculp-ture, and Drawing and Intermedia. Initially my main fo-cus was to study Printmaking but as I progressed I found my other studios just as rewarding. I enjoy working in a broad and varied way because I find that I am not limited to the decisions I can make while working with a piece. A main theme that has been part of my work throughout my degree has been the use of my body as a model and to directly influence my work. There is something quite fulfilling about finding ways to combine my figure with materials.
BY RISK & BY RECKONING | 61 60 | BFA 2015
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PAUL NEIMAN
Long Way to the Topcopper etching, digital print53 x 24"2015
Balancing Actcopper etching, digital print57 x 22"2015
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BY RISK & BY RECKONING | 63 62 | BFA 2015
CLAIRE OTTODrawing + Intermedia
claireotto.com [email protected]
Cine 108video installation2015
During my fine art degree I experimented and tried many different mediums of art. My last two years I became ab-sorbed by intermedia and made it my primary focus. My work plays with the concept of human interactions with technology and non-narrative video. I usually attempt to bring a familiar outlet for viewers to interact with so they can become involved in the art piece and have their own individual experience.
Many of my videos focus on cinema and recreating those cinematic smooth shots that one would see in film, tele-vision or an TV advert. During my time at the University of Alberta I was introduced and inspired by the works of Stan Douglas, Michel Foucault and Slavoj Žižek. These artists and philosophers helped me develop the concepts for many of my video installations.
BY RISK & BY RECKONING | 65 64 | BFA 2015
CLAIRE OTTO
Heterotopiavideo installation2014
Monodramavideo installation2014
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BY RISK & BY RECKONING | 67 66 | BFA 2015
LEANNE JENSEN-SNELLENPainting + Sculpture
leannesnellen.com [email protected]
The work I am creating is a challenge to present as a cohesive body. Each piece, however, has been developed using the same artistic process: it is an inner expression of the complex relationship I have to my home, the farm I have raised my children on, that I am representing in an emotional visual medium.
While the concepts and reasons for why I create an artwork in a certain manner are not always evident to me immediately, they are always an attempt to communi-cate my feelings through a physical medium, rather than words. Expressing sadness mixed with joy or anger with resignation is substantially easier when I can create a concrete and physical object to show these feelings.
Whether a painting of a piece of farm equipment or one of my children running through a forest, each work deals with the tension of a home that I never felt was my own, but was where I planted my family. I express this through a literal connection of objects. Whether sculpted, or painted, I imprint these personal facets of myself into each work as an outlet for releasing sadness about the farm I live on and have become connected to over time. As my relationship to the land has evolved, my children have also grown. These works communicate my fear of the emotional and physical distance that accompanies the passage of time of my family on the farm.
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Lockedclay, wood15 x 4 x 4"2015
Closesclay, wood6 x 6 x 7"2015
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BY RISK & BY RECKONING | 69
ADAM WHITFORD
68 | BFA 2015
LEANNE JENSEN-SNELLEN
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Whitewashacrylic, oil on masonite24 x 36"2015
Emptyacrylic, oil, ink on masonite24 x 32"2015
The Binderywood, wire, books, rope, chain, metal6 x 6.5 x 3'2014
Reachoil, acrylic on masonite24 x 30"2014
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BY RISK & BY RECKONING | 71 70 | BFA 2015
KIRSTY TEMPLETON-DAVIDGEPainting
kirstytempletondavidge.com [email protected]
The feelings of childhood remain with us throughout adult life but they are only faintly perceptible . . . the foggy remembrance of sensations that can no longer be grasped but still affects our emotions in ways we cannot explain ourselves.
— Sigmund Freud
I have produced a group of paintings that reflect on mem-ory and its after-image. They are inspired by childhood memories of travelling back and forth along Toronto area highways during the 1970s… always moving forward, but never arriving at a comfortable place. Concurrently, I’m thinking about the passage of time; of my own childhood and that of my children, up to the present day. I inves-tigate how personal history and memory are closely associated with place, how time informs memory, and how visual representation can be used to communicate experience.
