Andreas Rutkauskas: Living Through Wildfire

ANDREAS RUTKAUSKAS

Living Through Wildfire

Vernon Public Art Gallery

6 - December 21, 2022

Vernon Public Art Gallery

- 31st Avenue, Vernon BC, V1T 2H3

Catalogue of an exhibition held at the Vernon Public Art Gallery

3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada

October 6 - December 21, 2022

Production: Vernon Public Art Gallery

Editor: Lubos Culen

Layout and graphic design: Vernon Public Art Gallery

Front cover: Retardant Grid, prints first produced in 2021, Inkjet prints on Baryta, mounted on Dibond, edition of 3, 9 prints (13 x 20 inches each)

Printing: Get Colour Copies, Vernon, British Columbia, Canada

ISBN 978-1-927407-72-1

Copyright © 2022 Vernon Public Art Gallery

All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the Vernon Public Art Gallery. Requests for permission to use these images should be addressed in writing to the Vernon Public Art Gallery, 3228 31st Avenue, Vernon BC, V1T 2H3, Canada.

Telephone: 250.545.3173 , website: www.vernonpublicartgallery.com

The Vernon Public Art Gallery is a registered not-for-profit society. We gratefully acknowledge the financial support of the Greater Vernon Advisory Committee/RDNO, the Province of BC’s Gaming Policy and Enforcement Branch, British Columbia Arts Council, the Government of Canada, corporate donors, sponsors, general donations and memberships. Charitable Organization # 108113358RR.

This exhibition is sponsored in part by:

The artist wishes to acknowledge the support of the Alberta Foundation for the Arts.

EXECUTIVE DIRECTOR’S FOREWORD

I am pleased to introduce artist & UBCO Faculty of Creative and Critical Studies lecturer Andreas Rutkauskas with the exhibition Living Through Wildfire. This exhibition focuses on the aftermath of various BC catastrophic wildfires utilizing photography to capture and document these events.

I’d like to thank our guest writer - Siobhan Angus, an art historian, curator and assistant professor of Media Studies at Carleton University. She holds a Ph.D. in Art History and Visual Culture from York University where her dissertation was awarded the Governor General’s Gold Medal.

A special thanks to Lubos Culen, Vernon Public Art Gallery’s curator for his contribution to both this publication and associated exhibition.

I would like to acknowledge the financial support of the Province of British Columbia, the Regional District of the North Okanagan, and the BC Arts Council, whose funding enables us to produce exhibitions such as this for the North Okanagan region and interested parties across Canada. We hope you enjoy this publication and exhibition.

Regards, Dauna Kennedy Executive Director Vernon Public Art Gallery

LIVING THROUGH WILDFIRE: INTRODUCTION

Andreas Rutkauskas’ studio practice is focused primarily on landscape photography. His artwork highlights the changes in landscapes as the consequence of industrial activity and its effects on environment. Living Through Wildfire is an iteration of the body of photographs documenting landscapes after wildfires that occurred between 2003 and 2021. One exception is a photograph of the Mount Christie Wildfire (2020) which is a dramatic view of a wildfire out of control. The various locations include sites in Alberta and southern British Columbia and the Okanagan Valley. The exhibition consists of nine large-format photographs complimented with a grid of nine smaller-scale images. Finally, a video with sound is projected onto the wall. The installation of photographs provides the visual background for the aftermath of the fires while a looping video of a helicopter brings the viewers the actual feeling of the environment during wildfires: smoke, helicopters flying in the air and the reverberation of their rotors fill the gallery space

For the past two decades, the Okanagan Valley was particularly prone to reoccurring wildfires, often with catastrophic consequences. The context of Rutkauskas’ artistic practice is based on the notion that examines the stewardship of the natural environment and how it is used. The artist advances the notion that fire might be destructive, but can also shape the environment in a positive way if used correctly. Rutkauskas references the practices of First Nations peoples who regularly burned low intensity fires in the underbrush in order to avoid catastrophic wildfires.

