Rewilding Catalogue 2024 - ISSUU by Vernon Public Art Gallery

REWILDING:

THE FOREST WILL FORGET US

John Freeman · Bernd Hildebrandt · Liz Ingram · Lyndal Osborne

REWILDING: THE FOREST WILL FORGET US

JOHN FREEMAN

BERND HILDEBRANDT

LIZ INGRAM

LYNDAL OSBORNE

Vernon Public Art Gallery

October 3 - December 20, 2024

Catalogue of an exhibition held at the Vernon Public Art Gallery 3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada

October 3 - December 20, 2024

Production: Vernon Public Art Gallery

Editor: Lubos Culen

Layout and graphic design: Vernon Public Art Gallery

Front cover: Settler’s Cabin, photography: Bernd Hildebrandt

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

ISBN 978-1-927407-86-8

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:

1 Artists’ Acknowledgements

3 Executive Director’s Foreword · Dauna Kennedy

5 Introduction · Lubos Culen

8 Nature’s Embrace · Agnieszka Matejko

12 - 15 Artist Statements

17 Images of Artwork in the Exhibition

40 Curricula Vitae · John Freeman, Bernd Hildebrandt, Liz Ingram, Lyndal Osborne

ARTISTS’ ACKNOWLEDGEMENTS

Thanks to the Vernon Public Art Gallery for inviting us to show our work in this gallery and especially to Lubos Culen for his dedication in organizing the exhibition, the installation, and the catalogue. A big thanks to Agnieszka Matejkofor her research and depth of knowledge in writing the essay for the catalogue, Rewilding: The Forest will Forget Us. We are also most grateful to have the opportunity for this ongoing collaboration with the land.

Liz and Bernd would like to thank Marilène Oliver for her input and photography. We would also like to acknowledge the following for their services and advice: Gina Bennett, Costume Alchemy, Calgary, for her amazing sewing; Centre For Advanced Textiles, Glasgow School of Art (fabric printing); Mark Freeman, The Big Pixel (inkjet printing).

Liz Ingram and Bernd Hildebrandt 2024

Lyndal would like to thank Kelly Johner for her assistance in both the production and installation of her pieces. Sean Caulfield provided all the rice paper used in the creation of papier-maché for the animals. Thanks also to my partner, John Freeman who gave very generously of his time with every aspect of my work. Finally, to The Canada Council for the Arts and the Alberta Foundation for the Arts for their generous funding assistance, which has contributed to the preparation and installation of this exhibition.

Lyndal Osborne and John Freeman 2024

John Freeman

4 channel video installation, 2024

video capture

EXECUTIVE DIRECTOR’S FOREWORD

Rewilding: The Forest Will Forget Us

By artists Lyndal Osborne, Liz Ingram, Bernd Hildebrandt, and John Freeman.

We are thrilled to be presenting this collaborative exhibition Rewilding: The Forest Will Forget Us by four Edmonton based artists. Bernd Hildebrandt and Liz Ingram have been co-creating for many years. The sculptural elements, prints and text for this exhibition are the result of some of their work together. Lyndal Osborne and John Freeman also collaborated on one of the installation elements with additional video and sound by John Freeman.

This publication includes writing by Guest Writer, Agnieszka Matejko. She is a freelance visual arts writer and artist whose practice focuses on engaging communities through public art projects.

I’d like to thank Lubos Culen, Curator for the VPAG for his work in bringing forth this exhibition for our community and for his contributions to this publication. Thank you to gallery staff, members, donors and sponsors for your assistance in ensuring the programming produced by the VPAG provides our community with a lens into contemporary art practices both locally and from across Canada and serves to inspire critical thought and contemplation.

The exhibition has been supported by grants from Canada Council for the Arts and the Alberta Foundation for the Arts. The VPAG would like to thank the Province of British Columbia along with the Regional District of the North Okanagan and the BC Arts Council for providing funds in support of the VPAG’s exhibition programming and community services.

Dauna Kennedy Executive Director Vernon Public Art Gallery

Lyndal Osborne and John Freeman Grove, 2024

mixed media installation: papier mâché, digital printing, drawing, wood and wire, photography: Yuri Akuney: Digital Perfections

REWILDING: THE FOREST WILL FORGET US – INTRODUCTION

The sculptural installations produced by Lyndal Osborne, John Freeman, Bernd Hildebrandt, and Liz Ingram, are lyrical expressions of personal thoughts, and mostly attitudes, about the state of the environment, our human existence, and the history of Alberta boreal forest lakeside homesteads. The exhibition consists of several sculptural elements, wall text, large-scale photographic prints, a large-scale screen with embedded plant forms, video, and sound installations.

The artists visited this Alberta boreal forest location numerous times over the last few years and in different seasons and documented the terrain of the forested areas. Liz Ingram and Bernd Hildebrandt documented sites with now decaying settler-made artifacts as a concrete memory of times produced by European settlers some fifty years ago. The original cabin was used by an immigrant homestead settler from Switzerland and a friend of Bernd Hildebrandt’s family who, since the early 1950s, spent many weekends visiting the site.

The decaying cabin and its surroundings attest to the gradual re-incorporation of iron tools, walls of the cabin, the cabin door, and sleigh runners into the moss and grounds of the site. The images of the artifacts are presented in large scale photographic prints. Another source of sculptural elements is the original 1945 five-sided silk survival tent found in the cabin. It is the template for the newly created tent with full colour prints over the whole surface of the tent. The printed images are of the unclad bodies of the artists resting in the moss on the forest floor. The images convey ambiguous meanings; naked human bodies imply vulnerability, but also, they can be perceived as a pure coexistence of humans and the land.

Ingram and Hildebrandt’s installation contains text on the floor around the tents and on the adjoining wall. The texts are selected from Hildebrandt’s poems under the umbrella title Moss Sermons in Five Parts. The poems are expressionistic with references to nature and the human body, the passage of time, and professing the final return to nature. In this sense, the poems add other levels of possible narratives centered around human existence and its impact upon nature.

While Ingram and Hildebrandt’s installation uses some autobiographical sources with references to the past, John Freeman and Lyndal Osborne’s installation focuses on the general features of local sites. The work titled Grove, a collaborative sculptural installation, is based on the abstract sculptural interpretation of a spruce forest. The installation consists of fifty-four six-inch in diameter poles suspended from the ceiling and resting on the floor with a layer of moss. Various patterns were drawn on the surface of the poles representing different but similar textures. The tight arrangement of the poles symbolizes the tight groupings of spruce trees on the site. The work titled Forest Sentinels consists of many tufts of lichen (Old Man’s Beard) attached to the screen sixteen feet wide and six feet tall. The lichens grow on dead branches of spruce trees and Osborne’s arrangement of the lichens mimics the dense environment of the thick spruce groves. Installed

14 inches from the wall, the lichens on the screen cast shadows on the wall which heightens the sense of density of the lichen contrasted by shadows.

By the Lake is Osborne’s installation which consists of six sculptural elements. Three sculptures are abstracted forms of a loon, a woodchuck, and a hawk. Osborne chose the representation of the three animals which inhabit the sites around an Alberta boreal forest lake. In addition to animal forms, Osborne created small dioramas. She points out that a shift in scale is something that interests her in combination with life-sized objects. The use of dioramas and the life-sized rendering of animal forms shifts the perception towards a different vantage point and contrasting point of view. One of the miniature dioramas is an aerial view of a site by the lake. Another diorama portrays decaying doghouses near Mr. Miller’s decaying cabin. Finally, the third diorama is a small-scale slash pile constructed from the old trees and branches. It conveys a narrative of human activity over the years, namely the cutting of trees which started to encroach upon cabins and their immediate surroundings.

John Freeman’s installation consists of four closely placed LED monitors which play videos in an endless loop. The videos are recordings of paths in the forest, some well used, others grown over. Some of the videos are recorded with a hand-held camera while walking on trails or partially obscured pathways. The videos recorded while walking have a somewhat documentary quality. The videos recorded with the use of a drone have a de-personalized feel with smooth transitions. All videos document the levels of transitions between maintained trails with the areas left to grow free. An additional component to Freeman’s videos is the sound recordings recorded on the shores of a boreal forest Lake. These sounds are the natural sounds of the area contrasted with the sound of human-made sounds of a train or airplane.

The exhibition and its components link the past with the present in contrasting elements. John Freeman’s videos are about the present, but also document the remnants of human activity. Liz Ingram’s and Bernd Hildebrandt’s found artifacts reference the past, the prints portraying human bodies are situated in the present. Lyndal Osborne’s Forest Sentinels, a sculptural veil featuring lichens references the past, while sculptural animal forms in By the Lake also imply the present.

