Briar Craig, Ericka Walker, and Mark Bovey: pro/con/textual by Vernon Public Art Gallery

pro/con/textual

briar craig â&#x20AC;˘ ericka walker â&#x20AC;˘ Mark Bovey vernon public art gallery

briar craig, ericka walker, and mark bovey

pro/con/textual

Vernon Public Art Gallery July 30 - October 8, 2015

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 July 30 - October 8, 2015 Production: Vernon Public Art Gallery Editor: Lubos Culen Layout and graphic design: Vernon Public Art Gallery Photography: Briar Craig, Ericka Walker, and Mark Bovey Guest contributor: Carolyn MacHardy Text proofing: Natasha Gros Cover image: Briar Craig: Early Dada Compost (detail), 2014, ultra-violet screen print, 75 x 50cm Printing: Get Smarter Copies, Vernon, British Columbia, Canada ISBN 978-1-927407-18-9 Copyright ÂŠ 2015, 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 BCâ&#x20AC;&#x2122;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

Foreword · by Dauna Kennedy Grant

pro/con/textual - Introduction · by Lubos Culen

1 + 1 + 1 = Bovey.Craig.Walker · by Carolyn MacHardy

Briar Craig · Statement, Works, and CV

Ericka Walker · Statement, Works, and CV

Mark Bovey · Statement, Works, and CV

List of Works in the Exhibition

Foreword Briar Craig | Ericka Walker | Mark Bovey pro/con/textual, is an exploration of printmaking by three well known artists, educators and professors. Briar Craig is the Associate Professor of Printmaking at the University of British Columbia Okanagan Campus, Ericka Walker an Assistant Professor at the Nova Scotia College of Art and Design University (NSCAD), and Mark Bovey is an Associate Professor of Printmaking at NSCAD University. This exhibition features medium to large scale prints by all artists as well as a multimedia installation. The methods of creation vary from traditional to contemporary. A common thread throughout their work is the use of text within their images. The work is thought provoking and encourages dialogue as its meaning tends to be portrayed as either incomplete or vague, challenging the viewer to look beyond the image in front of them to complete or define what they are viewing. We hope this catalogue will provide you with an insight into the thought processes of the artists as they approach their printmaking practices and provides you with alternate views of engagement with the exhibition. We are pleased to have Carolyn MacHardy participate in this publication as our guest writer. MacHardy, an Associate Professor of Art History at UBCO, has contributed essays to a number of catalogues featuring artists from throughout the Okanagan. MacHardy has also published in the Journal of Canadian Art History. I would like to thank Lubos Culen, our Curator, for his work on this exhibition as well as his introductory essay which is included in this publication. Thank you also to Amber Powell, our Technician, and Laura Ashton, our Marketing and Public Programming Coordinator for their contributions to this project as well. Thank you to the BC Arts Council, the Regional District of the North Okanagan, and the Province of BC for their ongoing support of the Vernon Public Art Gallery, enabling us to produce quality exhibitions and publications such as this for our audience. Local support from our members, donors, and community supporters is also instrumental in our overall success. Dauna Kennedy Grant Executive Director Vernon Public Art Gallery

introduction: pro/con/textual

The exhibition titled pro/con/textual brings together works of three Canadian artists working in print media, Briar Craig, Ericka Walker, and Mark Bovey. Despite the fact that all three artists work in a variety of print-based processes and subject matter, there are some underlying similarities in their individual conceptual and aesthetic strategies. All three artists use text in their work in a unique way, they address various levels and sources of histories concerning their subject matter and processes, and despite the lack of conclusive and clear narratives, all three artists’ work contain visual elements with strong associative qualities based in pluralistic narratives. Briar Craig’s references to our fairly recent history are realized in fragmented textual elements placed in his prints which used old National Geographic covers as a source of imagery which he further manipulates by erasure, then a further digital manipulation and subsequent assembly. Similarly, some of the prints in this exhibition contain a history of manipulation by hand in the initial stages of the print development, with a subsequent digitized manipulation and imposition of text elements. While Craig’s prints are carefully composed, his methodology often involves working with the arbitrary systems of chance, a conceptual strategy employed by Dada artists in the past. Ericka Walker’s allusions to history are realized in a particular visual aesthetics appropriated from the war propaganda posters which employed images and text. Walker exploits this dual relationship in order to subvert the original intent of a proposed statement and highlight the dystopian nature of propaganda as it relates to our present day societal existence. Just like Craig and Bovey who collect used, old, and many times discarded items as visual references for their image making, Walker’s research includes images of old posters and artifacts which were instrumental in shaping our current cultural being and values. Mark Bovey references the history of human endeavours through the process of multiple layering of images, symbols, and text. In most of his work, Bovey makes references to the original context of facts or possible narratives, which are in turn fragmented and re-assembled into visual entities that trigger associations of new possible context(s). His imagery often references text and visual element fragments from past eras that are reconstituted into compressed layers that conceptually function as time capsules of a sort. Despite the cryptic nature of Bovey’s discordant imagery, the possible references to encapsulated meaning are interpreted in a pluralistic configuration. The subject matter in all three artists’ artwork is quite different and specific. Craig’s images in their conceptual strategy rely on a system of a chance, yet they are composed with a careful consideration

to the visual impact. The additional incorporation of text elements create new layers of intrinsic and implied meaning. In this sense, Craig’s images offer a modality of new connotations often based on an intentional linking of random signifiers. This orchestration of text elements generate new possible informative, sometime prescriptive, and other times autonomous neologisms which are at times humorous but also poignant and serious. Similarly to Craig’s dissection and reordering of visual and text elements, Bovey’s strategies of manipulating the subject matter rely on a vast field of visual references he incorporates in his work. In contrast to Craig’s intensely reserved yet meaning laden images, Bovey’s work combine overt visual references characterized by personal, individual, historic, and symbolic significations in order to activate the viewers’ visual associations. His images provide the viewer with non-linear pluralistic visual clues albeit the otherwise cryptic conglomerations of visual and text elements. In some ways, the nature of Walker’s subject matter is not dissimilar to Craig’s. She uses well defined shapes based on a realistic portrayal of pictorial elements combined together with text. In contrast to Craig’s or Bovey’s use of text, Walker uses short carefully composed slogan-like phrases or, in some instances, just a single word. While her drawn visual elements are clearly defined, the meaning of the text elements is often ambiguous. Walker creates a textual proposition which is in turn subverted by an image and an implied antithetical meaning. This dislocation of the text and visual elements invoke the feeling of a dystopian overlay of social existence. The print-based processes in the work of these three artists employ similar strategies despite the different media they use. Both Craig and Bovey use digital manipulation of photo-based images in order to create individual matrixes for every stage of the printing processes. Walker uses the lithographic process to create her images. Just like screen printing, lithography was originally used for printing text and images, but later became a medium for producing artwork. Screen printing was originally used for commercial purposes, but just like lithography, it became a popular medium for artistic expression. Bovey’s selection of prints for this exhibition display a combination of media which include lithography and screen printing, etching, digital printing, and multimedia installation. The works in pro/con/textual have underlying similarities. The use of text and images by each artist create conceptual propositions removed from their original context and imply a new possible reality. The images do not lend themselves for a quick prima facie semiotic reading. Instead, the images are fairly cryptic and have a propensity to reveal implied meaning over a period of time

to a viewer willing to be engaged. The complex contemplative nature of individual works keeps the meaning open-ended and with a propensity of modality of interpretation. While Craig’s intense and almost austere prints are charged with implications of individual and societal existence, Walker’s work also subverts the established social norms and expectations. Together with Bovey’s symbolic references which footmark the social subconscious, the works of all three artists examine the human condition and the existential nature of individual experiences. In their individual nature, the works are pluralistic with layers of significations which are activated by a willing viewer. Lubos Culen Curator Vernon Public Art Gallery

