Katherine Pickering: lean, stumble, spill, sway, fold

Katherine Pickering lean, stumble, spill, sway, fold

Katherine Pickering lean, stumble, spill, sway, fold Vernon Public Art Gallery January 5 - March 8, 2017

Vernon Public Art Gallery 3228 - 31st Avenue, Vernon BC, V1T 2H3 www.vernonpublicartgallery.com 250.545.3173

Catalogue of an exhibition held at the Vernon Public Art Gallery 3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada January 5 - March 8, 2017 Production: Vernon Public Art Gallery Editor: Lubos Culen Layout and graphic design: Vernon Public Art Gallery Copy editing: Kelsie Balehowsky Cover image: Untitled, (spill - green) 2016, acrylic on canvas, 35 x 28 x 17 inches Printing: Get Colour Copies, Vernon, British Columbia, Canada ISBN 978-1-927407-31-8 Copyright Š 2017, 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 Facsimile: 250.545.9096 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:

BRITISH COLUMBIA ARTS COUNCIL Supported by the Province of British Columbia

table of CONTENTS

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Foreword · Dauna Kennedy

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Introduction · Lubos Culen

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Composition by Association: The Recent Sculpture Paintings of Katherine Pickering · Michael Turner

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Artist Statement · Katherine Pickering

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Works in the Exhibition

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Katherine Pickering · Selected Biography

Executive Director’s Foreword

lean, stumble, spill, sway, fold is the latest solo exhibition by Vernon, BC based Katherine Pickering. A MFA graduate from Concordia University, Pickering has exhibited internationally while lecturing at UBC Okanagan’s Faculty of Critical and Creative Studies.

We are pleased to start our 2017 schedule with such a vibrant and interesting exhibition featuring Pickering’s unique approach in presenting her works on canvas.

The following publication is a glimpse into the exhibition and Pickering’s approach to her work. Accompanying the photographs in this catalogue is a critical essay by Vancouver based guest writer, Michael Turner and an introductory essay by VPAG Curator, Lubos Culen. Aside from Turner’s diverse artistic background, his critical writings have been published in Modern Painters, Mousse, Canadian Art and e-flux. Thank you to each of you for your contributions to this publication and to furthering the public’s understanding of Pickering’s work.

I’d like to thank the staff of the VPAG for their work associated with this exhibition. I’d also like to acknowledge our continued support from the BC Arts Council, the Regional District of the North Okanagan, and the Province of BC which enables us to produce quality exhibitions and publications such as this for our audience. Local support from our board of directors, members, donors and community supporters is also instrumental in our overall success and very much appreciated.

Dauna Kennedy Grant Executive Director Vernon Public Art Gallery

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White Rock (Dark Spaces Series), 2009, oil on canvas, 12 x 12 inches Photo: Katherine Pickering

introduction · katherine pickering: lean, stumble, spill, sway, fold

Katherine Pickering’s exhibition titled lean, stumble, spill, sway, fold at the Vernon Public Art Gallery consists of shaped paintings and three-dimensional structures built entirely from canvas. Despite the fact that the works start as two-dimensional paintings at the beginning, the finished paintings are cut and shaped into three-dimensional sculptures.

One can argue that these paintings / sculptures transcend both disciplines; painting is liberated from its rectangular format and sculpture is not defined solely by the physicality of media, but it carries an additional meaning encapsulated in the painting on canvas from which it was created.

Pickering’s current work in the exhibition is a continuation of her conceptual research and experimentation when she was based in Montréal from 2006 until 2009, where she produced mostly abstract images based on landscape forms. At the same time, Pickering was researching materials referencing ‘darkness’ and its influence on a person’s vision and states of being. Pickering’s research into psychological states and visual perception induced by dark environments were informed by watching movies and reading about darkness. As she points out, dark places are “… where we tend to locate our imaginations”.1 Pickering started to produce paintings referencing dark spaces with a limited light source which resulted in pictorial ambiguities of the respective positions of positive and negative spaces. Her 2009 painting White Rock (Dark Spaces Series) exemplifies these visual qualities; we can perceive a white shape in the painting as an object floating on a dark background, but the visual organization of the pictorial space can in turn reverse resulting in a perception of an illuminated opening, a portal into a space seen through a dark screen.