Rutkauskas focuses on the landscape in the aftermath of wildfires and documents various degrees of regeneration on sites after the fire. He has photographed the landscapes several years after the actual wildfires and captures the cycles of regeneration. Contrary to ubiquitous reports by the media showing the destructive nature of wildfires globally, Rutkauskas chooses to capture images of the renewed growth on previously burnt-out sites.

Rutkauskas’ photographs are contextually focused on climate change and its impact on the environment. As the consequence, the wildfire seasons are extended and more intense because of the accumulation of fuel loads in the forests and higher than average daily temperatures. The out-of-control wildfires are certainly taxing to citizens who live in the vicinity of forest fires. People living in the interface areas have to deal with uncertain outcomes about the possible loss of properties. The extensive evacuations in the areas threatened by wildfires add a level of anxiety and disruptions to peoples’ lives are disrupted for extended periods of time.

Despite the fact that Rutkauskas’ focus is on regeneration of the landscape after the fire, his photographs capture the essences of the layered histories of particular sites affected by wildfire. It is inevitable to realize that in the aftermath of the wildfire, the whole environmental balance has shifted. The fauna and flora have to adapt to the new environmental reality and this process may be ongoing for years to come. Nevertheless, for each viewer, Rutkauskas’ photographs offer views of regeneration while contemplating the possibly catastrophic effects of global climate change.

Lubos Culen

Curator

Vernon Public Art Gallery

SURFACE, CROWN, GROUND

By Siobhan Angus

Consider a photograph of an iconic Canadian landscape: clear blue water, verdant tree-covered mountains rising in the background, darker tones fading into soft, hazy shades of blue. The puffy, gentle cumulous clouds soften the soaring peaks of the mountains. Two casually dressed women stand in the middle, looking at the mountains and water, unaware of the camera. The foreground, however, is more dissonant: we see the charred remnants of a fire. The canopy of the tall, spindly pine trees has been burnt away, the residue found in the scorched timber on the ground.

The image, Aftermath of the Kenow Fire, Waterton Lakes National Park (fire occurred in 2017, photographed in 2018), is part of Okanagan-based photographer Andreas Rutkauskas’s After the Fire (2017-). The series surveys forests damaged by fire, documenting their recovery and regeneration. Rutkauskas’ fieldwork-based practice is rooted in careful visual observation and sustained engagement, bridging the space between scientist and artist. The intimacy of the photographs reflects a profound familiarity with, and knowledge of, the particular landscape photographed.

Here, we see the landscape one year after the Kenow Fire. Sparked by lightning and escalated by heat and strong winds, the wildfire started in British Columbia before moving into Alberta, burning approximately 35,000 hectares, including 19,303 hectares in Waterton Lakes National Park. The photograph’s title gives us critical information about the landscape and the temporalities of fire: the artist cues two distinct moments in time, the fire and the photograph. However, the emphasis is on regrowth, which gestures towards the future, introducing a third temporality. Rutkauskas explores the extended timelines of disaster and regeneration, expanding the singular moment documented in the photo to consider the broader “ecology of the picture.”1

I became familiar with After the Fire in 2019 while living in northern California. My stay coincided with wildfire season; the ubiquitous toxic smoke and ashy skies were disquieting and grim. Along the Pacific Northwest, changing weather patterns fueled by climate breakdown have escalated the risk of catastrophic wildfires. West coast fires have become notorious as an inescapable symptom of climate change. The increase in extreme and unprecedented forest fires renders many types of landscapes vulnerable, including the mountain-prairie landscapes captured in the Kenow fire image. But Rutkauskas invites us to look beyond our visceral fear of fire to consider fire-based ecosystems and the possibilities of recovery. Landscapes evolve with fire. So do humans. The interactions between land, people, and fire are profoundly relational.