1 + 1 + 1 = Bovey.Craig.Walker by Carolyn MacHardy pro/con/textual, with its nod to the Socratic method and its play on pro and con, and protext and context, explores the centrality of text in the critical practices of three contemporary printmakers. Mark Bovey, Briar Craig and Ericka Walker draw from various printed materials, many of them associated with the rich formal and expressive languages of the early Modern period, a time that saw text expand its reach through posters, magazines, billboards, flyers, books, cigarette packages and so on. Each of the three artists incorporates text for diverse reasons: Bovey uses it to moor his wide-ranging investigation into those inherited histories that exert influence on the contemporary world; Craig, who describes himself more as an editor, explicitly references the role of the viewer in drawing meaning from his large text-based pieces; and Ericka Walker pairs text with image to explore how specific genres of textual practices from the late 19th and early 20th centuries, such as propaganda and advertising, shape our present. All three deploy postmodernist representational strategies including appropriation, rupture and the fragmentation of the subject, in addition to the critical use of text. Seen together in this exhibition, and in dialogue with each other, the works offer a refreshing riposte to laments about the visual over-stimulation of the contemporary condition: striking an optimistic note, they suggest that despite living in a world glutted with text and images, a viewer - that perceiving, embodied looker - can read across and through the art to create meaning. Briar Craig’s work is unabashedly playful yet deeply serious, and in shaping his practice, he acknowledges the influence of Roland Barthes’s influential view that it is the viewer and not the author of the work who creates meaning. His work has close ties to the Dada movement of the early 20th century through his interest in random poetry, the layering of imagery from disparate sources, and his admiration for Tristan Tzara’s lively tract on “How to Make a Dadaist poem” (Take a newspaper. Take a pair of scissors. . . Then take out the scraps one after the other in the order in which they left the bag. )1 While this engagement with Dada continues to permeate works such as Sad Ego Rift and Early Dada Compost, other works suggest a more critical, less serendipitous approach to the written word and its possibilities of critical wordplay. One such group is the series that draws on covers of the National Geographic, a magazine whose ubiquitous presence in art studios across the country has helped many students – and Craig himself - understand the layering principle in collage: cut out one of the luscious, colour-saturated images and another appears from underneath, and so it goes in a continuous cycle of ephemeral collages, good only until an image is removed to reveal yet others underneath it. Craig’s National Geographic works are part homage to the magazine: the background support for each work includes the title, date and issue number, plus a brief, staccato list of content crawling vertically up the spine in the official NationalGeographic script. Craig then builds his text by placing layers on top of this surface with

statements like “We Are Our Fear” overwriting the original cover and in turn being subjected to the same process of erasure and overwriting. The two scripts seem at odds with each other: the palimpsest created by layer upon layer of Craig’s starkly beautiful Helvetica text contrasts with the clipped words on the spine: “Middle East”, “Arab World”, “Wild Foods” and so on. Is this the protext (i.e. the “text which provides the context for a passage that follows”2) to Craig’s text? And if so, what is the context? National Geographic, once celebrated for its iconic images, has drawn critical scrutiny in recent years for its “mainstream packaging of foreign cultures” and “its propagandistic and nationalistic images,”3 and it is tempting to read these works in light of contemporary concerns, especially when paired with Craig’s text. However, Craig, the artist-aseditor of the work, leaves it up to the viewer to search for meaning or not. So too with recent works like It Will Be Clear Soon and Do It Just, sparked by advertising Craig saw in Eastern Europe a few years ago. The lack of punctuation and of spaces to demarcate the words simulates his experience of being affected by the power and immediacy of the text on the posters even though he was unable to understand the language or the point being made. However, in these text-only works by Craig the viewer can, if not too distracted by the elegant looping cursive script partly visible on the layers underneath, pry the letters apart to explore possible meanings. In her works in pro/con/textual, Ericka Walker enlists the moralistic language of early modernist American propaganda – and one of its favourite devices, the provocative combination of images linked to text that unsettles and disturbs - and recasts it for the 21st century. Each one of her works presents a carefully chosen and exquisitely detailed image seen against a matte background whose colours recall those used in early 20th century posters; her text is layered on top with font and font size that complements but doesn’t explain the image. Walker’s works simulate propaganda but they are not propaganda: it is difficult to identify the authority behind the work and it is not always clear what type of action the viewer is being goaded into. For example, the well-known recruiting slogan “Your career path begins here,” now used by some universities, becomes ominous rather than enticing when the word “here” is dropped and the text is tucked into the waves streaming off the hull of the surfacing nuclear submarine in Begins. In Ecstasy, drawn from Bernini’s famous sculpture grouping, the angel has swapped his arrow for a gun while the swooning St. Theresa seems unchanged, although in Walker’s version, the saint has a slightly sardonic expression. The context in which Bernini’s Counter-Reformation work of 1645 is understood has been radically changed; spiritual ecstasy is fine in the 17th century, it seems, but the intrusion of the gun, combined with the militaristic “You Are Needed” text embedded in the folds of Saint Theresa’s garment, suggests an unhealthy alliance between art and the trio of war, propaganda and religion. In Neighbour, army attack helicopters are paired with a hectoring wartime-era exhortation to the