The exhibition Rewilding: The Forest Will Forget Us, is a multi-media installation which provides the viewer with a complex set of possible narratives regarding the history of an anonymous Alberta boreal forest lake and surrounding environments. The exhibition celebrates he resilience of nature and documents the passage of time and its impact upon human-made structures. It portrays artifacts imported and constructed by settlers slowly decaying and disappearing into the forest floor of the land that was once used to support their existence. The exhibition celebrates the resilience of nature that has been a common denominator for people living and surviving on the land.

Lubos Culen Curator

Vernon Public Art Gallery

Liz Ingram and Bernd Hildebrandt

Moss Chapel, (based on arctic survival tent), 2024

Inkjet prints on Silk, thread, wood, stones, jute, vinyl letters, plastic, rope, polyurethane

300 x 310 x 310 cm, photography: Marilène Oliver

NATURE’S EMBRACE

By Agnieszka Matejko

Certain natural sites—springs, lakes, mountaintops—have inspired awe for millennia, with nearly every culture and religion claiming one as a sacred pilgrimage site. For artists Liz Ingram and Bernd Hildebrandt, that special place is much closer to home: their cabin on the shores of a lake within an Albertan boreal forest, nestled at the base of the Rockies. For decades, it has been an inspiring refuge for fellow artists, including their friends John Freeman and Lyndal Osborne, both celebrated for their nature-inspired work.

This quarter section (160 acres) of land has been part of Hildebrandt’s life since 1955, when he waded its creeks and explored its forests as a four-year-old boy. His parents stumbled upon the site by chance when their car got stuck on the dirt-and-gravel highway between Edmonton and Jasper and they decided to spend the night at a nearby cluster of fishing cabins. There they met a man named Mr. Miller, who would become a lifelong friend. Upon his passing in 1969, Miller bequeathed the whole property to the family.

For as long as he can remember, Hildebrandt has seen this place as a historic and natural wonder. Miller, a trapper, dogsled-keeper, and fishing guide, left behind a cabin filled with relics of a bygone era: stacks of letters from the 1940s, fish skulls, wolf paws, and other curiosities. Hildebrandt and Ingram preserved a few cabins, complete with their cast-iron wood stoves, but watched as nature reclaimed the rest. Sheds, doghouses, and even tools they found inexplicably scattered throughout the forest were slowly enveloped by the wilderness.

Ever since, this land has been a wellspring of artistic inspiration. Ingram’s enigmatic prints of human figures submerged in streams and imbued with fragments of Hildebrandt’s poetry have carried its spirit across the globe. Osborne’s 45-year connection to the site also inspired some of her early prints; later, her first renowned installation, Surge (1996), was born from a winter walk on the frozen lake, where she observed the graceful curve of reeds bowing to the ice. Freeman’s visits over the past decade have further deepened the site’s creative legacy.

With a shared reverence for this land, the four artists—Ingram, Hildebrandt, Osborne, and Freeman—have gathered at the cabins over the past four years, drawing inspiration from forest trails, lakeshores, and the slow disintegration of human structures and rusting tools as they return to nature. The result is Rewilding: The Forest Will Forget Us, a multi-sensory exhibition that captures their profound connection to this place with both wisdom and complexity.

Layers of contrast and paradox infuse Ingram and Hildebrandt’s Moss Chapel installation. This piece was inspired by a strange object that lay tucked away in a corner of Miller’s cabin for decades: a silk Arctic

survival tent. In the artists’ meticulously handcrafted reinterpretation, the tent’s open doors extend a gesture of welcome. Above, two lovers entwine on a pillow of moss as their nude figures billow gently with every shift of the delicate fabric. Lying in dappled light, they radiate vitality and procreation. Yet beyond them, the forest looms as black-spruce tree trunks form an impenetrable wall of darkness.

The tension between darkness and light and temporality and eternity runs through many of the couple’s works, including Body Interface, part of a series of life-sized photographs inspired by an opening carved by a meandering stream. Hildebrandt discovered that its peat moss–covered cavity seemed almost measured to fit the human body, and he began taking healing mud baths while Ingram captured his earth- and peatencrusted skin on camera. In these photographs, human and natural textures blur and mirror each other, yet an eerie sense lingers: one half of the image depicts warm skin tones that are alive and mortal, while the other, like the boulder in image #7, seems impenetrable and everlasting.

Osborne’s installation, Forest Sentinel, does more than represent the boreal forest: it is part of the forest itself. Her wall of Old Man’s Beard lichen hangs suspended on delicate, nearly transparent netting, forming a lace-like curtain. Light filters through the sage, ochre, and grey tufts, casting patterns reminiscent of dappled forest shade. Osborne gathered the lichen during solitary walks, often losing her way and relying on the low rumble of passing trains to find her way back to the cabin. This quilt of forest lichen seems fragile, yet it possesses nearly magical regenerative powers. Dormant and brittle, Old Man’s Beard stirs to life with the faintest trace of airborne moisture—a testament to its resilience and near immortality.

Time’s unrelenting passage also inspired Osborne and Freeman’s collaborative installation Grove. When Osborne first visited the site in the 1980s, the black spruce surrounding the cabins stood just 10 feet high. They now tower at 60 feet, and their elongated trunks, scarred by knots from fallen branches, dominate the landscape. These trunks are the centrepiece of the work. Powerful in their upright stance, they evoke a phalanx of soldiers. Yet Osborne and Freeman’s tree trunks, made of tubes covered with papier mâché, are fragile and almost ethereal: they sway and hover suspended, barely touching the ground.

The heartbeat of the show is Freeman’s untitled and invisible installation: a four-track audio piece that fills the gallery with haunting sounds of loons, leaves crunching underfoot, and the distant reverberation of a train that swells and fades into silence. With speakers placed in four corners of the gallery, the soundscape envelops every artwork, immersing viewers in the music of the forest. This calming auditory experience reassures, making it easier for viewers to contemplate the weighty themes of aging, our passing, environmental fragility, and, ultimately, nature’s resilience.

Collectively, the four artists eloquently reframe notions of death and renewal. Unlike traditional Western culture’s memento mori, with its skulls, black-hooded figures, and grim symbols of mortality, these pieces evoke a quiet reverence for life’s cycles. The wall of Old Man’s Beard lichen shifts hues as it ages and merely appears to die. The aging lovers cradle one another in an erotic embrace as they merge into the earth. Even

the hardest cast-iron implements scattered around Ingram and Hildebrand’s property dissolve and nourish the soil. Here, nature’s embrace is tender: we can almost feel our feet sink into sun-dappled moss, hear the shimmer of leaves, and catch the soft echoes of birdsong filling the gallery.

If there is anything to fear, it is our species’ growing separation from nature. Urban spaces assault the senses with screeching tires, clanging metal, and the relentless hum of ventilation systems—a cacophony devoid of solace. Walking through Rewilding: The Forest Will Forget Us reminds visitors that mountains, lakes, and forests are wounded but still endure. They wait for us to return and to heal within their depths, and they beckon us to safeguard their beauty. This show gently reminds us that it is not too late to try.

Agnieszka Matejko is a freelance visual arts writer and artist whose practice focuses on engaging communities through public art projects. Her murals and collaborative installations include Word on the Street, which featured poetry by inner-city residents sandblasted onto sidewalks. Her writing has appeared in Galleries West, Alberta Views, and The Globe and Mail, among other publications.

JOHN FREEMAN - ARTIST STATEMENT

My experience in visiting an area in Alberta where current and past human habitation is present in the boreal forest and at the edge of a lake encouraged me to be present as an observer.

Trails made by both humans and animals quickly return to the cover of the forest, it’s moss and the undergrowth. Man made structures decay and become part of the forest floor.

I have produced 4 video loops that include walking on the trails through the forest and approaches to the decaying buildings, dog houses and other remnants of past human occupation. Some of the footage has been made with the use of handheld cameras and some with the use of a small drone. The drone footage allowed me to have a point of view that was not available with the handheld cameras and in some ways is less personal.

The trees and other vegetation also become part of what is observed in the video loops as well as the lake shore and the surface of the lake at different times of day.

LYNDAL OSBORNE - ARTIST STATEMENT

Since the 1980’s I have had the opportunity to spend odd weekends near an Alberta lake with Bernd Hildebrand and Liz Ingram. The lake is surrounded on three sides by a boreal forest. We kayaked, walked the forest trails, and I collected a variety of materials to use in prints, sculptures and installations. We discussed bringing together our art practices in a collaborative exhibition to create a body of work that present different perspectives on the influence of this piece of land that has deep meaning for each of us.

Grove, in collaboration with John, is about the repetition and the overpowering nature of the Spruce trees that dominate the forest pathways. There is sameness to their trunks but on closer examination individuality is in the details of the knotholes that form after each branch dies. On each visit to the lake the trees grow taller and now overwhelm the skyline in their repetition. This is what I want to capture.