With public discourse increasingly centered on climate breakdown, photographs of wildfires have become a standard visual symbol for the catastrophic convergences of the present. Most of these images emphasize the spectacular and surreal nature of fire. There is no guarantee, however, that these environmentally

activist photographs will result in greater empathy or action. Indeed, in many cases, they aestheticize or anesthetize. Sublime images of disaster sensationalize crisis. The repetition of these visual forms serves to normalize catastrophe.

Rutkauskas’s series directs our attention to something much different. Visually, the images are quotidian, still, and contemplative. They resist the spectacular. A meditative framing characterizes After the Fire. Only one image in the exhibition shows us actual fire as opposed to its aftermath, Mount Christie Wildfire (2020); this too is soft, slow. Hazy. Critically, however, the images are not about the destructive nature of fire but rather what comes in the aftermath. Regeneration, not destruction. For example, in Fireweed, Rock Creek Fire (2018), the eye is directed to the lush, explosive growth of vibrant fireweed coating the ground. This shows us how particular ecosystems, such as boreal forests and grasslands, have evolved with fire. For instance, the lodgepole pine shown in Aftermath of the Kenow Fire is serotinous species; the heat from fire allows the cones to release their seeds while producing favorable conditions for germination. Fire reseeds and renews. Rutkauskas’s work situates fire within nature’s complex, entangled cycles.

But not all fires are created equally. In his book The Pyrocene: How We Created an Age of Fire, and What Happens Next, the environmental historian Stephen Pyne has suggested that we live in the Pyroscene, the Age of Fire. Pyne distinguishes between three types of fire: nature’s fire, typically started by lightning; the Promethean fire of humanity; and finally, and most significantly, fires resulting from the burning of fossil fuels. This last type is bound up with the current cultural discussion of wildfires. Scottish inventor James Watt patented the steam engine (1784), connecting coal fire to the continuous motion of the wheel, transforming heat into energy, and enabling the massive changes of the industrial revolution. The rise of fossil fuels initiated a shift in our relationship with fire, facilitating industrial and economic growth and fundamentally altering how much humans could impact the environment.

Since the inception of the twenty-first century, the acreage of wildfires has more than doubled. The smoke and emissions resulting from the combustion2 of fossil fuel fires create the conditions for more damaging burns. The intensity of fires is related to the Greenhouse effect, as CO2 emissions from fire are trapped in the atmosphere, causing rising temperatures, which creates a feedback loop: weather causes more fire, and fire causes more extreme weather. More extreme weather is also intensifying lightning, nature’s firestarter.

The risk of more catastrophic fires is also tied to changes in fire suppression policies. Western environmental discourse around these policies has often focused on preservation and conservation, rooted in managerial frameworks born out of a binary that views people as outside of nature – nature becomes something that can be controlled and managed, often for profit. Fire suppression policies are a tangible example of how

preservation often ends up harming that which we seek to protect. Conservation and protection deny the possibility of a relational encounter. It fails to understand the complex networks that bind human society with natural systems like weather, forests, and the elements.

Failure to allow these natural systems to occur has resulted in forests that are full of fuel, deadwood, and accumulated duff: factors that transform forests into tinderboxes. Forest management scientists, however, are beginning to appreciate the importance of integrating controlled burning, as practiced historically by Indigenous people, as a more thoughtful and benign approach for managing fire-based ecosystems. Across the Americas, Indigenous nations used fire as a tool to keep ecosystems healthy. The practice of setting low–severity, early-season fires is a form of Traditional Ecological Knowledge (TEK). Indigenous peoples, through generations of observation and knowledge-keeping, understand how to work with the forces of nature. Lighting smaller fires in cooler seasons prevented larger, more destructive wildfires while enabling new growth. As a method, planned burning reflects a nuanced understanding of how regeneration functions in ecosystems.