civilian population to fall in line and do their duty and save rather than waste. Walker doesn’t tell us who the neighbour of the title is, nor does she identify the nationality of the helicopters but she doesn’t have to: the work has as many contexts as there are countries in the global contemporary world. Here in Canada, the slash of red down the middle of the three-part background recalls the postwar American painter Barnet Newman’s Voice of Fire, a work whose controversial purchase by the National Gallery of Canada in 1989 fanned long-simmering concerns about national and cultural identity. Walker’s works are deliberately ambiguous and quietly confrontational; they underline the point that interpretation is a highly complex and subjective process. Mark Bovey, like Briar Craig and Ericka Walker, looks to the texts of earlier periods. His, however, have less to do with the clamour of advertising, propaganda and Dada experimentation; rather he leans towards information-gathering texts such as history books, an old ledger passed down through his family, and a collection of one-hundred year old doctors’ books he saved from the shredder. In many of Bovey’s works, text is not as apparent: it is quieter, less obtrusive. Bovey works like an archivist, recovering texts and then through a printmaker’s alchemy, he transforms them into commentaries on the state of knowledge and myth in the world today. Thus in Ghost Ship, a work reprised for this exhibition after its inauguration in Hungary two years ago, it is the solar system and the complex weave of astrological charts, signs and symbols used to map this most mysterious of worlds that is Bovey’s focus; the use of salt in all its briny wonder and a reflective mirrored surface on the floor suggests, as in many of his works, a tension between empirical and other forms of knowledge in the quest to explore and document the world. Throughout Bovey’s work, the insistent layering of text and image serves as a metaphor for the process through which we recover knowledge from written texts. Conversations with Doctors, a series begun in 2002 when Bovey found boxes of books that belonged to Doctors Knox, Sheppard and Beale, the first doctors in the Kelowna region, probes the relationship between the medical knowledge of a century ago and the present state of such knowledge. His text points to the difficult dialogue between art and medicine: the latter has always had privileged access to the human body – our bodies- but the texts themselves, often written in illegible script, are arcane and remote, removed from the lived experiences of our bodies. So too with the Ledge_Suite, begun in 2007. In the three most recent works of this suite, seen here, the titles are allusive and circular, but none is more so than Wunderkammer with its reference to the 16th century precursor to the museum as we know it (it was also known as a cabinet of curiosities), a collection of objects drawn from the natural and manmade worlds, and placed together by the collector so that connections and dissonances between any two objects could be noted and reflected upon. Bovey’s Wunderkammer includes multiple texts layered on top of the ledger whose edges are just visible at the outer fringes of the work; pages with skulls, fans, a portrait and drawings are interspersed on top of the collaged texts, interrupting any coherent reading of the work as a unitary entity. On top of it all floats an illusionistic, fluffy white cloud with a dark bottom and below it, three dots, one in each of the primary colours, that remind us that we are looking at a flat surface. There are multiple paths into

this work through the wealth of imagery and text but it seems to me that there is a debate going on: between inherited knowledges and systems on the one hand, and on the other, about the role of the artist as illusionist, someone who collects and reshapes discordant elements into multilayered texts whose meaning is multivalent. Carolyn MacHardy, Associate Professor Department of Critical Studies (Art History) University of British Columbia, Okanagan Campus Endnotes 1 Tristan Tzara, How to Make a Dadaist Poem, http://www.writing.upenn.edu/~afilreis/88v/tzara.html 2 Oxford English Dictionary http://www.oed.com.ezproxy.library.ubc.ca/view/Entry/200002?rskey=rEFDJo&result=1#eid 3 Sigrid Anderson Cordell, review of American Iconographic: National Geographic, Global Culture, and the Visual Imagination by Stephanie Hawkins, American Periodicals: A Journal of History, Criticism, and Bibliography 22, 2 (2012): 218-219. http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/american_periodicals/ vo22/22.2.cordell.pdf Carolyn MacHardy is an Associate Professor of Art History in the Faculty of Creative and Critical Studies at UBC Okanagan. Her teaching areas include Canadian, Global Contemporary and Outsider Art History. She has written a number of catalogue essays on artists in the Okanagan, including Shawn Serfas, Mary Smith McCulloch, Percival Ritchie and Lori Mairs, and she contributed an essay to the catalogue for the 1st Okanagan Print Triennial in 2009. She recently published a study of Lady Aberdeenâ&#x20AC;&#x2122;s Guisachan photographs of 1891 in the Journal of Canadian Art History. In October 2014 she was invited to present a paper on the artistâ&#x20AC;&#x2122;s collective Cool Arts at the 1st Contemporary Outsider Art conference at the University of Melbourne, Australia.

Briar Craig

Inspired by the Dada artists, poets and the absurdist playwrights, I have been employing systems of chance to bring together two or more words into what I consider accidental poetry. Words or arrangements of words that wouldn’t normally be connected are brought together for their provocative and evocative potential. Like the absurdist playwrights I tend to think that life is arbitrary and illogical and I cultivate confrontations with the unexpected as a means of initiating new thoughts and dialogues for the viewer. My role as an artist is largely that of ‘editor’. I choose, edit, juxtapose and then present images and texts that are compilations of the things I see and record in my daily life. My work invites viewer participation in that the viewer is being asked to inject themselves into the work and bring their own sensibilities and histories to unravel the content. Taking, as my starting point, Roland Barthes’ ideas of the Death of the Author, I am playing with the theory that we are all the authors of the works we see. We will interpret and make sense of what we have before us in idiosyncratic and personal ways. I believe this is done on a daily basis as we shift and wade through the barrage of visual and textual information we come in contact with. Being an editor allows me to select combinations of words or images that convey ideas or sentiments that are, in some way, meaningful to me. At times those ideas are simply humorous and at times they hint at more social or political sensibilities. The latest works have begun to rely less on a purely accidental juxtaposition of elements but are attempting to build on the appearance of that tradition while allowing me a more forceful voice through which I can express opinions or pose questions about the world. Not only are the words in my work somewhat accidentally brought together but the surfaces on which they have been situated are intended to multiply the interpretive possibilities and interplay between all of the component parts of the resulting image. Printmaking is perfectly suited to a post-modern approach to appropriating and ‘constructing’ images. The very nature of the repeatable image mirrors many aspects of modern mass media communication while simultaneously allowing for the creation of a more tactile and personal image quality. Briar Craig, 2015