Forest Sentinel was created over a 4-year period gathering hanging tufts of Old Man’s Beard lichens and, in my studio, tying small bundles together and mounting them closely onto fine netting. Again, there is a sense of repetition in their forms but, with the element of time, changes in colour give a sense of timelessness. I am aware that this lichen has, for first nations people, many practical uses as well as its place in ceremony. The shadows on the wall are reminiscent of the dancing shadows of the forest while walking out at night with a flashlight.

By the Lake is a piece, constructed with 6 components, that is about story telling and memory. Each element gives me a heightened awareness because I saw them so many times over a 40-year span of time. I notice changes such as the buildings (dog houses) disappearing into the ground, slow decay of a pile of slash and the rise and fall of the lake created by beaver lodges. I see each component as a small element inside a larger world. I am bearing witness through looking, watching and walking this landscape over many years.

LIZ INGRAM - ARTIST STATEMENT

My work is focused on transitional states between material presence, past histories, and the ephemeral. At an early age growing up in India, I was exposed to extremes of physical deprivation butted up against heightened sensuality, exotic rich colours, sounds, smells and ritual practices. I believe that these early experiences predisposed me to my continuing investigations of the human condition, with a focus on the human body in nature. Through my artwork, inspired by the land, I am attempting to connect the viewer to a sense of our place in/as nature - a sense of place that is disappearing in our highly consumerist, virtual and technological world. More recent three-dimensional works are all produced in collaboration with Bernd Hildebrandt, integrating his poetry, his experience as an exhibit designer and artist, and his ongoing intimacy with the wilderness.

For 45 years I have had the fortune to share my summers, and sometimes winter days, with my family at this forest/lake/stream quarter section in the northern boreal forest of Alberta. My husband, Bernd Hildebrandt, has been intimately associated with this site since the early 1950’s. Our children have also been indelibly shaped by contact with this land, as have all the peoples who have inhabited and passed through this area before us for millennia. It is from this location that I have gathered source material for all my past and current work in printmaking. Using printed images, paper, ink, glass, light, shimmering pixels, fabric, and the strong influence from this special place, I strive to give the viewer an experience that will generate a sense of care and love for our environment.

The work for this exhibition pays homage to the power and beauty of the natural processes of rewilding. We are witnesses to the environment as it re-integrates artifacts from the past into the earth, and we are participants as our bodies intimately connect to the moist smells, soft and rough textures, and the rich variety of sounds and sights of the forest and lake. Our work, based on our experiences of this ecologically rich and diverse environment, attempts to kindle a stronger awareness of our inextricable and fundamental oneness with nature, the ongoing cycle of change and regeneration, and of the precious and elemental aspect of flora, fauna and water to all life forms.

BERND HILDEBRANDT - ARTIST STATEMENT

With a background in industrial and graphic design and sculpture, I plan exhibit spaces, design display furniture and install exhibitions that integrate objects, images and words. My goal as a designer and artist is to make content and meaning attractive and accessible to a broad range of the viewing public, which includes a diversity of ages and cultural backgrounds. In all my work for exhibits, display furniture, art installations and as project manager, it is my aim to present museum objects, information, ideas, and art work into environments that visually and physically stimulate and encourage a broad public engagement with new experiences and knowledge.

An interest in writing poetry has sparked numerous collaborations with Liz Ingram in which my poems are integrated into the fabric of her often large-scale images and prints. Working together with material inspired and gathered from our boreal forest lakeside property has resulted in the creation of installations and artist bookworks displayed between 2011-2024 in Alberta, Poland, Germany, New York, Argentina, Japan and Australia.

The work created for this exhibition in collaboration with Liz is personally and emotionally important for me. I have known this homestead site since childhood and feel a deep connection to the land and its inhabitants, both past and present. Watching and documenting the rewilding process and experiencing intimate connections with the flora and fauna represent a celebration of the resilience of nature and the ongoing cycle of rejuvenation and change.

REWILDING: THE FOREST WILL FORGET US ARTWORK IN THE EXHIBITION

Centre

Liz Ingram and Bernd Hildebrandt

Moss Chapel, (based on arctic survival tent), 2024

Inkjet prints on Silk, thread, wood, stones, jute, vinyl letters, plastic, rope, polyurethane, photo: Marilène Oliver)

Centre

Liz Ingram and Bernd Hildebrandt

Moss Chapel, (based on arctic survival tent), 2024

Inkjet prints on Silk, thread, wood, stones, jute, vinyl letters, plastic, rope, polyurethane, photo: Marilène Oliver)

Liz Ingram and Bernd Hildebrandt Chains, 2024

Inkjet print on Epson Hot Press Natural Rag Paper, 100 x 150 cm

photography: Marilène Oliver and Bernd Hildebrandt

Liz Ingram and Bend Hildebrandt

Damper, 2024

Inkjet print on Epson Hot Press Natural Rag Paper, 150 x 100 cm, Photography: Marilène Oliver and Bernd Hildebrandt

Liz Ingram and Bernd Hildebrandt

Cross, 2024 Body Intrface 3, 2024 Body Interface 6

Inkjet print on Epson Hot Press Natural Rag Paper, Dibond, 120 x 68 cm ach, photography: Bernd Hildebrandt

Liz Ingram and Hildebrandt

Toboggan, 2024 Door, 2024

Sleigh Runners, 2024

Inkjet print on Epson Hot Press Natural Rag Paper, 195 x 105 cm each, photograpgy: Bernd Hildebrandt

Liz Ingram and Bernd Hildebrandt

Arctic Survival Tent

parachute silk (tent made in 1945, found on site), thread, wood, stones, jute, rope, video projector, photography: Yuri Akuney: Digital Perfection

John Freeman Forest Walk - Dog Houses (video capture), 2024

four channel video

John Freeman Forest Walk - Dog Houses (video capture), 2024

four channel video

John Freeman Forest Walk, (video capture), 2024

four channel video

John Freeman Walk on Trail, (video capture), 2024

four channel video

John Freeman

Video Installation, 2024

four channel video, photography: Yuri Akuney: Digital Perfections

mixed media installation: papier mâché, digital printing, drawing, wood and wire

300 x 200 x 200 cm, photography: Yuri Akuney: DigitalPerfections

Lyndal Osborne and John Freeman Grove, 2024

Lyndal Osborne Forest Sentinel, 2024

Old Man’s Beard Lichen, netting, thread, glue, and metal

186 x 487 cm photography: Yuri Akuney: Digital Perfections

Lyndal Osborne Forest Sentinel (detail), 2024

Old Man’s Beard Lichen, netting, thread, glue, and metal

186 x 487 cm, photography: Yuri Akuney: Digital Perfections

Lyndal Osborne

By the Lake, 2024

mixed media installation: Collage, papier mâché, grasses, stones, branches, lichen, wood, wire, paint, cement and sonotubes, dimensions variable, photography: Yuri Akuney: Digital Perfections

Lyndal Osborne

By the Lake - Hawk and Doghouses, 2024

mixed media, photography: Yuri Akuney: Digital Perfections

Lyndal Osborne

By thhe Lake - Loon, 2024

mixed media, photography: Yuri Akuney: Digital Perfections

John Freeman

CURRICULUM VITAE

EDUCATION

1969 - 1972 Master of Visual Arts, The University of Alberta, Edmonton, Degree with specialization in Painting and Printmaking.

1969 – 1970 Additional course work at the University of Calgary

1967 – 1969 Sculpture studies, Alberta College of Art, Calgary, Alberta

1966 Bachelor of Art (Major in Art, Minor in Psychology), The University of Calgary, Calgary, Alberta

EXHIBITION RECORD

2020 COLLABORATION (with Lyndal Osborne), Drought - Video Component, BorderLINE, Remai Modern, Saskatoon, SK

2019 Group Exhibition, McMullen Gallery, University of Alberta Hospital, Edmonton, AB

2018 COLLABORATION (with Lyndal Osborne), Three Works: Tidal Trace, The Coral Project, The Curtain of Life, as part of Mutation of the Commons, The University of Calgary Nickle Galleries, Calgary, AB

2017 COLLABORATION (with Lyndal Osborne), Tidal Trace, Art Gallery of Grande Prairie, AB

2017 GROUP EXHIBITION, I Am Western, cSPACE KING EDWARD, Calgary, AB

2015 GROUP EXHIBITION, Brain Storms: UAlberta Creates, University of Alberta Museums Enterprise Square Galleries, Edmonton, AB

COLLABORATION (with Lyndal Osborne), Tidal Trace, exhibited as part of Of Water and Tides Art Gallery of Burlington, Burlington, ON

2014 COLLABORATION (with Lyndal Osborne), Tidal Trace, exhibited as part of Lyndal Osborne: Bower Bird, Life as Art, Art Galley of Alberta, Edmonton, AB