Wildfires can be surface, crown, or ground. Planned burnings create surface fires, which do not remove the canopy, are the easiest to extinguish and cause the least damage. The Kenow Fire was a crown fire—the most destructive and dangerous. In the case of the Kenow Fire, the intensity of the blaze differed in scale and severity from a fire produced through a planned burn, creating more pronounced shifts in ecosystem structure and biodiversity, including reducing the diversity of native grass and altering the primary land cover from grass to mineral soil. Fortunately, despite the severity of the Kenow fire, scientists conclude that from “a plant-community perspective,” the fire cannot be described as catastrophic, as the plant ecosystem demonstrated strong resilience. Reflecting this reality, Rutkauskas’s science-informed artistic practice focuses on regeneration rather than spectacular destruction.

Fire can harm, but it also comforts and warms. It can cause death, but it also seeds new life. By recognizing the multivalent nature of fire, Rutkauskas models a practice of what Donna Haraway calls “staying with the trouble”: moving beyond either despair or hope in a process of “learning to be truly present” and in relation with ecosystems.3 Rutkauskas re-directs our attention from the scale of human-caused destruction to the enduring ability of nature to heal. The human figures in Aftermath of the Kenow Fire are positioned between the majesty of the distant mountains and the charred, skeletal trees behind them. They are small, trapped by the desolation behind them, and dwarfed by nature’s scale. The eye is drawn last to the foreground, where the ground explodes with lush, flourishing, explosive life. Plants are starting from the ground up, green and patient.

Endnotes

1 T.J. Demos, “The Agency of Fire: Burning Aesthetics.” e-flux #98, February 2019. https://www.e-flux.com/journal/98/256882/theagency-of-fire-burning-aesthetics/ 2 Christina Eisenberg et al. “Out of the Ashes: Ecological Resilience to Extreme Wildfire, Prescribed Burns, and Indigenous Burning in Ecosystems.” Frontiers in Ecology and Evolution 26 (2019): 10. 3 Donna Haraway, Staying with the Trouble (Duke University Press, 2016) 1.

Siobhan Angus is an art historian, curator, and organizer. Specializing in the history of photography and the environmental humanities, her current research explores the visual culture of resource extraction with a focus on materiality, labor, and environmental justice. She is an assistant professor of Media Studies at Carleton University and holds a Ph.D. in Art History and Visual Culture from York University where her dissertation was awarded the Governor General’s Gold Medal. Her research has been published in Panorama: Journal of the Association of Historians of American Art, Radical History Review, Capitalism and the Camera (Verso, 2021) and October. Her book, Camera Geologica, is forthcoming with Duke University Press. At the heart of her research program lies an intellectual and political commitment to environmental, economic, and social justice.

ARTIST STATEMENT

I began documenting landscapes affected by wildfires during the summer of 2017. At the time, standing near the edge of a forest that had recently burned offered a certain amount of exhilaration. Through dialogue with members of diverse communities, including fellow researchers at UBC’s Okanagan campus, I have learned about how forest ecosystems have adapted to wildfire and how certain species depend on fire for renewal. These conversations have altered my perspective of fire as a destructive force. Over the three fire seasons that followed, I made photographs that contained a certain amount of optimism. I avoided photographing devastated structures and, for the most part, turned my camera to environments that were undergoing renewal after the fire rather than depicting active wildfires.

This land is managed by various stakeholders, including sovereign Indigenous communities, settler residents and the forestry sector, who hold divergent views on appropriate use. Globally, a lengthy history of fire suppression to protect natural resources and infrastructure has led to media representations of wildfire as inherently destructive. My artistic approach to this subject acts as a critical foil to the dominant media discourse.

The arrival of the heat dome in early June of 2021 signalled a shift in my approach to making art on this subject. In the following weeks, I watched as communities in my vicinity were evacuated and burned to the ground. Picking up my camera and engaging in the creation of hopeful pictures seemed to attack the dignity of those who were displaced or had lost everything. I was also uninterested in documenting this trauma directly, thereby contributing to the media rhetoric. Perhaps visitors to this exhibition have been directly impacted by wildfires themselves.