We Are Our Fear, 2014, ultra-violet screen print, 103 x 72cm

Deserve What You Want, 2014, ultra-violet screen print, 103 x 72cm

Want What You Want, 2014, ultra-violet screen print, 103 x 72cm

Iambic Hyperbole, 2013, monotype, 121 x 91cm

You Are Near This Spot, 2013, monotype, 121 x 91cm

Do It Just, 2013, monotype, 121 x 91cm

It Will Be Clear Soon, 2013, monotype, 103 x 73 cm

Early Dada Compost, 2014, monotype, 75 x 50 cm

Sad Ego Rift, 2013, monotype, 104 x 74 cm

CURRICULUM VITAE Briar Craig Briar.Craig@ubc.ca Briar.Craig@yahoo.com Born Toronto, Ontario, Canada, 1961 Education 1987 M.V.A. (Printmaking) University of Alberta 1984 B.F.A. (Printmaking) Queen’s University Professional Experience 2005 – 2015 Associate Professor, University of BC Okanagan, Kelowna, BC 1991 – 2005 Associate Professor, Okanagan University College, Kelowna, BC (printmaking, drawing, photography) (2004 – 2005, Chair, Department of Fine Art, Okanagan University College, Kelowna, BC 2009 and 2012 Co-organizer of the Okanagan Print Triennial Exhibition (with Lubos Culen, curator of the Vernon Public Art Gallery and Liz Wylie, curator of the Kelowna Art Gallery) 2006 – 2013 Arts Editor (with Gary Pearson) Lake: a journal of arts and the environment, Kelowna, BC 1987 – 1991 Assistant Professor of Studio Art, University of Minnesota, Morris, USA (printmaking, drawing, photography, 1st year art theory, introductory sculpture, basic studio) Recent Selected Exhibitions 2016 8th International Printmaking Biennial of Douro 2016 (invited artist- curated by Nuno Canelas), Lamego Museum and Douro Museum (Régua), Alijo, Portugal 2015 Between The Lines, (solo exhibition) SNAP - Society of Northern Alberta Print Artists Main Gallery (SNAP), Edmonton, Alberta, Canada 2ndGlobal Print 2015, (invited artist), Lamego Museum and Douro Museum (Régua), Alijo, Portugal 35th Bradley International Print and Drawing Exhibition, (juried by Beth Grabowski), The Contemporary Art Center of Peoria and the Heuser Art Gallery at Bradley University, Peoria, Illinois, USA

PRINTS: CA, LA and Beyond Part II, (curated by Michelle Murillo), Gray Loft Gallery, Oakland, California, USA International Contemporary Miniprint of Kazanlak 2015, Art Gallery Kazanlak, Kazanlak, Bulgaria 7th International Printmaking Biennial of Douro – 2014, (invited artist – curated by Nuno Canelas), Lamego Museum and Douro Museum (Régua), Alijo, Portugal Americas 2014: all media exhibition, Hartnett Hall Gallery, Minot State University, Minot, North Dakota, USA (Merit Award Winner) 2nd International Print Biennial 2014 Cacak, Cultural Centre and Art Gallery, Cacak, Serbia texttexttext: (a group exhibition exploring text based work by all genders), (juried by Monika Szewczyk), Woman Made Gallery, Chicago, Illinois, USA Works on Paper NYC III, Jeffrey Leder Gallery, Long Island City, New York, NY, USA Shy Rabbit Print International 5: and international juried exhibition (juried by Karen Kunc), Shy Rabbit Contemporary Arts Gallery, Pagosa Springs, Colorado, USA The Eighth Biennial International Miniature Print Exhibition – BIMPE VIII, Federation Gallery, Vancouver, BC; SNAP Gallery, Edmonton, Alberta; and, the University of BC Okanagan FIN Gallery, Kelowna, BC, Canada 2013 Boston Printmakers 2013 North American Print Biennial, (juried by Dennis Michael Jon), The Art Institute of Boston, 808 Gallery, Boston University, Boston, Massachusetts, USA (Prize Winner) Pacific Rim International Print Exhibition 2013, University of Canterbury, Christchurch, New Zealand (Honorable Mention) Poetry Perchance, (solo exhibition), Anna Leonowens Gallery, Halifax, Nova Scotia, Canada Global Print 2013, (invited artist), Lamego Museum and Douro Museum (Régua), Alijo, Portugal The 28th Annual Tallahassee International Juried Competition, Museum of Fine Arts, Florida State University, Tallahassee, Florida, USA VI Splitgraphic 2013 – International Graphic Art Biennial 2013, Stara Gradska Vijecnica Gallery, Split, Croatia How Simple Can You Get?, (juried by Robert Storr), Creative Arts Workshop Gallery, New Haven, Connecticut, USA International Contemporary Miniprint Kazanlak 2013, Museum Chudomir, Kazanlak, Bulgaria Americas 2013: Paperworks, Hartnett Hall Gallery, Minot State University, Minot, North Dakota, USA The tenth edition, The “Iosif Iser” International Contemporary Engraving Biennial Exhibition, The “Ion Ionescu-Quintus” Art Museum of Prahova County, Ploiesti, Romania 2014

2012 2011

Imprima 2012 - Mostra Internacional de Gravura, Casa de Cultura de Sobral, Sobral, Brazil (Second Prize Winner) 6th Biennial Juried Print Exhibition, (juried by Ian Ruffino), Northern Arizona University Art Museum, Flagstaff, Arizona, USA (Third Prize Winner) Briar Craig: Oddments, (solo exhibition), Kelowna Art Gallery Satellite Gallery at the Kelowna International Airport, Kelowna, BC, Canada Briar Craig: Between the Lines, (solo exhibition), Malaspina Printmakers Gallery, Vancouver, BC, Canada Accidental Poetry, (solo exhibition), Artist Proof Gallery – The Alberta Printmakers’ Society, Calgary, Alberta, Canada Briar Craig: Through the Screen, (solo exhibition), The Drawers Gallery, Headbones Gallery, Vernon, BC, Canada International Print Triennial - Istanbul 2012, Mimar University Gallery, Istanbul, Turkey Lettra – Krakow 2012 / Sign and Letter, (curated by Teresa B. Frodyma), Jagiellonian Library, Jagiellonian University, Krakow, Poland Works On Paper NYC I, Jeffrey Leder Gallery, Long Island City, New York, NY, USA Tribuna Graphic, (invited artist), Art Museum of Cluj in association with Tribuna Magazine, Cluj, Romania The Seventh Biennial International Miniature Print Exhibition – BIMPE VII, Federation Gallery and Dundarave Print Workshop, Vancouver, BC; SNAP Gallery, Edmonton, Alberta; and, the University of BC Okanagan FIN Gallery, Kelowna, BC, Canada 8th British International Mini Print Exhibition, London Print Studio, London, UK (will tour seven other venues into 2013 – Aberystwyth Arts Centre; Ropewalk Gallery, Barton on Humber; Gracefield Arts Centre, Dumfries; The Gallery at Gateshead Library; Leamington Spa Art Gallery and Museum; Mascalls Gallery, Paddock Wood, Kent; The Gallery at the Civic, Barnsley, UK) Mini Print International – Asia Pacific, (juried by experts from Sotheby’s and the Print Council of America), First Annual Awards, No Vacancy Gallery, Melbourne, Australia; and, HSBC Tower Gallery, Hong Kong, China 3rd Qijiang International Print Invitational Exhibition, China, (invited artist – selected by Guy Langevin), Southwest University Museum of Art, Qijiang Xincheng District, Qijiang, Chongqing, China Biennale Internationale D’Estampe Contemporaine de Trois-Rivieres, Maison Hertel- de-la-Fresniere venue, Trois-Rivieres, Quebec, Canada IV International Print Exhibition, Istanbul 2011, (curated by Richard Noyce), Tophane-i Amire Gallery, Istanbul, Turkey Canadian Impressions, The Inter American Development Bank (IDB) Cultural Center Art Gallery, Washington, DC, USA