2013 GROUP EXHIBITION, Ecotone, Nickle Galleries, University of Calgary, Calgary, AB

GROUP EXHIBITION, Ecotone, Southern Alberta Art Gallery, Lethbridge, AB

2012 JOINT EXHIBITION (with Lyndal Osborne), Flax Field, part of Synchronous, Foundation for Art and Life, Concordia University College of Alberta grounds, Edmonton, AB

GROUP EXHIBITION, Venerator: Contemporary Art from the AGA Collection, Art Gallery of Alberta, Edmonton, AB

SOLO EXHIBITION, Economies of Scale: Our New Agricultural Landscape, Multicultural Centre Public Art Gallery, Stony Plain, AB

2011 SOLO EXHIBITION, Farm Show (Harvest), Red Deer Museum + Art Gallery, Red Deer, AB

JOINT EXHIBITION (with Lyndal Osborne), Flax Field, Bienalle internationale du lin de Portneuf –Vieux presbytère de Deschambault, Deschambault, QC

SOLO EXHIBITION, No More Spring Seeding, Farm Show (Seeding), Red Deer Museum + Art Gallery, Red Deer, AB

2010 JOINT EXHIBITION (with Lyndal Osborne), Contrepoint, part of Chemins et Tracés, Fondation Derouin’s 10th Symposium international d’art in situ, Jardins du Précambrien in Val-David, QC

2009 JOINT EXHIBITION (with Lyndal Osborne), Contrepoint, part of Chemins et Tracés, Fondation Derouin’s 10th Symposium international d’art in situ, Jardins du Précambrien in Val-David, QC

SOLO EXHIBITION, The Horizon As It Should Be, Art Gallery of Alberta, Edmonton, AB

2008 GROUP EXHIBITION, The 4 F’s, Fringe Gallery, Edmonton, AB

Seeing Through Modernism, Edmonton 1970 – 1985, Fine Arts Gallery, University of Alberta, Edmonton, AB

2007 JOINT EXHIBITION (with Lyndal Osborne), Tidal Trace, Marjorie Wood Gallery of the Kerry Wood Nature Centre in Red Deer, AB

2006 JOINT EXHIBITION (with Lyndal Osborne), Tidal Trace, Yukon Arts Centre Public Art Gallery, Whitehorse, YT

2004 GROUP EXHIBITIONS:

Edmonton Plus One, Lando Gallery, Edmonton, AB

Edmonton Excels, Fine Arts Building Gallery, University of Alberta, Edmonton, AB

Pulse – Northern Alberta Drawing Exhibition, Red Deer District Museum, Red Deer, AB

Pulse – Northern Alberta Drawing Exhibition, Stony Plain Multicultural Centre, Stony Plain, AB

JOINT EXHIBITION (with Lyndal Osborne), Tidal Trace, Edmonton Art Gallery, Edmonton, AB

2003 GROUP EXHIBITIONS:

A&D (Art and Design) Index - Staff Show 1, Fine Arts Building Gallery, University of Alberta, Edmonton, AB

Pulse – Northern Alberta Drawing Exhibition, Chuck MacLean Arts Centre, Camrose, AB

Pulse – Northern Alberta Drawing Exhibition, Cultural Centre Gallery, Medicine Hat, AB.

Pulse – Northern Alberta Drawing Exhibition, Bowman Arts Centre and Yates Memorial Centre Galleries, Lethbridge, AB

Pulse – Northern Alberta Drawing Exhibition, Prairie Art Gallery, Grand Prairie, AB

Pulse – Northern Alberta Drawing Exhibition, Keyano Art Gallery, Keyano College, Fort McMurray, AB.

2002 GROUP EXHIBITIONS:

Pulse – Northern Alberta Drawing Exhibition, Profiles Public Art Gallery, St. Albert, AB

Bodily Pleasures, (an exhibition exploring perceptual experiences), Fine Arts Building Gallery, University of Alberta, Edmonton, AB

Flash Point: Painting, Department of Art and Design Painters: 2001/2002, Fine Arts Building Gallery, University of Alberta, Edmonton, AB

2001 GROUP EXHIBITION:

Drawings-4: Bagan/Carson/Freeman/Stehelin, Edmonton, AB.

2000 GROUP EXHIBITIONS:

Perceptions / Conceptions, Fine Arts Building Gallery, University of Alberta, Edmonton, AB

Into the Garden Again, The Red Deer and District Museum, Red Deer, AB

Staff Show 1, 113 Degrees West: In the Cross Hairs, Selected works by members of the Department of

Art and Design, University of Alberta, Fine Arts Building Gallery, Edmonton, AB

University of Alberta Press, cover illustration, Blodgett, E.D., Apostrophes IV, speaking you is holiness,

A volume in Currents, an interdisciplinary series. Book design by Alan Brownoff. Cover illustration, “Yellow to Red Orange,” by John Freeman. Watercolour, 14.5 x 20.5 in., 1997.

1999 GROUP EXHIBITION: Art on Our Block, Front Gallery, Edmonton, AB

1998 GROUP EXHIBITIONS:

Gallery Walk, Christmas Show, Front Gallery, Edmonton, AB

Fine Lines: An Exploration of Drawing Styles, The Prairie Art Gallery, Grande Prairie, AB

SOLO EXHIBITIONS:

Bleeding Hearts and Roses, Front Gallery, Edmonton, AB

Rowles and Company Ltd., Oxford Tower Lobby, Edmonton, AB

1997 SOLO EXHIBITION: Rowles and Company Ltd., Oxford Tower Lobby, Edmonton, AB

GROUP EXHIBITIONS:

Gallery Walk, Christmas Show, Front Gallery, Edmonton, AB

May Flowers, Front Gallery, Edmonton, AB

New Acquisitions, Edmonton Art Gallery, Edmonton, AB

1996 SOLO EXHIBITION: Limited Edition Iris Prints, Rowles and Company Ltd., Edmonton, AB

GROUP EXHIBITIONS:

Selected Work from Rowles and Company Ltd., Commerce Place, Edmonton, AB

Selected works from the Rowles and Parham Design Galleries, Select Restaurant, Manulife Place, Edmonton, AB

1995 SOLO EXHIBITION, More Myths, Commerce Place Gallery, Edmonton, AB

GROUP EXHIBITIONS:

40 Degrees Celsius, Commerce Place, Edmonton, AB.

Growing Well (plant and floral images from the University of Alberta Hospitals Permanent Collection”, McMullen Gallery, University of Alberta Hospitals, University of Alberta, Edmonton, AB

1994 SOLO EXHIBITIONS: Myth/Science/Bleeding Hearts & Roses, Vanderleelie Gallery, Edmonton, AB

GROUP EXHIBITIONS: Graff Selects, Contemporary work from the Collection of The Alberta Foundation for the Arts, The Edmonton Art Gallery, Edmonton, AB

1993 SOLO EXHIBITION: Mini Show, new drawings, Vanderleelie Gallery, Edmonton, AB

GROUP EXHIBITION: Vanderleelie Gallery, Edmonton, AB, Canada

THREE PERSON EXHIBITION; Greg Edmonson - Soviet Pangaea, John Freeman - Reference, Grant McConnell - Going Straight Home, Muttart Public Art Gallery, Calgary, AB

1992 GROUP EXHIBITIONS: Christmas Show: Gallery Artists, Vik Gallery, Edmonton, AB

Gallery Artists Presentation for the Canada Council Art Bank, Vik Gallery, Edmonton, AB

Just Niche It, Art EVO Gallery, Edmonton, AB

1991 – 1975: 7 SOLO EXHIBITIONS, 35 GROUP EXHIBITIONS, 1 TWO PERSON EXHIBITION, 1 performance

COLLECTIONS

Edmonton Art Gallery, Edmonton, AB. Grant MacEwan Community College, Edmonton, AB. Claridge Collection, Montreal, QC. Northwest Research and Consulting, Edmonton, AB. University of Alberta Hospital, Edmonton, AB. University of Alberta Permanent Collection, Edmonton, AB. Collection of Alberta Foundation for the Arts. Edmonton Savings and Credit Union, Edmonton, AB. Keevil Rich Resource Management Ltd., Calgary, AB. Pan Canadian Petroleum Ltd. Energy Resources Conservation Board (Alberta). Cross Cancer Institute, Edmonton, AB. Interprovincial Pipelines Ltd. Alberta Society of Engineering Technologists. Texaco Canada Ltd. Chateau Developments Ltd. Queen Elizabeth II Hospital, Grand Prairie, AB. Canadian Offshore Financial Services. Private Collections

REVIEWS / ARTICLES

- Bouchard, Gilbert. “Manufacturing the Impossible.”, Edmonton Journal, January 30, 2009

- Matejko, Agnieszka. “All-Night Waves - Lyndal Osborne and John Freeman’s Tidal Trace is a site for shore eyes.” Vue Weekly, March 25-31, 2004, 48-49

- Bouchard, Gilbert. “Reflecting on the sea’s power, the nature of memory.” Edmonton Journal, March 26, 2004, final edition:

- Bouchard, Gilbert. “Lie put to the myth that photos don’t lie.” Edmonton Journal, October 31, 2003, final edition: E6.