The visual simplicity of this painting also affirms the significance of Pickering’s approach to painting: the images she produces are abstract in appearance, yet they reference spaces and physical phenomena of light and its absence, darkness.

After returning from Montréal to the Okanagan, Pickering continued her research and conducted walks and car drives at night in what she references as ‘natural darkness’ in order to gather photographic images that would become source imagery for her paintings. She started to be more interested in situations where it is hard to see things and would then

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Portal, 2011, oil on canvas, 12 x 20 inches Photo: Katherine Pickering

relate it back to the abstraction. Gradually, the shape and a concept of a ‘portal’ emerged; an ambiguous opening created by the beam of light offering limited visual information surrounded by the ambiguity of objects not illuminated by a beam of light.2 The night walks with a flashlight and resulting paintings led Pickering to further explore the possibilities of creating paintings where some visual information was revealed and some obstructed by a monochrome layer of paint. This body of work resulted in abstracted human head-like images/portraits which started as an edge-to-edge colour field painting.

The final monochrome layer of paint defined the head-like shapes with all of the visual information of the colour field painting while obscuring other layers on the periphery of each painting.

The methodology of isolating some shapes by painting out others in a painting and thus defining negative and positive spaces led Pickering to her current work which incorporates painting, physically cutting out shapes from canvases and eventually shaping them into sculptures. After many experimentations with portrait-like paintings, Pickering started to immerse finished paintings in hot water and took advantage of their flexibility. She started to use them as a sculptural material and shaped them into three-dimensional structures.

Pickering gradually actualized a new venue in her methodology and approach to painting and started physically cutting shapes out of painted canvases.

Pickering’s new process and direction of constructing ‘painting’ was still based on a combination of planned delivery, but allowed chance and accident to be a part of the process. The canvas cut outs were organically shaped and as such they stood contrary to the presumption about the rectangular format of typical painting. In order to map out the possibilities of her new direction, Pickering produced several paper ‘models’ just to realize that the works have sculptural possibilities and they would never be reproduced as paintings.3 This new process-oriented direction allowed Pickering to produce ‘paintings’ which transform the flatness of a painting into a three-dimensional sculptural object by repeated shaping and folding after immersing the pieces in hot water.

While pursuing the new direction of manipulating shaped canvases into three-dimensional objects, Pickering uses colour which reflects the quality of the illuminated site she photographed in dark environments. When cutting out the shapes from the painted canvas, she is guided by the fields of colour and shapes formed during her initial painting

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Untitled (Head-Like Shape #3), 2012, oil on canvas, 36 x 30 inches Photo: Katherine Pickering

Folded #1, 2011, tape on paper, pushpins, 40 x 34 inches Photo: Katherine Pickering

stage of the work development. Despite the fact that the shaped paintings/sculptures may seem visually removed from the previous work, there are connective tissues underlying previous and current bodies of work. When asked whether the paintings’ source images were still based on her ‘night walks’ photographs, Pickering replied: “These paintings definitely come out of the night walks, and while I do take a lot of photographs during these walks, and have based some paintings off these photos, my current work is not using these images as source images in terms of copying them in any way. It would be more accurate to say that this work is based off the experience of seeing the landscape through pools of light and seeing 3D objects simplified to shapes.”4 Pickering’s experimental work, attitudes, and her studio practice is in many ways aligned with several contemporary and historical artists who work without confines of definitions about artistic disciplines. Pickering accredits the works of Katharina Grosse who works off canvas and whose work is produced directly on the walls creating a graffiti-like colour field paintings. Pickering also references works of John Chamberlain once she started to develop the sculptural ‘paintings’, specifically his ability to recycle non-artistic materials into art forms. She also mentions Gerhard Richter and his paintings on photographs which have a sculptural quality of paint in space. Pickering points to the photo-based work of Wolfgang Tillmans and his abstract photographs based mostly in colour and material and their sculptural qualities.5 Pickering is acutely aware of the visitors’ interaction with the displayed pieces when planning the layout of the exhibition. In addition to the given physical characteristics of the exhibition space and the lighting, Pickering is always concerned about how the visitors experience the space with artifacts as opposed to just viewing an exhibition. In this sense Pickering’s exhibition is more of an installation as opposed to just a ‘display’ of artifacts.

