This week I had the amazing opportunity to speak with CBC’s @AdrienneLambCBC about my exhibition in @TheWorksFest!
My new studio space at Studio72!
With this series, I’m exploring the idea of something not-from-your-body being added to the body. The invasive and intrusive nature of surgery.
Combining 19th century carte-de-visites portraits with contemporary haute couture fashion, this series explores mash-ups embodying the evolution of photography as social media and social currency.
This series uses collage and painting over top of existing works to create a new piece.
The figures collaged onto these woodblocks explore different personas.
All of these pieces use antique print materials, with collaged elements on top, including transfers of historical photos or rubber stamps, to give an alternate context to the original.
These photos document existence in another time and place. Not the big events or important people, but the mundane and everyday. I found the photos in this series in an unlabelled folder at the provincial archives, and the seemingly random nature of the subjects drew me to them.
These boxes are like little devotional objects for characters. The exteriors show their outer appearances, and the interiors delve deeper into their characters, revealing their traits and secrets. Each character has an element associcated with it, as well as a color. And the edges of each wooden base has a pattern unique to each character.
These are all based on famous paintings, and I've put the faces of the couples into the work, and they're painted at the same scale as the original paintings.
The source for these hand-painted gel transfers were a series of glass slides dating back to the early 1900s, found in my great-aunt’s dirt basement.
I found these postcards in a second hand book store, and they're all dated from the 20s. They are addressed to a man named Joe Jett in Taber, Alberta from a woman in Knoxville, Tennessee.
The source of these paintings were 100 postcards that I found in an old second hand book store, all addressed to the same woman (Mrs. Lindahl) in Westlock Alberta, from the 1920s to the 80s.