- Matejko, Agnieszka. “Positive body image.” Vue Weekly, July 11 - July 17, 2002, No. 351: 38

- Bouchard, Gilbert. “’Bodilypleasures’ explores human experience.” Edmonton Journal, July 5, 2002, final edition: E6.

- Dey, Phoebe. “Artists At Work.” Folio, February 4, 2000: 8

- Zyp, Danielle. “Roses are red, violets – and vines - are blue.” Vue Weekly, February 12 – February 18, 1998: 6z

- See Magazine, August 1995. Muttart Art Gallery Newsletter, Vol. 5, Issue 2, March/April, 1993: 3.

- Beauchamp, Elizabeth. “Vibrant male look at womanly flowers.” Edmonton Journal, final edition, June 14, 1991: D10.

- Conley, Christine. “John Freeman, Vanderleelie Gallery.” Vanguard, December/January 1985/1986: 34.

- Matousek, Phylis. “Mediums connected by composition.” Edmonton Journal, October 12, 1985.

- Matousek, Phylis. “Vivid flowers like walk through a tropic jungle.” Edmonton Journal, February 4, 1984: C2.

- Edmonton Journal, March 1982. Edmonton Journal, April 1981. Edmonton Journal, October 1980.

GRANTS

ACDI Grant: Research, Production, and Travel for installation of work at Val David Quebec in collaboration with Lyndal Osborne, 2009

Bernd Hildebrandt

EDUCATION

CURRICULUM VITAE

1980 Masters Degree in Visual Arts, Visual Communication Design, University of Alberta, three-dimensional type forms

1973 Bachelor Degree in Fine Arts., University of Alberta, sculpture, visual communication design an industrial design

EMPLOYMENT HISTORY

Current Self employed: HILXING Design, Art and Consulting, Inc.

1999-2014 Sessional instructor, Industrial Design, Dept. of Art and Design, University of Alberta

1981-2007 Senior designer, Museums and Collections Services, University of Alberta

With a background in industrial and graphic design, and sculpture Bernd Hildebrandt plans exhibit spaces, designs display furniture for museums and art galleries and installs exhibitions that integrate objects, images and words. Working as an independent exhibit designer he has designed a number of extensive object based exhibits including: Inuit Sanaugangit: Art Across Time’, Qilak Gallery, WAG-Qaumajug, Winnipeg Art Gallery, Manitoba; Edgar Degas: the Figure in Motion, Art Gallery of Alberta (included new exhibit cases for the AGA); Discovering Dinosaurs, for University of Alberta Museums, and various exhibits (2007-2020) showcasing Chinese robes and scroll paintings from The Mactaggart Art Collection, University of Alberta.

Industrial design projects included: design and fabrication drawings for 14 large freestanding decorative structures installed at the Ukrainian Cultural Heritage Village; as well as structural supports for the large glass and fabric installation at the Southern Alberta Jubilee Auditorium. Both projects involved extensive engineering consultation and manufacturing supervision. His role as project manager on numerous exhibit and installation projects included the preparation of technical drawings, preparing image data files to specifications as required for production, sourcing materials and suppliers, liaison with engineers and fabricators, site preparation and installation.

Art installation collaborations with Liz Ingram integrate Bernd’s poems into the fabric of her often largescale images and prints. These works involve extensive digital image manipulation and file preparation for printing onto various materials including glass, translucent vinyl and silk. Working together has resulted in temporary installations (2011-2024) in Australia, Poland, Germany, Argentina, Canada, as well as in permanent installations at the Southern Alberta Jubilee Auditorium (April 2011), the Fort McMurray International Airport (2014), and gallery exhibitions at the Glenbow Museum (2011) and the Chelsea Art Museum in New York (2012), FAB Gallery, Edmonton, (2017).

EXHIBIT/GRAPHIC DESIGN/PROJECT MANAGEMENT PROJECTS

2023 Dental Exhibit, Dept. of Dentistry & U of Alberta Museums, Edmonton

2023 Inuit Sanaugangit: Art Across Time, Qilak Gallery, WAG-Qaumajug, Winnipeg Art Gallery, MB

2020 Dragons on the Tibetan Plateau,The Mactaggart Art Collection, U of A Museums, Edmonton

2019 Publication rack design for University of Alberta Special Collections, Edmonton

2018 Chinese wall scroll replica, installed in the China Institute, University of Alberta

2017 Dental hallway exhibit with Sergio Serrano, Faculty of Medicine and Dentistry, University of Alberta, Edmonton

2016 The Mactaggart Art Collection: Beyond the Lens, U of A Museums, Edmonton

2016 China Through the Lens of John Thomson, U of A Museums, Edmonton

2015 Meteorite Exhibit, Whitecourt Forest Interpretive Centre.

2015 What’s New, exhibit, U of A Museums, Edmonton.

2014 Discovering Dinosaurs, Paleontology exhibit, U of A Museums, Edmonton.

2013 Sanaunguabik: Traditions and Transformations in Inuit Art, U of A Museums, Edmonton

2013 The World of Splash Ink: Painting by Prof. Fan Zeng, U of A Museums, Edmonton

2013 Size Matters: Big Prints From Around the World, U of A Museums, Edmonton

2013 Made in Calgary: the 60’s, exhibit design and layout, Glenbow Museum, Calgary, AB

2012 Passion Project and ‘Immortal Beauty’, exhibits, U of A Museums, Edmonton

2011 ‘CODE’, exhibit, QR codes in art gallery situations, U of A Museums, Edmonton

2010 Edgar Degas: the Figure in Motion, Layout, exhibit furniture, Art Gallery of Alberta

2009 14 Exterior banner poles, design and installation, Ukrainian Cultural Heritage Village, AB

2008/9 Brilliant Strokes: Chinese Paintings, Mactaggart Asian Art Collection, U of A Museums, Edmonton

2008/9 ‘Frog Lake Historic Site’, proposal to establish an outdoor experiential exhibit at Frog Lake, AB, Prepared for Alberta Culture and Community Spirit, Gov. of Alberta

2008 This Wild Spirit: Women in the Rocky Mountains of Canada, FAB Gallery, U of A, Edmonton

2007 Dressed the Rule: 18th Century Court Attire from the Mactaggart Art Collection, U of A, Edmonton

2006 Uncut Diamonds, permanent exhibit, Mineralogy and Petrology Museum, U of A, Edmonton

2005 ‘Meteorites’, permanent exhibit, Mineralogy and Petrology Museum, U of A, Edmonton

1996 ‘Teaching the World’, travelling exhibit, U of A, Edmonton

1995 ‘Rubens to Picasso, Four Centuries of Master Drawings’, F.A.B. Gallery, U of A, Edmonton

1994 Print Study Centre, design, U of A, U of A Museums, Edmonton

1989 ‘History of Dentistry’, permanent exhibit, Faculty of Dentistry, U of A, Edmonton

1982 ‘O Osiris, Live Forever’, exhibition on mummification, Ring House Gallery, U of A, Edmonton

PERSONAL ART EXHIBITIONS AND INSTALLATIONS

2024 Anthem, Prince Takamado Gallery, Canadian Embassy, Tokyo, Japan

2024 Mirror/Mirror, ddd Gallery, Kyoto, Japan

2024 SEVEN+SEVEN, Pinnacles, Townsville City Art Gallery, Queensland, Australia

2023 Know Thyself / As a Virtual Reality, collaborator (poems) in a virtual reality exhibit, FAB Gallery, Univ. of Alberta.