2010

International PRINT Exhibition – Pacific Rim Meets Istanbul (curated by Cathryn Shine and Alex Wong), (part of ISEA Istanbul 2011), FASS Art Gallery, Sabanci University, Istanbul, Turkey 3rd Qijiang International Print Festival, Qijiang Farmer’s Printmaking Institute Exhibition Hall, Qijiang Xincheng District, Qijiang, Chongqing, China 2nd Art at Wharepuke - Biennial International Print Show, Art at Wharepuke Gallery, Kerikeri, New Zealand Open Studio 100 Prints Canadian Printmaking Awards, Open Studio, Open Studio, Toronto, Ontario, Canada (Second Place Winner) The Sixth Biennial International Miniature Print Exhibition – BIMPE VI, Federation Gallery and Dundarave Print Workshop, Vancouver, BC, Canada (Honorable Mention) 2nd Penang International Print Exhibition 2010, Penang State Art Gallery and Tuanku Fauziah Museum and Gallery, Penang, Malasia Pacific Rim International Print Exhibition 2010, University of Canterbury, Christchurch, New Zealand 2010 International Printmaking Symposium and Exhibition: The Futurity of Contemporary Printmaking, (invited artist – Canadian prints curated by Carl Heywood), National Taiwan Normal University, Taiwan 5th International Printmaking Biennial of Douro – 2010, Pavihao Gimnodesportivo de Alijo and Museu do Douro, Alijo, Portugal

Ericka Walker

My work most often concerns itself with animal and machine relations: the steer and the plow, the soldier and the gun, sexuality and politics. Invoking the history of these relationships generates meaning about the present, because the stories we tell ourselves about the past shape our selfimage today. In this way, history can narrate the manner in which we work for or against one another. It is attractive for some to presume history is neutral ground, a solid foundation of fact upon which people accept and promulgate its inertia. This is the status-quo, that bespeaks conviction but can belie truth and challenge progress. Its self-generated mythology is the seductive retreat of nostalgia - a selective myopia that preys on fear and ego. Therefore, propaganda comprises much of my research focus. Old posters, political speeches, and government documents contain language and reference artifacts that have since forged the power dynamics of our modern world. My work refers self-consciously to these, and to the conflation of the individual and the institutional that is their hallmark. It points critically to both the violent and the bucolic - the guns and wars and tractors and engines of industry, and the language of national pride grafted to principles of duty, sacrifice, and honor--that have long been and remain its allies and infrastructure. I also admit to an emotional fascination with these objects and issues. The fact that they constitute some of humanityâ&#x20AC;&#x2122;s worst moments and destructive inventions implies a certain schizophrenia, but has the benefit of inducing uncomfortable critical thinking around the consequences of telling oversimplified stories in place of facing genuinely complicated realities. I see my work as an opportunity to confront my personal history on these same grounds, along with that of my family and race and nation. Although political might be an apparent label for my work, it is by no means a comprehensive one. Moreso than pointing to left or right, right or wrong, my deepest concern lies in locating vulnerability buried somewhere at the root of a fear- whipped need for control and security. Trying to emulate the beauty I see in the hand-drawn imperfection of a World War I propaganda poster, for example, is one way I can use my art practice to trace visual clues that guide me on my search to find cracks in the substantial rhetorical armor of todayâ&#x20AC;&#x2122;s sociopolitical and cultural climates. The vernacular history of print, too, implies a propagandistic function. Printed ephemera, from chromo-lithographs and broadsides to ornamental map cartouches and jar labels, used graphic

multiples to promote anything from services of convenience to ownership of products and lordship over territories. I find myself drawn to these examples, too. They reinforced a certain national character, helping viewers and consumers identify with some sort of idealized proposal: “This is special;” “This is yours;” “This is just/right/moral.” Because these political and pedestrian visual histories persist, revisiting the forms and words of the past can either be a wasteful exercise in nostalgia, or can jog us into a fresh look at enduring, but questionable, ideas. Collectively, they are the textual artifacts of our most recent collective past, that of residual colonies of white Anglo-Saxon patriarchy. Though this political undercurrent can be easy to lose amongst ornamental flourishes of color and language within propaganda and advertising, it is a contemporary issue that we face in increasingly complex degrees; and it continues to belie the responsibilities that come with privilege and power. Ericka Walker, 2015

Begins, 2014, lithograph, 91.5 x 63.5 cm

Ecstasy, 2013, lithograph, 91.5 x 63.5 cm

Liberty, 2014, lithograph, 91.5 x 63.5 cm

Neighbor, 2015, lithograph, 91.5 x 63.5 cm

Nuts, 2014, lithograph, 91.5 x 63.5 cm

There, 2014, lithograph, 91.5 x 63.5 cm

Learn, 2014, lithograph, 91.5 x 63.5 cm

Where, 2014, lithograph, 91.5 x 63.5 cm

Protect, 2014, lithograph, 76 x 101.5 cm

CURRICULUM VITAE ERICKA WALKER www.erickawalker.com ericka0061 (at) gmail (dot) com EDUCATION 2010 MFA, University of Tennessee-Knoxville, Knoxville, TN, USA 2005 BS, Dean’s List, Phi Sigma Theta National Honor Society, University of Wisconsin- Madison, Madison, WI, USA SELECTED EXHIBITIONS 2015 2nd Global Print (int. invitational exhibition), Douro Museum, Alijo, Villa Real, Portugal Lettering in Public (int. invitational exhibition), Signal Return, Detroit, MI, USA Biennale internationale d’estampe contemporaine de Trois-Rivières (int. juried exhibition), Centre d’exposition Raymond-Lasnier, Galerie d’art du Parc, Musée Pierre- Boucher, Ancienne Gare Ferroviaire, Trois Rivières, QC, Canada CNTRL+P: Printmaking in the 21st Century (int. juried exhibition), Ewing Gallery of Art and Architecture at the University of Tennessee, Knoxville, TN, USA 35th Bradley Int’l Print and Drawing Exhibition (int. juried exhibition), Bradley U. Galleries, Peoria, IL, USA New Perspectives in Printmaking (int. invitational exhibition), Art on 5th Gallery, Austin, TX, USA Drawn from the McClung Museum (int. invitational exhibition), The McClung Museum of Natural History, Knoxville, TN, USA Exchange IX: Contemporary Prints from the US and Abroad (int. collections exhibition), West and Ruff Galleries at Purdue University, West Lafayette, IN, USA 2014 Herbstgrüppenausstellung (int. invitational exhibition), 55 Ltd. Gallery, Berlin, Germany Stand Out Prints 2014 (int. juried exhibition), Highpoint Center for Printmaking, Minneapolis, MN, USA You Are Needed (solo exhibition), A/P Gallery, Calgary, AB, Canada A l’Arrache (int. invitational exhibition), Clermont-Ferrand, France, travelling to Bratislava, Slovakia Experiences of War (int. juried exhibition), Ann St. Gallery, Newburgh, NY, USA