The works of art are displayed without labels which in turn liberates the viewers from the mental ‘understanding’ of the installation and the objects themselves.

Katherine Pickering’s studio practice has always been focused on painting and a search for inventive ways of producing works of art that contribute to the contemporary discourse about the nature of painting and its propensity to communicate meaning. While her

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works are abstract in appearance, they conceptually reference visual phenomena and the psychological dimension of the human condition. In this sense, one can view Pickering’s work as an extension of existentialist ideas by providing the viewer the physicality of space together with the objects of art in order to trigger associations about the possible meaning encapsulated in the work.

Lubos Culen Curator Vernon Public Art Gallery

Endnotes: Conversation with Lubos Culen, July 15, 2016 Ibid.

3 Ibid.

4 Katherine Pickering’s email to Lubos Culen, November 11, 2016 5 Conversation with Lubos Culen, July 15, 2016 1 2

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Composition by Association: The Recent Sculpture Paintings of Katherine Pickering Michael Turner While preparing to write a text on painting I arrange my study to parallel what I have seen of painters’ studios, with my source materials lined up beside me like tubes of paint and a desktop surface that is not so much primed but wiped clean of bread crumbs and coffee rings. There, I think as I stare into the glare of my pine laminate “canvas” -- almost there. But where years ago I would place a blotter on that canvas, with a fresh piece of construction paper tucked into its puffy leather corners, then a typewriter on top of that, now it is a MacBook, whose lid I flip up and, as Katherine Pickering does when working late in her studio, select a podcast to both ignore and keep me company while I look through my books and print-outs, scanning their pages before “cutting” from these scans a few relevant passages, which I paste into a Word file, hoping something will emanate from them, much like tonight’s podcast on the kombucha phenomenon, how this fermented drink requires a starter, or a “mother”, as it is called, to keep me from sitting there, staring.

One of the books lined up for this text is not Frank O’Hara’s Art Chronicles:1954-1966, as I thought I had pulled from my shelf in advance of this writing, but a collection of his poems, one of which, “Why I Am Not a Painter”, I am familiar with but read again for fun.

O’Hara visits the studio of Michael Goldberg, who is starting a painting. O’Hara says, “You have SARDINES in it,” and Goldberg says, “Yes, it needed something there.” When O’Hara next visits Goldberg the painting is finished, and O’Hara remarks, “Where’s SARDINES?” and Goldberg replies, “It was too much.” Time passes. O’Hara finishes a series of poems called “Oranges” without mentioning the word. “Why I Am Not a Painter” ends with the lines “And one day in a gallery/ I see Mike’s painting, called SARDINES.” But Goldberg’s painting is not what comes to mind while reading of O’Hara’s poem. This time it is John Ashbery’s “The Instruction Manual”, which, like “Why I Am Not a Painter”, is canonized in Donald Allen’s 1960 New American Poetry anthology. “The Instruction Manual” begins with the young poet working as a technical writer in New York City. When

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not labouring over an instruction manual “on the uses of a new metal” he is staring out his office window thinking of Guadalajara, a city he has never visited but writes a poem about nonetheless -- “mothered”, as it were, by an instruction manual “that I wish I did not have to write.” The moral of this poem? Be thankful what you wish for.