This exhibition comes at a time when artistic representations of wildfire are becoming increasingly prevalent. As global communities continue to heal following the trauma of recent fire seasons, I hope that my images can act as a conduit to understanding our local ecology within the context of international climate change, and ultimately enhance our resiliency.

Living Through Wildfire

ARTWORK IN THE EXHIBITION

Mount Christie Wildfire (2020)

Print first produced in 2021

Inkjet print on Baryta, mounted on Dibond, edition of 3, 40 x 50 inches

Fireweed, Rock Creek Fire (fire occurred in 2015, photographed in 2018)

Print first produced in 2021

Inkjet print on Baryta, mounted on Dibond, edition of 3, 40 x 50 inches

Regeneration of the 2003 Okanagan Mountain Park Fire (2020)

Print first produced in 2022

Inkjet print on Baryta, mounted on Dibond, edition of 3, 40 x 50 inches

Kettle River Recreation Area (fire occurred in 2015, photographed in 2018)

Print first produced in 2019

Inkjet print on Baryta, mounted on Dibond, edition of 3, 40 x 50 inches

Charred Sagebrush, Kamloops (2018)

Print first produced in 2022

Inkjet print on Baryta, mounted on dibond, edition of 3, 40 x 50 inches

Aftermath of the Kenow Fire, Waterton Lakes National Park (fire occurred in 2017, photographed in 2018)

Print first produced in 2019

Inkjet print on Baryta, mounted on Dibond, edition of 3, 40 x 50 inches

Aftermath of the Mount Christie Wildfire (2020)

Print first produced in 2022

Inkjet print on Baryta, mounted on Dibond, edition of 3, 40 x 50 inches

Crandell Mountain Campground (fire occurred in 2017, photographed in 2018)

Print first produced in 2021

Inkjet print on Baryta, mounted on Dibond, edition of 3, 40 x 50 inches

Elephant Hill Wildfire, Ashcroft, British Columbia (fire occurred in 2017, photographed in 2018)

Print fist produced 2021

Inkjet print on Baryta, mounted on Dibond, edition 3, 40 x 50 inches

Retardant Grid

Prints first produced in 2021 Inkjet prints on Baryta, mounted on Dibond, edition of 3, 9 prints (13 x 20 inches each)

ANDREAS RUTKAUSKAS

www.andreasrutkauskas.com

EDUCATION

Masters of Fine Arts, Photography 2007 Concordia University

Bachelor’s Honours, Bachelor of Fine Arts 2003 University of Manitoba

SELECTED EXHIBITIONS (Solo, unless otherwise noted)

(2022) Living Through Wildfire, Vernon Public Art Gallery, Vernon, British Columbia Fire Season, Island Mountain Arts, Wells, British Columbia. Group exhibition: Amory Abbott, Ana Diab, Kerri Flannigan, Eli Hirtle, Kay Penney, Andreas Rutkauskas, Liz Toohey-Wiese, and Emily Wilson

Triennale Banlieue. Maison des arts de Laval, Quebec. Group exhibition including: Ludovic Boney, Marie Côté, Nicolas Grenier, Marilou Lemmens et Richard Ibghy, Louise Noguchi, Graeme Patterson, Ariane Plante

(2021) Refuge: Refuge: Après l’incendie. Grantham Foundation for the Arts and the Environment, SaintEdmond-de-Grantham, Quebec

After the Fire. The Alternator Centre for Contemporary Art, Kelowna, British Columbia

(2020) Landed. Esplanade Arts & Heritage Centre, Medicine Hat, Alberta. Group exhibition: Anahita Norouzi & Nurgül

Canadian Forces Artists Program. Canadian War Museum, Ottawa. Group exhibition: Philip Cheung, Rosalie, Favell, Aislinn Hunter, Simone Jones, Emmanuelle Léonard