2013 2012

Frühlingsgruppenausstellung (int. invitational exhibition), 55 Ltd. Gallery, Berlin, Germany The Rule of Law and the Right to be Human (int. invitational exhibition), Nikos Kessanlis Gallery, School of Fine Arts, Athens, Greece 7th Douro Biennial (int. invitational exhibition), Douro, Portugal Show of Force (domestic portfolio exchange/int. exhibition), Plan-B Merchants’ Cooperative, Halifax, NS, Canada Boston Printmakers Selects (int. invitational exhibition), Cannery Gallery, San Francisco, CA, USA Yesterday, Today, and Tomorrow: The Art of Social Commentary (int. invitational exhibition), Untitled Art Space, Oklahoma City, OK, USA Re-Riding History (int. invitational exhibition), Fred Jones Jr. Art Museum, Norman, OK, USA; Wright Museum of Art, Beloit, WI, USA; Museum of Contemporary Art, Jacksonville, FL, USA; Crisp-Ellert Art Museum, St. Augustine, FL, USA Boston Printmakers N. American Print Biennial (int. juried exhibition), 808 Gallery, Boston, MA, USA 34th Bradley Int’l Print and Drawing Exhibition (int. juried exhibition), Bradley U. Galleries, Peoria, IL, USA in.print.out (int. juried exhibition), Künstlerhaus, Vienna, Austria Miedzynarodowe Triennale Grafiki – Istanbul (int. juried exhibition), Tophane-i Amire Culture & Art Center, Istanbul, Turkey America in Ink 2 (int. invitational exhibition), Smith Family Gallery at the University of Tulsa, OK, USA Activist Ink (invitational exhibition), Mount Saint Vincent U. Art Gallery, Halifax, NS, Canada I’m Happy With What I’ve Done (solo exhibition), Slugfest Gallery, Austin, TX, USA Industrial Ohio (int. juried exhibition), ArtSpace/Lima, Lima, OH, USA Oso Bay Print Biennial XVII (int. juried exhibition), Texas A+M U.-Corpus Christi, TX, USA North By Northeast (int. invitational exhibition), The Ink Shop, Ithaca, NY, USA Heavy Hitters (int. invitational exhibition), Art Museum of South Texas, Corpus Christi, TX, USA; Peveto Gallery, Houston, TX, USA; Cultural Activities Centre, Temple, TX, USA SGCI Traveling Exhibition, 2012-2015 (int. juried exhibition), Loyola U., New Orleans, LA, USA; South Eastern Contemporary Art Gallery, South Eastern Louisiana U., LA, USA; The A.D. Gallery, U. of North Carolina, Pembroke, NC, USA Okanagan Print Triennial 2012 (int. juried exhibition), Kelowna Art Museum, Kelowna, BC, Canada I Am? Are You? (solo exhibition), Anna Leonowens Gallery, Halifax, NS, Canada

SELECTED REVIEWS, CITATIONS, and INCLUSIONS “CTRL+P: Printmaking in the 21st Century,” catalog inclusion, essay by juror and curator Sarah Suzuki, Associate Curator of Drawings and Prints, MoMA, NY, USA. Published by the University of Tennessee, Knoxville, USA, in conjunction with the exhibition CTRL+P: Printmaking in the 21st Century. “SGC International 2015-2018 Traveling Exhibition,” catalog inclusion, essay by juror Ruth Weisberg, Director, USC Initiative for Israeli Arts and Humanities. Published by SGC International, USA, in conjunction with the exhibition SGC International 2015-2018 Traveling Exhibition. “Junior Birdmen of Canada,” work inclusion for Manual: An Anthology of the Manual. Published by Printeresting. “The Rule of Law and the Right to be Human,” catalog inclusion, essays by curators Dr. Thalia Vrachopoulos, Curator and Professor of Art and Music, John Jay College of Criminal Justice, City University of New York, USA, and Bill Pangburn, Director, Andrew and Anya Shiva Gallery, City University of New York, USA, in conjunction with the exhibition The Rule of Law and the Right to be Human. “The Boston Printmakers 2013 North American Print Biennial,” catalog inclusion, essay by juror Dennis Michael Jon, Associate Curator, Minneapolis Institute of Arts, MN, USA. Published by the Boston Printmakers, Boston, MA, USA, in conjunction with the exhibition 2013 North American Print Biennial. “Interfaces-Istanbul,” catalog inclusion. Published in conjunction with the 2013 International Print Triennial Krákow-Istanbul “Propaganda Subverted,” profile and exhibition review by Arthur Nodens. Published by Cello Press in 06/2012 issue of Printmaking Today “2012 Okanagan Print Triennial,” catalog inclusion, essay by Tegan Forbes. Published by the Kelowna Art Gallery, Kelowna, BC, Canada in conjunction with the 2012 Okanagan Print Triennial “Heavy Hitters,” catalog inclusion, essay by Emily Arthur. Published by the Museum of South Texas, Corpus Christi, TX, USA, in conjunction with the 2012 Oso Bay Print Biennial XVII “Nova Scotia Printmakers at The Inkshop,” exhibition review by Arthur Whitman. Published 04/18/2012, The Ithaca Times

“Ericka Walker at Slugfest,” essay by Jason Urban. Featured on Printeresting (printeresting.org) “Artist Puts Propaganda to ‘Work!’ in New Exhibit,” exhibition review by Brandee A. Thomas. Published 08/18/2011, The Gainesville Times “Southern Printmaking Biennial V,” catalog inclusion, essay by Matt Rebholz. Published by North Georgia College and State University, Dahlonega, GA, USA, in conjunction with The Southern Printmaking Biennale V. SELECTED COLLECTIONS The Harrison McCain Foundation, Florenceville-Bristol, NB, Canada Collection of the US Embassy, Reykjavik, Iceland Southern Graphics Council Int’l Print Archive, Oxford, MS, USA The Leifur Elríksson Foundation, Richmond, VA, USA The Denver Art Museum, Denver, CO, USA Jingdezhen Ceramic Institute, Jingdezhen, China Art collection of Mount Saint Vincent U., Halifax, NS, Canada The Print Study Room, the U. of Alberta-Edmonton, AB, Canada Special Collections Dept. & Rare Books Room, the U. of Colorado-Boulder, CO, USA The Paul and Lulu Hilliard Art Museum, the U. of Louisiana-Lafayette, LA, USA Collection of Icelandic Printmakers’ Association, Reykjavik, Iceland Museum of Texas Tech University, Lubbock, TX, USA Art collection of Nicholls State U., Thibodaux, LA, USA Art collection of The U. of Wisconsin-Milwaukee, WI, USA Art collection of the U. of North Dakota, Grand Forks, ND, USA Purdue Print Archive, West Lafayette, IN, USA