While attending UBC Okanagan’s Summer Indigenous Intensive this past summer I visited Katherine’s on-campus studio to look at her recent paintings and to talk with her about her practice. In advance of my visit I read a conference text by her UBCO colleague Gary Pearson, who introduces Katherine as a Vernon, B.C. resident who studied at UBCO and later at Concordia in Montreal, where she received her MFA. Gary writes of Katherine’s original focus on landscape and the attention she paid to “transitory conditions of climate, colour and light.”1 Abstracted landscape painting was for the longest time the dominant style in British Columbia, from Emily Carr’s forest forays of the 1930s through Jack Shadbolt’s vibrant deforestations to Gordon Smith who, at 97, continues to find inspiration in life’s intricate snow-dusted brambles. Like some maturing artists, Katherine is her own “transitory condition,” and rather than refine her voice, perfect it, she has expanded it -- in this instance, by “alternating between the flat picture plane and the sculptural object.”2 It is these sculpture paintings that I was eager to see as I drove to Katherine’s studio from my trailer at Six Mile one golden morning in late-July, the radio slowly losing its signal until the hitchhiker I had picked up at Little Kingdom -- a painter himself, he kept telling me -- plugged in his iPod and perfumed the car with Miles Davis’s Kind of Blue (1959), which he spoke of as if it had just been released, in the way some young people do when filled with enthusiasm for what’s new to them, how great a player Miles is. And though I agreed with him about Miles’s playing, I added that as great as Miles is, so too is his producer, Teo Macero, who encouraged Miles to play whatever and whenever he wanted, and who recorded everything, cataloguing it, then cutting up the tape with a razor blade to make a track, or to add to one, sometimes two or three or four sessions later. This is what Miles Davis and Teo Macero were doing when Clement Greenberg was tracing abstract expressionism from Cézanne’s explorations of flatness and colour for an essay he would publish the following year, entitled “Modernist Painting”. Same too with the meticulously assembled digital podcasts that many of us listen to today, like Radiolab, with its spiltsecond contextual annotations. But all this young painter -- this hitchhiker -- wanted to talk about was Miles. Miles, Miles, Miles, Miles, Miles.

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Katherine’s studio was dark when I entered it, a darkness foreshadowed by Gary’s essay, where he spoke of Katherine’s “investigations into perception and light deprivation, specifically through observation of the phenomenal world under night time conditions.”3 Which is what Katherine had happening in her studio that day, with her windows blocked out and a bank of ceiling spots casting what felt like pools of street light. And floating on these “pools” were her sculpture paintings: some of them, like psychedelic lily pads, still in their preliminary flat state; others raised and held in place not by some invisible means of support but by the medium of their own making; still others on plinths, and in some cases, spilling over top of them. I asked Katherine how she made these works and it was clear from her description that she is a materials-oriented artist who does not simply begin with a canvas surface but a 100% cotton 12-ounce duck canvas surface, which she tells me has a tighter weave. From there she applies her acrylic medium through a variety of processes that include pouring, brushing and scraping. Once these applications suggest a shape, or better yet, a feeling, she cuts them out, drenches them in water and models them as a sculptor would.

Each of the three finished pieces on display in Katherine’s studio that day emanated an energy that met my criteria for an artwork that succeeds on the terms it sets out for itself -- that overtonal quality where the work is greater than the sum of its parts. And by parts I do not mean material and gallery-support elements, but gestures too -- in this instance, the artist’s modelling of the material, the shape it took after it was decided that it had arrived at something in its flat state and was ready to enter the third-dimension. For it is here, in this raised state, that the overtonal quality of the work is supported not only by the presence of the fold but by the dark recesses its folds promote. These recesses, with their lightless interiors, are in fact positive or generative spaces in the way Luce Irigaray speaks of the fold in contrast to the phallocentricism of psychoanalysts like Sigmund Freud and Jacques Lacan, a fold that, as Gilles Deleuze has theorized, continues to unfold, both in life and in its landscapes (like that of the unfolding Okanagan Valley), but also in the imagination that underwrites life and land, a void space that invites more than it repels.

A couple months after my visit to Katherine’s studio I attended a talk by artist Liz Magor at the UBCO campus. Among those lucky to grab a seat was Katherine, who found one in the first row just before the lights went down. Those familiar with Liz’s work will recall her penchant for tucking everyday objects (often transformative elements like cigarettes

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Liz Magor, Leather (4 cig), 2008, Polymerized gypsum, cigarettes, 6 5/8 x 16 7/8 x 24 inches (17 x 43 x 61 cm) Collection of Vancouver Art Gallery.