2022 Touching Gravitas, a collaborative exhibition with Liz Ingram, SNAP Galleries, Edmonton

2021 ProTO-types, (Installation of ‘Beyond Reckoning’) Experimental Contemporary Canadian Printmaking’ exhibition, Gallery of the Academy of Fine Arts in Krakow, Poland

2019 Dyscorpia, (Light Touch a collaborative installation (a silk tent structure) and video), Enterprise Square Galleries, Edmonton

2017/18 Exhibit of collaborative work with Liz Ingram, ‘Satin Refuge’ installation and ‘Penetrating Gestures Print Series’ in Poland (2017), Germany (2017), Edmonton (2017), and Argentina (2018)

2016 Poetry Stairs, Temporary public art installation, organizer and participant, City of Edmonton

2015 50th Anniversary Exhibition: Art & Design’, FAB Gallery, U of A, Edmonton

2014 Out of the Frame 2, Cannery Gallery, Academy of Art University, San Fransisco, California, USA

2014 Mark – Coda, City University of San Fransisco Gallery, San Fransisco, California, USA

2013 The New World, MODEM, Center for Modern and Contemporary Art, Debrecen, Hungary

2013 River/Water, Esplanade Art Gallery, Medicine Hat, Alberta, Canada

2013 Out of the Frame, Duncan Jordanstone College of Art and Design, University of Dundee, Scotland

2011 Perceptions of Promise: Biotechnology, Society and Art, Glenbow Museum, Calgary; Chelsea Art Museum, New York, USA; McMaster Museum of Art, Hamilton, ON, Enterprise Square Gallery, Edmonton

2009 Beyond Printmaking, Galeria U Jezuitów, Poznan, Poland (2009)

2008 Imagining Science, with Liz Ingram, Art Gallery of Alberta, Edmonton

1997 Under the Skin/Sediments, installation exhibition with Liz Ingram, Prairie Gallery, Grande Prairie, AB

1993 Sediments, solo installation, Latitude 53 Gallery, Edmonton.

Liz Ingram

CURRICULUM VITAE

Distinguished University Professor Emerita, University of Alberta

EDUCATION

1975 Master’s Degre in Visual Arts, University of Alberta, Edmonton, AB

1972 Bachelor of Fine Arts, Honours, York University, Toronto, ON

SELECTED AWARDS

2022 Queen Elizabeth II Platinum Jubilee Medal, Alberta, Canada

2021 Distinguished Alumni Award, University of Alberta

2017 Appointed member to the Order of Canada, Governor General of Canada, Ottawa, Canada

2011 Awarded the University Cup (highest academic honour), University of Alberta, Edmonton, Canada

2009 Awarded a Distinguished University Professorship, University of Alberta, Edmonton, Canada

2009 Elected as Fellow of the Royal Society of Canada, Ottawa, Canada

2008 J. Gordin Kaplan Award For Excellence in Research, University of Alberta, Edmonton, Canada

2008 Inducted into the City of Edmonton Cultural Hall of Fame, Edmonton, Canada

2004 Salute to Excellence Award, City of Edmonton, Alberta, Canada

2004 Faculty of Arts Research Excellence Award, University of Alberta, Edmonton, Canada

2002 McCalla Research Professorship, University of Alberta, Edmonton, Canada

2001 Honourable Mention Award, Miniprint Finland 2001, Lahti Art Museum, Finland

1998 Diploma Award, 11th Tallinn International Print Triennial, Tallinn, Estonia

1994 Award of Excellence, 8th International Miniature Print Exhibition, S.P.A.C.E. Gallery, Seoul, Korea

SELECTED SOLO AND SMALL GROUP EXHIBITIONS

2022 Touching Gravitas, (duo), SNAP Galleries, Edmonton, AB

2018 Touching Gravity, (solo) Touching Gravity, ‘acePIRAR Gallery, Buenos Aires, Argentina

2017 Water/Bodies (solo), FAB Gallery, University of Alberta, Edmonton

2017 Liz Ingram: Site Collaborations, Anna Leowens Gallery, (solo), NSCAD, Halifax, NS

2015 Liz Ingram: Print Encounters 1984 – 2014 (solo), Prince Takamado Gallery, Embassy of Canada, Tokyo, Japan, (catalogue, brochure)

2013 Transition and Transformation (solo) Schwabenakademie, Kloster Irsee, Bayern, German (catalogue)

2008 Source: Prints by Liz Ingram, (solo) Malaspina Print Gallery, Vancouver, BC, Canada

2006 DruckArt 2006, Kloster Bentlage Museum, Rheine, Germany (catalogue)

2005 human/nature: Contemporary Canadian Installation, Doland Museum of Modern Art, Shanghai, China

2003 Fragile Source II, Installation, Open Studio Gallery, Toronto, Canada (brochure)

2001 Fragile Source, Installation, Edmonton Art Gallery, Edmonton, Canada (catalogue)

1997 Under the Skin-Sediments (duo), installation exhibition, Prairie Art Gallery, Grande Prairie, Canada

1995 Under the Skin (solo), Art Gallery of South Okanagan, Penticton, Canada

1993 Liz Ingram: Recent Drawings (solo), F.A.B. Gallery, U of Alberta, Edmonton, Canada

1991 Inside-Out: Four Artists from Edmonton, International Print Triennale Satellite Exhibition, Krakow, Poland (catalogue)

1989 Liz Ingram: Colour Etchings (solo), Evelyn Aimis Gallery, Toronto, Canada

1989 Retrospective Exhibition of Prints: 1975-1988, Museum of Modern Art, International Center of Graphic Art, Ljubljana, Slovenia (catalogue)

1989 Liz Ingram: Prints from the 80’s, Medicine Hat Museum, Alberta, Canada

1988 Inner Landscape (solo), Muttart Gallery, Calgary, Canada

SELECTED CURATED AND JURIED GROUP EXHIBITIONS

2024 Anthem, (Artist bookworks), Prince Takamado Gallery, Canadian Embassy, Tokyo, Japan

2024 SEVEN+SEVEN, Perc Tucker Pinnacles Art Gallery, Townsville, Australia

2024 Mirror/Mirror, ddd Gallery, Kyoto, Japan

2024 Energy Futures, Harcourt House Main Gallery, Edmonton, Alberta, Canada

2023 Anthem, Canadian Language Museum, (Artist bookworks, )Toronto, Canada (catalogue)

2022 HOME + NATIVE LAND, (Canadian Artists’ Bookworks), Bibliotheca Alexandrina, Alexandria, Egypt

2022 International Printmaking Biennial of Douro, Porto, Douro, Portugal (catalogue)

2021 Pro-TO-type(s), organized by the Krakow International Print Triennial, Krakow Academy of Art Gallery, Krakow, Poland

2021 Print Out Times: 2021, Taoyan International Print Exhibition, Taoyan Arts Center, Taiwan

2020 International Biennial Print Exhibit: 2020 R.O.C., National Taiwan Museum of Fine Arts, Taipei, Taiwan (Online due to COVID) (catalogue)

2020 Stones from Other Mountains, International Outstanding Printmaking Artists, China Print Museum, Guanlan, China

2020 Worldwide Prints, Associazione Nazionale Incisori Contemporanei, Montebelluna, TV, Italy

2019 Rebellious: Alberta Women Artists from the 80’s, Art Gallery of Alberta, Edmonton, Canada (catalogue)

2019 Biennial Winners: Shift in Canons, International Center for Graphic Art, Ljubljana, Slovenia

2019 Guanlan International Print Biennial (Invitational section), China Printmaking Museum, Shenzhen, China

2019 International Lithography Competition Exhibition, Galerii Górnej I Dolnej BWA, Kielce, oland

2019 Dyscorpia: Future Intersections of the Body and Technology, Enterprise Square Gallery, Edmonton, AB

2018 Print – Deep and Flat, Encuentro: IMPACT 10 Conference, Biblioteca Central, Santander, Spain

2018 Intersecting Boundaries, Festival dell’ Arte, Palace Bukowiec, Lower Silesia, Poland

2018 Bienal Do Douro, Alijó, Douro, Portugal (catalogue)

2017 Light.Matter: Art at the Intersection of Photography and Printmaking, Grunwald Gallery, Indiana University, Bloomington, Indiana, USA (catalogue)

2017 INTER•WOVEN / Interdisciplinary interpretations of Canadian contemporary printmaking and textiles, Academy of Fine Arts Gallery, Lodz, Poland (10 artists)

2016 International Print Exhibition: Canada and Japan, Kyoto Metropolitan Museum of Art, Kyoto (co-curator and exhibitor - catalogue) travelled to the Tokushima Museum of Modern Art, Japan

2015 Haptic & Optic, (China Tour) Yuquanshan Art Gallery, Beijing, China; Shenzhen Baotu Library Gallery, Shenzhen, China; Impact9 International Printmaking Conference, Hangzhou, China Academy of Art & Renke Art Gallery; and Yantai Modern Gallery, Yantai, China

2014 90 X 90, Art Gallery of Alberta, Edmonton, Canada

2013 The New World, MODEM Center of Modern and Contemporary Art, Debrecen, Hungary (catalogue)

2013 Out of the Frame, Duncan Jordanstone College of Art and Design, University of Dundee, Scotland

2013 River/Water, Esplanade Art Gallery, Medicine Hat, Alberta, Canada

2012 Okanagan Print Triennial, Kelowna Art Gallery, Kelowna, BC, Canada (catalogue)

2011 Perceptions of Promise, Glenbow Museum, Calgary and the Chelsea Art Museum, New York, USA

2011 World Plate and Print Art Exhibition: Millenial Wind, World Exchange Hall Gaya-myen Hapcheon-gun, Gyeongsangnam-do, Korea (catalogue)