Like images caught on film, our memories seem sus-pended and frozen, even as the passage of time alters our recollections and perceptions. Captured images aid in recalling and clarifying these memories, pulling us back to a time or place. The place can be a physical landscape, a psychological landscape or a combination of the two. The photos from my childhood are the jumping off point; digitally altered and emotionally imbued, they travel through time to the present day.
Six Years Oldoil on canvas48 x 48"2014
BY RISK & BY RECKONING | 73 72 | BFA 2015
KIRSTY TEMPLETON-DAVIDGE
Pillow Talkoil on canvas30 x 36"2014
Every Second Saturdayoil on canvas48 x 48"2015
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BY RISK & BY RECKONING | 75 74 | BFA 2015
ADAM WHITFORDDrawing + [email protected]
Once the Author is gone, the claim to ‘decipher’ a text becomes quite useless. To give an Author to a text is to im-pose upon that text a stop clause, to furnish it with a final signification.
— Roland Barthes, The Death of the Author
My video work is created through a combination of ap-proaches to the medium. In Retrograde, I have appropri-ated cinema and played with narrative structure to create a character that speaks to the psychology associated with viewing and consuming popular culture. The Disintegra-tion Cycle series uses datamoshing to disrupt and destroy the video as it plays. Applying this process to videos of nature, the body, and the built environment references a cycle of life, decay, and death. The videos that I have cre-ated call to mind the inevitability of decay in both media technologies and our bodies.
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Disintegration Cycle (Refinery)video2014
Disintegration Cycle (Body) video2014
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ADAM WHITFORD
76 | BFA 2015
Retrogradevideo2014
BY RISK & BY RECKONING | 77
BY RISK & BY RECKONING | 79
ADAM WHITFORD
78 | BFA 2015
YING YUPainting + [email protected]
A Shared Lifewoodcut, lithograph28 x 38"2014
The language barrier I have in Canada made me ac-knowledge the fact that my stories may never fully be told through language. However, art is an universal language itself, it has no boundaries, nationalities and no limitations. Studying art made it possible for me to develop close relationships with my peers and allowed me to express my emotions and stories through a stroke of paint, the drawing of a line, or a photograph of an image. Because of art, I have a common, shared experience with others despite all differences and difficulties.
For the first two and half years during my fine art degree, I was interested in figurative painting, but lately I intro-duced landscape into my works. I believe memories and the history of humankind live on within the land while true emotions lay behind the vast space. In my paint-ings and recent prints, the wild open spaces without a particular figure, but only evidence of human existence make my work easier for the audience to integrate their own experiences; therefore my art is no longer just about myself, it connects me and everyone who sees it.
BY RISK & BY RECKONING | 81 80 | BFA 2015
Immortalitywoodcut, lithograph28 x 38"2015
The Last Sight (6/15)oil on masonite2015
A Very Ordinary Sceneoil on canvas36 x 36"2015
Commonplaceoil on masonite35 x 35"2015
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YING YU
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82 | BFA 2015
ACKNOWLEDGEMENTS
Our professors and instructors, who were pivotal to our advancement as artists:
Allen BallPaul Bernhardt Sean CaulfieldApril Dean Cezary Gajewski - Chair Peter HideLiz Ingram Royden Mills Brad NecykKim Sala Jesse Thomas Caitlin Wells
The graduating class of 2015 would like to gratefully acknowledge the following:
To our technical staff for their patience and understanding:
Louise Asselstine Blair BrennanDick DerSteve DixonJoanne DowsonBianca KhanRuby MahJohn McGieMarc Siegner Cam Wallace
Also we would like to extend a special thank you to:
Jillian Richards and Jessica Hong our catalogue designers whose never-ending hard work and dedication brought this publication to life.
Kurt Bugasto for his portrait photography of the graduating class.
Sky Hoffos for his landscape photography that graces the front cover of our catalogue and all of the accompanying marketing materials.
And last but not least, a thank you to the graduating class. Throughout our degree we have been each other’s greatest encouragement, resource and support along the way. Thank you for giving us the courage to take risks imperative to our growth as artists and as individuals.
BY RISK & BY RECKONING | 85 84 | BFA 2015
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