Image courtesy of the artist and the Henry Art Gallery, Seattle, WA. Photo: SITE Photography

and booze) into tree trunks and behind stacks of folded towels. Another variant of these works is not what is tucked into these spaces but what is suggested by them. One of Liz’s strongest material propositions is found in her latex clothing molds. In talking about these works, Liz told the audience that commercial molding companies do not generally mold objects with folds in them because a) it is cost prohibitive and b) the market, for whatever reason, does not demand them. As a result, we are not used to seeing these objects; but when we do, such as Liz’s super-realistic molded leather jacket, it is the jacket’s folds that hold us. Liz talks about this in sculptural terms as a union of inside and outside, an uncanny feeling that, when she mentioned it in her talk, was magnified further when I looked to where Katherine was sitting and at that same instance Katherine, who did not know I was in the back, turned her head and looked at what could have been me.

Endnotes: Gary Pearson, “Reading Artistic Models and Cultural Codes in Contemporary Sculpture,” 4th International Conference on Artistic and Arts-Based Research, School of Arts, Design and Architecture, Aalto University, Helsinki, Finland, June 28-30, 2016, p. 13 2 Ibid.

3 Ibid.

1

Michael Turner is a Vancouver-based writer of fiction, criticism and song. His books include Hard Core Logo, The Pornographer’s Poem and 8x10. His art criticism has appeared in magazines and journals such as Modern Painters, Mousse, Canadian Art and e-flux.

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Katherine Pickering: artist statement

For the last few years I’ve been spending a lot of time in dark places. I take walks at night and in my studio I make work that explores the experience of looking at darkness.

We don’t always use our vision in creative ways and this can limit how we perceive the world around us. My recent work is, in part, an attempt to investigate - and indeed challenge - these limits.

At night, a lack of vision is made up for through a heightening of touch, hearing and kinaesthetic perception (the awareness of our bodies in space). Darkness often brings with it ambiguity, connotation and subjective judgement; it also has the potential to connect us to our imaginations and to our bodies in ways not available to us during the day. Attention to darkness requires a willingness to engage with uncertainty - a similar engagement is required when looking at abstract painting.

With abstraction, scale, colour and surface are often used to describe sound, movement and touch. In that sense, the material qualities of paint approximate a narrative apparatus, like that found in realism. In my recent work, the narrative of the painting is reversed: instead of the stretched canvas supplying the paint its support, it is the paint that holds the canvas in place and, as such, allows it its narrative.

November 2016

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works in the exhibition

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Installation view, FINA Gallery, UBC Okanagan Photo: Yuri Akuney, Digital Perfections

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Untitled (blow - blue), 2016, acrylic on canvas and Dibond, 31.5 x 17 inches

Untitled (listen - purple), 2016, acrylic on canvas and Dibond, 26 x 14 inches

Untitled (cup - pink), 2016, acrylic on canvas and Dibond, 32 x 13 inches 28

Untitled (curl - red), 2016, acrylic on canvas and Dibond, 30 x 12 inches 29

Untitled (kneel - purple), 2016, acrylic on canvas and Dibond, 18.5 x 23 inches

Untitled (rise - white), 2016, acrylic on canvas and Dibond, 24,5 x 17.5 inches

Untitled (ember - red), 2016, acrylic on canvas and Dibond, 22 x 16.5 inches

Untitled (window - blue), 2016, acrylic on canvas and Dibond, 13.5 x 15.5 inches

Untitled (thumb - orange), 2016, acrylic on canvas and Dibond, 18 x 13 inches 34

Untitled (light - green), 2016, acrylic on canvas and Dibond, 14 x 13 inches 35

Untitled (burn - orange), 2016, acrylic on canvas and Dibond, 23.5 x 23 x 10 inches

Untitled (curve - purple), 2016, acrylic on canvas and Dibond, 23.5 x 21 x 6 inches

Untitled (direct - grey), 2016, acrylic on canvas and Dibond, 46 x 17 inches

Untitled (stone - grey), 2016, acrylic on canvas and Dibond, 29 x 17.5 inches

Untitled (drip - purple), 2016, acrylic on canvas and Dibond, 33 x 12 inches

Untitled (portrait - grey), 2016, acrylic on canvas and Dibond, 29 x 17 x 6 inches

