Artist in Residence Proposal Pieces
Deck of Boxes
Wood, metal boxes, collage, and acrylic paint, 3" x 4" x 1.25" (when closed), series of 5 boxes
These boxes are like little devotional objects for each of my 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.
Postcards to Mrs. Lindahl
100 paintings, acrylic with gel transfer overlay on masonite, 24" x 16" each
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. These postcards are all from different people, from around the world. After I completed this series, I found out that Mrs. Lindahl owned a shop in Westlock, and people would send her greetings from their travels.
Do Not Remove series
26 paintings, acrylic, gel transfer, encaustic and oil on masonite, 12.5" x 10"
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. I imagine what life was like during the time that these photos were taken. They appear to be from around WWII, at a point when industry and roles in society were dramatically changing. Men and women alike were stepping up for a common cause, with men going off to war and women assuming vital roles to keep industry running back home.
For me, reproducing these photos and then covering them in layers of wax is a way to demonstrate my desire to preserve the memories in these photos. I've carved into the wax layers, tracing over the forms, and then rubbing oil paint into the lines to outline and highlight the important subjects in the photos, and make sure they don't get lost under the layers. These photos were all clearly stamped by the archives with "DO NOT REMOVE" and "RESEARCH ONLY," and I've maintained these instructions in my paintings, echoing a sentiment that these not be removed (from our collective conscious), but instead used for research or reflection.
Glass Slides series
19 paintings, gel transfers with hand coloring and collaged paper on plexiglass with wood frame, 36” x 24”
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. Although the bulk of the slide are surveying images, mostly from the area around Fort McMurray, they are less about pure landscape and more about how people interact with the land that surrounds them. In these images, the Alberta landscape is seen through the lens of economics – notions of the “grandeur of nature” are supplanted by a view of nature as exploitable resource. These also explore popular myths of the West as a frontier space, a place of infinite opportunities and possibilities.
Altered Documents series
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.
Collage created from an original antique document, with historical photo and markings transferred onto it using oil of wintergreen, 8.46” x 3.62", 2011
Chief Inspector of Grain
Collage created on an original antique document, with historical photo and markings transferred onto it using oil of wintergreen, 8.46” x 4.17”, 2011