2010 International Print Network, Horst Janssen Museum, (juried) Oldenburg, Germany (catalogue)

2009 Beyond Printmaking, The Jesuits Gallery of Contemporary Art, Poznan, Poland (catalogue)

2009 Synergies 2009: Prints From the University of Alberta, Osman Hamdi Gallery, Mimar Sinan Fine Arts University, Istanbul, Turkey (curator and exhibitor - catalogue)

2009 The 2nd Bangkok Triennale International Print and Drawing Exhibition (juried) Silpakorn University Gallery, Bangkok, Thailand (catalogue)

2008 Imagining Science, Art Gallery of Alberta, Edmonton AB, Canada (accompanying book)

2007 Prints Tokyo (juried, international), Metropolitan Museum of Art, Tokyo, Japan (catalogue)

2005 Bharat Bhavan International Print Biennial, Museum of Fine Arts, Bhopal, India, (juried, international), (also 2002, 1997 (Award) ,1995,1989), (catalogues)

2005 Alberta Biennial of Contemporary Art, (juried) Walter Phillips Gallery, Banff, and the Art Gallery of Alberta, Edmonton, Canada

2004 The Plates, Chenretsukan Gallery, Tokyo National University, Tokyo, Japan (catalogue)

2003 Junge Kunst Im Fokus, Waldhof Museum, Bielefelder Kunstverein, Bielefeld, Germany, (catalogue)

2003 International Print Triennial (juried) Krakow, Poland 2003, 2000, 1994, 1986, 1980, 1978. 1976(catalogues)

2001 Tallinn Print Triennial (Award), Tallinn Museum of Art, Tallinn, (juried) Estonia

1999 Lines of Site: Ideas, Forms and Materialities”, Gulbenkian Galleries, Royal College of Art, London, England, and Musashino Art Museum, Tokyo, Japan, (catalogue)

1985 International Exhibition of Graphic Art, Yugoslavia, (juried) 1997, 1993, 1989 (Award), 1987 (Award) ,1985, 1983, 1981 (Award), (catalogues)

PUBLIC COMMISSIONS

2004 Edmonton International Airport, public art commission

2011 Southern Jubilee Auditorium, public art commission (SJAS and AFA)

2014 Public Art Commission for the new Fort McMurray Airport, Alberta, Canada

2016 Poetry Stairs, Public Project for Make Something Edmonton, (words and Image on 55 river valley stairs)

SELECTED COLLECTIONS

Sakima Art Museum, Okinawa Prefecture, Japan

China Printmaking Museum, Shenzhen, China

Portland Art Museum, Portland, Oregon, U.S.A

The William Benton Museum of Art, University of Connecticut, Storrs, CT, USA

Oregon State University, U.S.A.

Graphic Museum, National Center of Fine Arts, Giza, Egypt

Universitäts und Landesbibliothek, Münster, Germany

Bibliothek Basel, Switzerland

Tama University Art Museum, Tokyo, Japan

Art Gallery of Alberta, Edmonton, Alberta Canada

Glenbow Museum, Calgary, Alberta, Canada

Musashino Art Museum, Tokyo, Japan

Memorial University Art Gallery, Newfoundland, Canada

University of Alberta, Edmonton, Canada

University of Lethbridge Art Collection, Alberta, Canada

Canada Council Art Bank, Ottawa, Canada

Alberta Foundation For The Arts, Canada

SELECTED RECENT WORKSHOPS AND LECTURES

2021 Permeable Frontiers – Collaborations: Presentation with Bernd Hildebrandt as main guest Zoom speakers for artist residency program, Fundacion ‘ace Arte Contemporáneo, Buenos Aires

2018 The Embodied Moment, Presentation as panel participant on “Photographic Printerliness: On the persistence of materiality in the digital age”, Encuentro IMPACT 10 conference, Santander, Spain

2018 Artist in Residence and Acting Artistic Director, ACE International Artist Residency, Buenos Aires, Argentina (January – June, multiple presentations)

2017 Site Collaborations, visiting artist lecture, Anna Leonowens Gallery, Halifax, Nova Scotia

2017 Water; Bodies; Collaborations, Lecture on my work to accompany solo exhibition, University of Alberta

2016 McKinney Lecturer and guest artist, Indiana University, Bloomington, Indiana

2016 Canadian Printmaking Then and Now, keynote presentation, Canada and Japan, International Printmaking Exhibition Symposium, Kyoto Municipal Museum of Art, Kyoto, Japan

2014 From Printmaking to Print Installation: A Personal Journey College Art Association Conference, Hilton, Chicago Hotel, Chicago, USA,

2013 Schwabenakadenie Kunstsommer Master Class, Kloster Irsee, Bayern, Germany

2013 IMPACT 8 International conference, Intimate Collaborations, University of Dundee, Scotland

2012 Invited international juror/visiting artist, Bangkok Triennale International Print and Drawing Exhibition, Silpakorn University, Bangkok, Thailand

Lyndal Osborne

CURRICULUM VITAE

Professor Emerita, University of Alberta

EDUCATION

1971 MFA, University of Wisconsin, Madison, Wisconsin (Printmaking)

1961 BA, National Art School and Sydney Teacher’s College, Sydney, Australia

TEACHING

1971- 2004 Assistant, Associate & Full Professor, University of Alberta, Edmonton, AB

AWARDS

2016 Award, Salute to Excellence, City of Edmonton, Edmonton, AB

1998 Elected Member, Royal Canadian Academy of Art

1991 J. Gordon Kaplan Award for Excellence in Research, University of Alberta, Edmonton, AB

1990 McCalla Professor, University of Alberta, Edmonton, AB

Real Canadian Superstore Award ’90 (Established Artist Category)

SOLO EXHIBITIONS

2022 Tracing Tides: Lyndal Osborne, Red Deer Art Gallery and Museum, Red Deer, AB

2018 Mutation of the Commons, Nickle Art Galleries, Calgary, AB

2017 Metaphors for Evolution, Art Gallery of Grande Prairie, Grande Prairie, AB

2016 Coevolution, Vernon Public Art Gallery, Vernon, BC

Lyndal Osborne - Shoalwan: River through Fire, River of Ice, The Reach, Abbotsford, BC

2015 Where Rivers Meet Sea, Art Gallery of Burlington, Burlington, ON

Cabinet of Curiosities, Glenbow Museum, Calgary, AB

2014 Lyndal Osborne: Looking at Nature Galerie Jean-Claude Bergeron, Ottawa, ON

Bowerbird: Life as Art, Art Gallery of AB, Edmonton, AB

2013 Rivers, University of Manitoba School of Art Gallery, Winnipeg, MB

Cabinet of Curiosities, BMO World of Creativity, Art Gallery of AB, Edmonton, AB

2012 Where Rivers Meet Sea, The Rooms: Art Gallery of Nfld and Labrador, St. John’s, NL

Tracing Tides, Discovery Centre, Gros Morne National Park, NL

2010 ab ovo, Dunlop Art Gallery, Regina, SK

Ornamenta, Moose Jaw Museum and Art Gallery, Moose Jaw, Saskatchewan; Esplanade Gallery, Medicine Hat, AB

2009 Ornamenta, Harcourt House Arts Centre, Edmonton; Penticton Art Gallery, Penticton, BC

2008 Ornamenta, Canadian Clay and Glass Gallery, Kitchener, Ontario; Robert McLaughlin Gallery, Oshawa, ON

2006 Garden, Art Gallery of Calgary, Calgary, AB

Shoalwan: River Through Fire, River of Ice, Capital X, Sportex, Edmonton, AB

2004 L’oeuvre au naturel ou du naturel a l’oeuve, Musée Regional de Rimouski, Rimouski, QC

2003

Shoalwan: River Through Fire, River of Ice, Whyte Museum of the Rockies, Banff, AB

Selections from Poetic Structure of the World, Kitchener Waterloo Art Gallery, Kitchener, ON Illusions, Prairie Art Gallery, Grande Prairie, AB

2002 Geographies & Objects of Enticement, Kelowna Art Gallery, Kelowna, BC

2000 Poetic Structure of the World, Southern Alberta Art Gallery, Lethbridge, AB

1998 Poetic Structure of the World, FAB Gallery, University of Alberta, Edmonton, AB

De Leon White Gallery, Toronto, ON

1996 SNAP Gallery, Edmonton, AB

1995 Keyano College Gallery, Fort McMurray, AB

1993 Natural Survivors, Malaspina Printmakers Gallery, Vancouver, B.C.

1992 Objects from Nature & Imagination, Manitoba Printmakers Assoc. Gallery, Winnipeg, MB

1990 Lyndal Osborne: Songs of the Stone, The Edmonton Art Gallery, Edmonton, AB

Lyndal Osborne: Songs of the Stone, National Library Gallery, Montivedego, Uruguay