(2019) Apparaître – Disparaître. Fondation Grantham, Quebec. Group exhibition: Lynne Cohen, BGL, Sylvie Readman, Edward Maloney, Sébastien Cliche Cliche, Ana Rewakowicz, Caroline Cloutier, Jocelyne Alloucherie, Pierre Thibault, Adad Hannah Territoires II. La Castiglione, Montreal, Quebec. Group exhibition: Pierre Blache, Gagnon-Forest, Hua Jin, Alain Lefort, Jayce Salloum

Inside/Outside: Images of the LAND. Artexte, Montreal, Quebec. Group exhibition

(2018) Chaos. Rencontres internationales de la photographie en Gaspésie, Québec

Regards Critiques et Nouvelle Photographie: Environnement et Société. Maison de la culture

Claude-Léveillée, Montréal, Québec. Group exhibition: Isabelle Hayeur, Thomas Kneubühler, JeanFrançois Lemire, Valérian Mazataud

(2017) Between Friends. Canadian Photography Institute, National Gallery of Canada, Ottawa, Ontario Documentar, Contar, Mentir. El Museo de la Cancilleria (Mexico City), l’Ex-Convento del Carmen (Guadalajara), and Morelia. Group exhibition. Touring exhibition curated by Mona Hakim and Sylvain Campeau, presented by Occurrence in Montreal

(2016) Out of Office. Yukon Arts Centre, Whitehorse, Yukon. Duo exhibition with Jessica Auer

Shuttered. Workers Arts and Heritage Centre, Hamilton, Ontario. Group exhibition

The Edge of the Earth: Climate Change in Photography and Video. Ryerson Image Centre, Toronto, Ontario. Group exhibition: Edward Burtynsky, Naoya Hatakeyama, Richard Misrach, Robert Rauschenberg, Chris Jordan, Gideon Mendel, Brandi Merolla, Jean-Pierre Aube, Adrien Missika, Evariste Richer Borderline. FOFA Gallery, Montreal, Quebec

(2015) The Post-Photographic Condition. Maison de la culture Frontenac. Part of Le Mois de la Photo à Montréal, curated by Joan Fontcuberta

Field Work. oslo8 contemporary photography, Basel, Switzerland. Group exhibition

Oil! Pierre-François Ouellette Art Contemporain, Montreal. Duo exhibition with Ripley Whiteside

(2014) Encounters at the Edge of the Forest. Gallery 400, Chicago, USA. Group exhibition

Virtually There. Campbell River Art Gallery, British Columbia

(2013) Petrolia. Sporobole Centre en Art Actuel, Sherbrooke, Quebec Petrolia. Judith and Norman Alix Art Gallery, Sarnia, Ontario

Sea to Surface. Evans Contemporary, Peterborough, Ontario. Duo exhibition with Jessica Auer

(2012) Ground Truth. TRUCK Contemporary Art in Calgary, Alberta. Duo exhibition with Karen Zalamea

(2011) The Creation of Evolution. ODD Gallery, Dawson City, Yukon. Group exhibition

Travelogue as Allegory. Royal Institute of Art, Stockholm. Group exhibition

Projet Stanstead ou Comment Traverser la Frontière. Foreman Art Gallery, Lennoxville, Quebec. Group exhibition: Ursula Biemann and Christian Phillip Müller

RESIDENCIES

(2020) Fondation Grantham pour l’art et l’environment, Saint-Edmond-de-Grantham, Quebec (2016-17) Canadian Forces Artists Program, Department of National Defence (2014) Chilkoot Trail, Parks Canada, U.S. National Parks, and The Yukon Art Centre (2011-12) Judith & Norman Alix Art Gallery, Sarnia, Ontario (2009) Visual Arts Thematic Residency: The Wanderer, Banff Centre, Alberta (2009) Gushul Studio, Blairmore, Alberta. Sponsored by the University of Lethbridge