Untitled (open - green), 2016, acrylic on canvas and Dibond, 44.5 x 32 inches

Untitled (breath - purple), 2016, acrylic on canvas and Dibond, 44 x 25 inches

Untitled (float - purple), 2016, acrylic on canvas and Dibond, 44 x 25 inches

Untitled (stand - green), 2016, acrylic on canvas and Dibond, 68 x 20.5 inches

Untitled (rock - blue), 2016, acrylic on canvas and Dibond, 37 x 36 inches

Untitled (curve - green), 2016, acrylic on canvas and Dibond, 58 x 45 inches

Untitled (leaning left - green), 2016, acrylic on canvas, 12 x 6 x 6 inches

Untitled (fall - orange), 2016, acrylic on canvas, 38 x 28 x 14 inches

Untitled (spill - green), 2016, acrylic on canvas, 35 x 28 x 17 inches

Untitled (delight - purple), 2016, acrylic on canvas, 32 x 32 x 12 inches

Untitled (pause - orange), 2016, acrylic on canvas, 30 x 23 x 14 inches

Untitled (surface - blue), 2016, acrylic on canvas, 38 x 28 x 14 inches

Untitled (skin - blue), 2016, acrylic on canvas, 12 x 13 x 7 inches

Untitled (sway - blue), 2016, acrylic on canvas, 8 x 12 x 7 inches

Untitled (map - green), 2016, acrylic on canvas, 40 x 30 x 12 inches

Untitled (peek - pink), 2016, acrylic on canvas, 7 x 13 x 7 inches

Installation views, FINA Gallery, UBC Okanagan Photo: Yuri Akuney, Digital Perfections

katherine pickering

curriculum vitae

Education

2009 2006

2003

2001 2000

MFA, Studio Arts, Faculty of Graduate Studies, Concordia University, Montreal, QC BFA, Visual Arts, Faculty of Creative and Critical Studies, University of British Columbia Okanagan, Kelowna, BC BA, Major in Anthropology, Faculty of Arts, University of British Columbia, Vancouver BC University of Otago, Dunedin, New Zealand (Go Global Exchange, UBC) Diploma of Fine Arts, Faculty of Arts and Education, Okanagan University College, Kelowna, BC

Solo & Two Person Exhibitions

2017

2013

2012

2011

2009

(Upcoming) Kootenay Gallery of Art, Castlegar, BC (Upcoming) Artcite Inc., Windsor ON (Two Person Exhibition with Antonietta Grassi) A Head-Like Shape, Ashpa Naira Gallery, Vernon, BC Parts of a Waterfall as Seen at Night, Populus Tremula Gallery, Akureyri, Iceland The Limits of Seeing (Two Person Exhibition with Katie Brennan), Lake Country Art Gallery, Lake Country, BC Folded, UBC Okanagan FINA Gallery, Kelowna, BC Hinge, Summerland Public Art Gallery, Summerland, BC Ice Sphinx, Alternator Centre for Contemporary Art, Window Gallery, Kelowna, BC

Group Exhibitions

2016 Then and Now, Lake Country Art Gallery, Lake Country, BC 2011-16 Faculty Exhibition, UBC Okanagan FINA Gallery, Kelowna, BC 2015 Concurrent, Winsor Gallery, Vancouver, BC

Bus From Guadalajara, UBC Okanagan FINA Gallery, Kelowna, BC 2014 El Ă rbol de la Garceta, Ajijic Cultural Centre, Mexico

Bon Bon Roche, Ajijic Cultural Centre, Mexico 2012 Winter Show, Ashpa Naira Gallery, Vernon, BC

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2012 Okanicon Iconagan, Headbones Gallery, Vernon, BC 2011 Objects Seen, Studio Beluga, Montreal, QC 2010 Gittice, Simotas House, Istanbul, Turkey

Residencies

2016 Vermont Studio Center, Johnson, Vermont, USA 2010-16 Bus From Guadalajara Artist in Residence Project Ajijic, Jalisco, Mexico 2013 Vermont Studio Center, Johnson, Vermont, USA

Akureyri Artists Studio, Akureyri, Iceland 2011 Toni Onley Artists’ Project, Island Mountain Arts, Wells, BC