mark bovey

My work begins by actively searching for images from the oceans of documents in both digital and analog collections. The results are vast unedited collections of images. I search for images with visual potential often entering libraries with no intended search criterion. The images are stamped with technology. They are simultaneously fragments of or in time. Their destiny as immaterial image ideas translocate into the raw materials for a new image combine. The introduction of the images, dislocated from the source, yet referencing it, are given a renewed context. I see the compositions as fields of visual inquiry where newly discovered themes emerge or fresh potential meanings can be cultivated into a new form of combine. The challenge is to invite speculation through formal or aesthetic discovery or arrangement as visual poetry. I often weave personal fragments with these universal referents. I hope that the images together embody a complex array of possibilities where the viewer finds meaning in the viewing and that through these arrangements a representation of the complex nature of the contemporary condition is experienced, where time is spanned, triangulated or collapsed. In a new suite of work titled â&#x20AC;&#x153;World Machineâ&#x20AC;?, I have returned to the traditions of stone lithography and etching to explore the surfaces and spaces where knowledge is deposited, transmitted, erased, revised, and/or stored. The fissure between disparate parts of the work is intended to ask the viewer make the visual leap, to span the cut - to fold time. Whether Iâ&#x20AC;&#x2122;m working with traditional graphic print means or new media installation, the printing matrix provides a way of collapsing time. I explore ideas of information entropy, restoration, transfer, deferral and recombination. My research interest is to locate the space that exists between this place and that and to entice the viewer to wonder to want to enter the work. The individual images are place markers, technological stamps and the drawing, gesture, projection and/or texture the glue or string that ties these fragments to one another. Common topics that have emerged include the history of relationships such as scientific and spiritual, individual and universal, real/imagined, and simulated, all of which are integrated into visual forms that the viewer is invited to traverse. Mark Bovey, 2015

Ghost Ship, 2013 - 15, mixed media installation, dimensions variable

Wunderkammer - Ledge_Suite, 2015, pigmented Inkjet print, 89 x 119 cm

A Body Failing - Ledge_Suite, 2015, pigmented Inkjet print, 89 x 119 cm

Space of Wonder - Ledge_Suite, 2015, pigmented Inkjet print, 89 x 119 cm

Declaration - World Machine, 2014, lithograph and screen print, 102 x 76 cm

Synapse - World Machine, 2014, lithograph, 76 x 102 cm

For the unforgotten - Conversation with Dr. Knox, 2006, etching, 95 x 73 cm

Habitus 1-A Voyage in... - Conversation with Dr. Knox, 2006 - 9, etching, 73 x 95 cm

Curriculum Vitae Mark Bovey mbovey@nscad.ca www.markbovey.com Education 1997 B.ED. Queen’s University, Kingston, Ontario, Canada A.C.E. Artist in the Community Education Program 1992 M.V.A. Printmaking, University of Alberta, Edmonton, Alberta, Canada 1989 B.F.A. Queen’s University, Kingston, Ontario, Canada Professional and Teaching Experience 2010-15 Associate Professor, NSCAD University, Halifax, Nova Scotia 2004-10 Assistant Professor, NSCAD University, Halifax, Nova Scotia 2003-04 Assistant Professor, Sabbatical for Erik Edson, Mount Allison University, Sackville NB 2002-03 Assistant Professor, Sabbatical Replacement, Doug Biden, UBC Okanagan, Kelowna BC 1997-2002 Sabbatical Replacement and Sessional Instructor. Queen’s University, Kingston ON Selected Solo and Small Group Exhibitions 2015 pro/con/textual, Mark Bovey, Briar Craig, and Ericka Walker, curated by Lubos Culen and text by Carolyn MacHardy,Vernon Public Art Gallery, Vernon BC 2014 World Machine, AP Gallery Calgary, Alberta 2013 A New World – Canadian Contemporary Printmaking, Modem Centre of Contemporary Art, Debrecen, Hungary 2011 Traditions and Transitions: A 4 person Group Printmaking Exhibition, Alternator Centre for Contemporary Art, Kelowna, BC, Canada 2010 “The Ledge_Suite” SNAP (ARC), Edmonton, Alberta 2009 “Restoring the Ledge_”, Open Studio, Toronto, Ontario, “Contact” 2009 Photography Exhibition 2004 “Between States” SNAP Gallery (ARC), Edmonton, Alberta, Canada 2003 Mind Field Revisited, invited, Alternator (ARC), Kelowna British Columbia, Canada 2001 “Mind Fields”, Modern Fuel Parallel Gallery, Kingston Artists Association, Kingston, Ontario, Canada Sel ected National and International Juried or Invitational Exhibitions 2016 Kyoto Hanga 2016 (Upcoming) - Contemporary Canadian Printmaking, Kyoto Japan 2015-16 1st 8th International Printmaking Biennial of Douro, 2nd Global Print Exhibition 2015, Douro, Portugal 80

Resonance, Canadian Contemporary Printmaking, (touring China), First Exhibition Shengshi Art Centre, Hunan Provence, Bejing China, Curators Li Song Wu Jiaqi 2014 59th College Women’s Art Association (CWAJ) Annual Print Show, Contemporary Japanese Prints, International Juror (Invited to exhibit),Tokyo American Club, Tokyo, Japan St. Michael’s Printshop 40th Anniversary, Exhibition, Sir Wilfred Grenfell College Gallery Printed in Canada and Taiwan, Raymond Lansier Exhibition Hall Trois Rivieres Quebec and The Zhongshan National Gallery of the Zun Yat-sen Memorial Hall, in Taipei and National Taiwan Normal University Department of Art, The Taiwan Printmaking Society 2013 International Print Triennial Krakow-Istanbul 2013, Tophane-i Amire Culture & Art Center, Istanbul, Turkey 2012-13 Krakow Printmaking Triennial (SMTG), Krakow Museum, Main Exhibition and in Opale. Also exhibited in venues throughout Poland and outside including Istanbul Turkey. (juried) 2012-13 8th Novosibirsk Triennial, Novosibirsk State Museum, Novosibirsk Russia (invited) 2012 2nd Okanagan Printmaking Triennial, Kelowna Art Gallery, Kelowna BC, Canada (juried) SNAP’s 30th Anniversary Portfolio Exhibition, Invited SNAP Gallery, Edmonton Alberta and at Art League Houston, during PrintHouston month in May/June of 2012 Houston’s Texas Southern Graphics Council International Conference Open Portfolio, Tulane University, New Orleans 2012 Allure of the Print (group), Studio 21 Gallery, Halifax Nova Scotia “Arena, The Art of Hockey-Road Game”, The Museum, Kitchener, ON Special Exhibition of Contemporary Prints from Canada, selected by Guy Langevin Touring China, Gallery of the Sichuan Fine Arts Institute, in Chongqing and Southwest University Museum of Art to also be exhibited at the Canadian Pavilion at the New Artist Village, Bejing 2011 Traditions and Transitions: A 4 person Group Printmaking Exhibition, Alternator Centre for Contemporary Art, Kelowna, BC North American Printmaking Biennial, Boston Printmakers, Danforth Museum, Boston, Massachusetts L’Arte E Il Torchio International Biennial 2011 at The Civic Art Museum, Cremona, Italy 2010