SELECTED GRANTS AND AWARDS

(2021) Conseil des Arts et des Lettres du Quebec : Research & Creation Grant (2019) Research Fellow, Canadian Photography Institute, National Gallery of Canada (2018) Alberta Foundation for the Arts : Visual Arts and New Media Individual Project Grant (2016-17) Canada Council for the Arts : Project Grants to Visual Artists (2016-17) Alberta Foundation for the Arts : Visual Arts and New Media Project Grant (2014-15) Conseil des Arts et des Lettres du Quebec : Research & Creation Grant (2013-15) Canada Council for the Arts : Project Grants to Visual Artists (2010-11) Conseil des arts et des lettres du Quebec : Research & Creation Grant

TEACHING ACTIVITIES

Lecturer Sep. 2018 - present Faculty of Creative and Critical Studies, Okanagan, University of British Columbia

Sessional Instructor Sep. 2017 - Jul. 2018 Visual Arts Department, Alberta College of Art and Design

Photography Facilitator May. 2015 - Sep. 2016 Banff Centre for the Arts, Alberta

Part-time Faculty Sep. 2008 - May. 2015 Studio Arts Department, Concordia University, Quebec

SELECTED INTERVIEWS

(2021) Les feux de forêt en Colombie-Britannique au cœur d’une exposition au Centre-du-Québec. ICI Mauricie – Centre-du-Québec. Radio Canada. Interviewer: Jacob Côte. Broadcast television.

(2021) Landed explores immigration, borders and adaptation. CKUA. Interviewer: Rudy Howell. Broadcast radio.

(2016) Photographer Spent Three Years Documenting The Canada-U.S. Border. Buzzfeed. Interviewer: Ishmael N. Daro. Online.

(2016) Photographer’s eyes opened on epic road trip along Canada-U.S. border. CBC News World. Interviewer: Meagan Fitzpatrick. Online.

(2016) The Invisible Security of Canada’s Seemingly Chill Border. WIRED. Interviewer: Laura Mallonee.

SELECTED PUBLICATIONS

Books:

(2022) Fire Season (2nd edition). Anthology, edited by Amory Abbott and Liz Toohey-Wiese. Vancouver, Canada. (2021) Cahier 02. Exhibition catalogue, with contributions by Geneviève Chevalier, Mark A. Cheetham and Mathieu Bourbonnais. Montréal, Canada: Fondation Grantham pour l’art et l’environnement (2020) Fire Season (1st edition). Anthology, edited by Amory Abbott and Liz Toohey-Wiese. Vancouver, Canada. (2020) Evolving the Forest. Photo essay and academic text titled Wildfire in an Uncertain Time. Editors: Simon Lloyd, Richard Povall & Jeremy Ralph. Kingsbridge, United Kingdom: art.earth. (2020) Landed. Exhibition catalogue, with contribution by Xanthe Isbister. Medicine Hat, Canada: Esplanade Arts & Heritage Centre. (2016) The Edge of the Earth, Climate Change in Photography and Video. Exhibition catalogue, with contributions by T.J. Demos, Benedicte Ramade and Paul Roth London, United Kingdom: Black Dog Publishing.

Magazines & Newspapers:

(2021) Andrey Chernykh. A Line Made by Clearing. On Site Review, (38), 10-13 (2020) Noémie Fortin. Sur les traces du Projet Stanstead ou comment traverser la frontière en temps de pandémie. Vie des Arts, (259), 20-22 (2020) A Postztfotográfia Állapota. FotóMuvészet, 32-42 (2020) Jérôme Delgado. Arts visuels: hors des grands centres, plein de saluts. Le Devoir. (2020) Éric Clément. La Fondation Grantham choisit ses deux premiers boursiers. La Presse. (2018) Paul Gessell. A Long and Lonely Border. Galleries West. (2017) Etienne Hatt. Googlescapes le paysage à l’ère post-photographique / Landscape in the Age of Google Earth. Artpress, 440. (2016) Suzanne Paquet. Perambulating, Wandering, Fleeing. A Few Notes on Mobile Landscapes. Esse Arts + Opinions (2014) Menachem Wecker. Chicago Show Highlights Canadian Artist’s Cross-Border Trek. Canadian Art.