Terra Nova National Park Artist in Residence Program (Administered by The Roms,

St. John’s, Newfoundland)

Vermont Studio Center, Johnson, Vermont, USA

Studio Beluga, Montreal, QC 2010 AmongOtherThings, Bolu, Turkey 2008 Figure in a Mountain Landscape Thematic Residency, Banff Centre, Banff, AB Teaching

2011-17 Lecturer, Faculty of Creative and Critical Studies, Department of Creative Studies,

University of British Columbia Okanagan, Kelowna, BC 2008-09 Instructor, Faculty of Fine Arts, Department of Studio Arts, Concordia University, Montreal QC Artist Talks & Lectures

2016 - Vermont Studio Center, Johnson, Vermont, USA 2015 - Moderator, Quick Talks – Reading Pictures, Kelowna Art Gallery

- Moderator, Quick Talks - What is the role of drawing in the post-skills, post-post-

modern art world we inhabit? Kelowna Art Gallery

- Night Vision: Darkness and Contemporary Abstract Painting, Imaginaire du Nord

International Research Group, The Dynamics of Darkness in the North, Reykavik,

Iceland 2014 - Peer-to-Peer Artist in Residence Projects, Ethnocultural Art Histories Research Group, Cultural Convergences II: Alliances, Concordia University, Montreal, QC

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2013 - Lightning Talks: 6 Artists - 5 Minute Talks and Discussion, Kelowna Art Gallery

- Painters Talking about Painting, Lake Country Art Gallery panel discussion, Lake Country, BC

- Vermont Studio Center, Johnson, USA 2012 - Dark Spaces, FCCS Research Seminar Series, UBC Okanagan - Dark Spaces, Conversations on Contemporary Art Speaker Series, Kelowna

Art Gallery

- Creative and Critical Forum, UBC Okanagan

- Art in Canada 1970 to the Present, UBC Okanagan 2011 - Summerland Public Art Gallery, Summerland, BC

- Island Mountain Arts, Wells, BC

- Terra Nova National Park, Newfoundland

- Vermont Studio Center, Johnson, Vermont, USA 2010 - AmongOtherThings, Artist in Residence Program, Bolu, Turkey 2008 - Figure in a Mountain Landscape Thematic Residency, Banff Centre, Banff, AB Grants, Honours and Awards

2016

2013 2011

2010 2008

2007

2006

Sessional Research Support Fund, Faculty of Creative and Critical Studies, UBC Okanagan Fellowship, Vermont Studio Centre Island Mountain Arts Scholarship, Toni Onley Artists’ Project for Professional and Emerging Artists Artist Grant, Vermont Studio Centre Senior Award, British Columbia Arts Council Barbara and John E. Poole Scholarship, The Banff Centre J. W. McConnell Memorial Graduate Fellowship, Concordia University Senior Scholarship Award, British Columbia Arts Council Helen Pitt Graduating Year Award, University of British Columbia Okanagan Faculty of Creative and Critical Studies Purchase Award, University of British Columbia Okanagan 2005 TREK Excellence Scholarship, University of British Columbia 2001 Education Abroad Award, University of British Columbia 2000 Hugh M. Brock Education Abroad Scholarship, University of British Columbia

International Student Grant, British Columbia Centre for International Education

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Texts

2016

2013

2012

2009

Pearson, Gary. Reading Artistic Models and Cultural Codes in Contemporary Sculpture, Art & Research Conference, Helsinki.

Robert Belton. Then and Now. Lake Country Art Gallery Brennan, Katie. A Head-Like Shape. Exhibition catalogue, Ashpa Naira Gallery, Vernon, BC Oaks, Julie. Okanicon Iconagan. Exhibition catalogue, Headbones Gallery, Vernon, BC Smith, Pete. The Limits of Seeing. Exhibition catalogue, Lake Country Art Gallery Rosamond, Emily. Autopoesis. Exhibition text, Alternator Centre for Contemporary Art 2008 Pashak, Natasha. Missing the Trees for the Forest. Exhibition catalogue, Espace Artefacto, Montreal, QC

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