“Last Frontier”, Art Gallery of Nova Scotia, Halifax, curated by Sarah Filmore (Chief curator of Contemporary Art) “The Ledge Suite” , (7 Works) Independent Exhibitions in Guangzhou and Shenzhen China selected by Guy Langevin (Trois-Rivieres) to be shown with 7 other Canadian Artists during the “Worlds Fair” “HOTPLATE” selected by Derek Besant, an International Print Exhibition and Symposium, Phoenix Contemporary Art Space, Brighton UK Taipei University Special Exhibition to accompany the Taiwan International Print and Drawing Biennial Exhibition, selected by JC Heywood (2 Works)

2009 2008

“Sense of Place” International Cross Border Print Exhibition, Windsor Printmakers Forum, Windsor ON, (touring 2007- 2011) 1st Okanagan Print Triennial, Vernon Public Art Gallery, Vernon BC EPI Edmonton Print International Exhibition, Society of Northern Alberta Print Artists, Edmonton Alberta, Canada “Arena” The Art of Hockey, Art Gallery of Nova Scotia, Halifax NS, Art Gallery of Alberta, Edmonton, MOCA Toronto Kochi International Triennial Print Exhibition, Kochi, Japan, 4th Prize Biennale Voir-Grand (Large Print Biennial), Atelier Circulaire, Maison de la culture, Villeray-St-Michel-Parc-Extension Gallery, Montreal Quebec, Canada 13th International Biennial PRINT AND DRAWING EXHIBITION, ROC, Taiwan Museum of Fine Art, Tai-Chung Taiwan, ROC

Selected Awards or Distinctions 2011 3 Works Purchased for the Foreign Affairs Visual Art Collection 2010 Nova Scotia Arts Council Creation Grant- $4500 2009 Nova Scotia Arts Council Presentation Grant- $3500 Curator -Canadian Selections Project Prize Winner, 6th Novosibirsk, Graphic Art Biennial, Novosibirsk, Russia 2008 3rd Prize- “Sense of Place”, International Traveling Print Exhibition, Windsor Printmakers Forum, Windsor Ontario Jurors- Ian Baxter, James Patton and Nancy Stojka 2007 4th Prize- Kochi International Triennial Print Exhibition, Kochi, Japan Nova Scotia Art Bank Purchase Nova Scotia Arts Council Creation Grant- $7500 2004 Purchase Prize, 13th Seoul Space Biennial, Seoul Korea Selected Articles, Catalogues, and Reviews 2015 St. Michael’s Printshop 40th Anniversary, Exhibition Catalog 2014 A New World, Published by Modem Centre of Contemporary art, Debrecen, Hungary, Exhibition catalogue “Printed in Canada and Taiwan”, Exhibition Catalog 2012 PUSH Print, Survey of Printmaker pushing the boundaries of the medium, Jamie Berger (ed.), Sterling Publishing Co. 2012 2011 “Hot Plate; Printmaking and Digital Creativity” University of Brighton Press 2011 - Ex. Cat. L’Arte e il Torchio, Art and the Printing Press, 2011 - Last Frontier, Curated by Sarah Filmore, Art Gallery of Nova Scotia and the Journal of the AGNS, Volume 37 –Summer

2010

2009

Review: Canadian Art Online The Last Frontier: Natural Histories Art Gallery of Nova Scotia, Halifax Dec 3 2010 to Apr.26 2011 by Adam O’Reilly Sodaworks: Exhibition Review: “Hot Plate” Posted on Sunday, July 4th, http:// sodaworks.co.uk/blog/exhibition-hot-plate The Future of Contemporary Printmaking, 2010 International Printmaking Symposium and Exhibition, National Taiwan Normal University, Taiwan, exhibition catalogue 6th Novosibirsk Graphic Art Biennial, Novosibirsk Russia, (Curator Canada #1 Selections), exhibition catalogue Fifty best bets at Contact 2009: Mark Bovey, Toronto Life, May 20, 2009 “Old ledger becomes ‘technological tableau” By Sarah Hamilton, Edmonton Journal, June 12, 2009, About “The Ledge_ Suite”, Ex. Vue Weekly, Edmonton, issue #713

Public Collections Open Studio Toronto Canada; The Civic Art Museum, Cremona, Italy; Ernst and Young, Toronto Canada; Danforth Museum Boston Mass. USA; Koffler Foundation King City Ontario; Queen’s University Kingston Ontario; University of Alberta Print Study Center, Edmonton Alberta; Taiwan Museum, Republic of China; Tama Art University Foundation, Tokyo Japan; Dong Nai Architecture Group, Seoul Korea; Alberta Art Foundation, Calgary Alberta; Nova Scotia Art Bank, Halifax Nova Scotia; Art Gallery of Nova Scotia, Halifax, NS; Canadian Foreign Affairs Visual Art Collection, Ottawa Ontario, Hunan

list of works in the exhibition Briar Craig Deserve What You Want, 2014, ultra-violet screen print, 103 x 72 cm Do It Just, 2015, ultra-violet screen print, 102 x 71 in Early Dada Compost, 2014, ultra-violet screen print, 75 x 50 cm Iambic Hyperbole, 2013, monotype, 121 x 91 cm It Will Be Clear Soon, 2015, ultra-violet screen print, 103 x 73 cm Sad Ego Rift, 2013, ultra-violet screen print, 104 x 74 cm Want What You Want, 2015, ultra-violet screen print, 103 x 73 cm We Are Our Fear, 2015, ultra-violet screen print, 103 x 73 cm Ericka Walker Begins, 2014, lithograph, 91.5 x 63.5 cm Ecstasy, 2013, lithograph, 101.5 x 76 cm Where, 2014, lithograph, 91.5 x 63.5 cm Neighbour, 2015, lithograph, 91.5 x 63.5 cm Nuts, 2014, lithograph, 101.5 x 76 cm There, 2014, lithograph, 91.5 x 63.5 cm Learn, 2014, lithograph, 91.5 x 63.5 cm Protect, 2014, lithograph, 101.5 x 76 cm Liberty, 2014, lithograph, 101.5 x 76 cm 84

Mark Bovey Ghost Ship, 2013-15, mixed media installation, dimensions variable Wunderkammer - Ledge_Suite, 2015, pigmented Inkjet print, 89 x 119 cm A Body Failing - Ledge_Suite, 2015, pigmented Inkjet print, 89 x 119 cm Space of Vonder - Ledge_Suite, 2015, pigmented Inkjet print, 89 x 119 cm Declaration - World Machine, 2014, lithograph and screen print, 102 x 76 cm Synapse - World Machine, 2014, lithograph, 76 x 102 cm For the Unforgotten - Conversation with Dr. Knox, 2006, etching, 95 x 73 cm Habitus 1-A in... - Conversation with Dr. Knox, 2006-9, etching, 73 x 95 cm

vernon public art gallery Vernon, British Columbia, Canada vernonpublicartgallery.com