Estudio Lisenberg, Buenos Aires, Argentina; Cordoba, (Rosario & Mar del Plata)

1983 Southern Alberta Art Gallery, Lethbridge, AB

1976 Lyndal Osborne: Prints and Drawings, The Edmonton Art Gallery, Edmonton, AB

SELECTED DUO AND GROUP EXHIBITIONS

2023 AGA 100 group show, Art Gallery of AB, Edmonton AB

2022 The World We’re Living In, (group) Nickle Galleries, Calgary, AB

2022 Obscure Objects of Desire (duo with Jack Damer) FAB Gallery, Edmonton, AB

2020 BorderLINE, (Biennial 2020) Remai Modern, Saskatoon, SK

2019 Rebellious: AB women artists of the 1980s, Art Gallery of AB, Edmonton AB

Another Landscape Show, Art Gallery of AB, Edmonton, AB

2017 I am Western, cSpace King Edward Gallery, Calgary, AB

2016 A Little Bit of Infinity, Enterprise Square Gallery, Edmonton, AB

2015 Imprints, AFA Travelling Exhibition Program, Art Gallery of AB, Edmonton, AB Water, Whyte Museum of the Canadian Rockies, Banff, AB

2014 90 x 90, Art Gallery of Alberta, Edmonton, AB

Our Own Backyard (with Mary Abma), Judith & Norman Alix Art Gallery, Sarnia, ON

Regions of Distinction: Edmonton members of the RCA Enterprise Square Gallery, Edmonton AB

2013 Ecotone, Nickle Art Galleries, Calgary, AB

Size Matters: Big Prints from around the World, Enterprise Square Gallery, University of Alberta, Edmonton, AB

Ecotone, Southern Alberta Art Gallery, Lethbridge, AB

2012 Flax Field, collaboration with John Freeman, Concordia University College, Edmonton, AB

Animal, Dalhousie Art Gallery, Halifax, NS

Imprint: Art from the AGA Collection, Art Gallery of Alberta, Edmonton, AB

Witness, with Sherri Chaba, Strathcona County Art Gallery @ 501, Sherwood Park, AB

Animal, The Robert McLaughlin Gallery, Oshawa, ON

2011 4th Biennale International Portneuf, collaboration with John Freeman, Deschambault, QC

2112: Imagining the Future, RMIT Gallery, Melbourne, Australia

Animal, Kenderdine Gallery, Saskatoon, Saskatchewan; Museum London, London, ON

Cereal Gen, with Alex Moon, University of Lethbridge Art Gallery, Lethbridge, AB

Farm Show: Seeding, Red Deer Museum and Art Gallery, Red Deer, AB

Farm Show: Growing, collaboration with Sherri Chaba, Red Deer Art Gallery, Red Deer, AB

2010 A Renaissance, Organized by Art and Life, Enterprise Square Gallery, Edmonton, AB

Timeland: 2010 AB Biennial of Contemporary Art, Art Gallery of Alberta, Edmonton, AB

2009 10th Symposium international d’art in situ, collaboration with John Freeman, Val David, QC

2008 Seeing Through Modernism: Edmonton 1970 -1985, Art Gallery of AB, Edmonton, AB

Oil, Science & Soil, collaboration with Sherri Chaba, Capital Arts Building Gallery, Edmonton, AB

Imagining Science: Exploration of Science, Society and Social Change, AGA, Edmonton, AB

Landscape Stories, Moose Jaw Gallery, Moose Jaw, SK; Kennedy Art Gallery, North Bay, ON

2007 Landscape Stories, Esplanade Gallery, Medicine Hat, AB

Tidal Trace, collaboration with John Freeman, Kerry Woods Gallery, Red Deer, AB

2006 Landscape Stories, Thames Gallery, Chatham, ON

Tidal Trace, collaboration with John Freeman, Yukon Arts Centre, Whitehorse, YT

2005 Alberta Biennial of Contemporary Art 2005, Walter Phillips Gallery, Banff; Edmonton Art Gallery, Edmonton, AB

2004 human/nature: Contemporary Canadian Installation, Kenderdine Art Gallery, Saskatoon, SK; Doland Modern Art Museum, Shanghai, China; Hong Kong Visual Arts Centre, Hong Kong

Tidal Trace, collaboration with John Freeman, The Edmonton Art Gallery, Edmonton, AB

2001 River City, The Edmonton Art Gallery, Edmonton, AB

Fluttering Ways, (Triennial), Adria Palace Gallery, Prague, Czech Republic

2000 Lines of Site: 2000, Old Town Hall Gallery, Prague, Czech Republic

1999 Alberta Biennial of Contemporary Art 1998, The Edmonton Art Gallery, Edmonton, AB

20/20 Vision: Roots, collaboration Brian Webb, L’Uni Theatre, La Cité-Francophone, Edmonton, AB

Lines of Site Ideas, Form & Materialities, Gulbenkian Galleries, London, UK; Musashino Art University Galleries, Tokyo, Japan

Nature, Culture and Community, Nanaimo Art Gallery, Nanaimo, BC

1998 (un)natural Histories, with Gwen Curry, Prairie Art Gallery, Grande Prairie, NL

Selected Works, Sir Wilfred Grenfell College Art Gallery, Corner Brook, NL

Alberta Biennial of Contemporary Art 1998, Glenbow Museum, Calgary, AB

Beauty and the Banal, The Edmonton Art Gallery, Edmonton, AB

1997 Hung, Drawn and Quartered, The Edmonton Art Gallery, Edmonton, AB Of Mudlarkers & Measurers, Agnes Etherington Art Centre, Kingston, Ontario; Ottawa Art Gallery, Ottawa, ON

(un)natural Histories, with Gwen Curry, Open Space Gallery, Victoria, BC

1996 Site Markers, Latitude 53 Gallery, Edmonton, AB

INTERNATIONAL INVITATIONAL AND JURIED PRINT EXHIBITIONS

1968-2004 (Over 250 exhibitions)

Argentina: Buenos Aires; Australia: Sydney, Melbourne, Brisbane, Bathurst, Warrnambool, Freemantle, Maitland, Grafton; Belgium: Brussels; Brazil: Cabo Frio, San Paulo, Curitibu, Brazilia; Bulgaria: Sophia, Varna Canada: Ottawa, Kitchener, Medicine Hat, Toronto, Kelowna, Vancouver, Burnaby, Regina, Brantford, Winnipeg, Saskatoon, Calgary, Edmonton, Banff, Guelph, Québec City, Red Deer, Kelowna, London, Hamilton; Czech Republic: Prague; Egypt: Giza; Finland: Jyvaskyla; France: Paris; Germany: Berlin, Nurnberg, Frechen; Iceland: Reykjavik; India: Bhopal, Bharat Bhavan; Japan: Tokyo, Osaka, Kochi-shi, Hakodate, Sapporo, Kanagawa, Wakayama, Nagoya, Amagasaki; Korea: Seoul; Netherlands: Maastricht; Norway: Fredrikstad; Poland: Torun, Cracow, Katowice, Poznan, Lodz; ROC: Taiwan, Hong Kong; Slovenia: Ljubljana; Spain: Ibza; Sweden: Stockholm; UK: Bradford, London; Uruguay: Montivedego; USA: Auburn, Chicago, San Francisco, Flint, Dickinson, Miami, Silvermine, Lubbock, Worcester, St. Joseph, Boston, New York, Columbus, Houston, Kingston, Los Angeles

SELECTED CATALOGUES

2020 Rebellious: Alberta Women of the 80s: Curator: Sharman, Lindsey, AGA, Edmonton, AB

2020 BorderLINE: curator: Fraser, Sandra + Gay, Felicia + Herbert Spence, Franchesca + Sharman, Lindsey (Remai Modern), Essay: Sandra Fraser

2018 Mutation of the Commons curator: Hardy, Michele (Nickle Galleries, AB) Essay: Loveless N

2017 Lyndal Osborne: Coevolution. Curator: Cullen,Lubos (Vernon Public Art Gallery) Essay: Roger Boulet

2016 Shoalwan: River Through Fire River of Ice, curator Laura Schnieder, The Reach, BC

2015 Of Water and Tides Curator: Longchamps, Denis Essay: Jacques Talbot, Art Gallery of Burlington, ON

2014 Our Own Backyard: Mary Abma & Lyndal Osborne. Daniels, Lisa J.N. Alix Art Gallery, Sarnia, ON Bowerbird: Life as Art. Curator: Crowston, Catherine, essays: David Garneau and Melinda Pinfold, Art Gallery of Alberta, Edmonton, AB

2013 The Rooms PAGES (Where Rivers Meet Sea). Pinfold, Melinda (The Rooms, St. John’s, NL

2012 Where Rivers Meet Sea: Lyndal Osborne. Essay: Melinda Pinfold, The Rooms, St. John’s, NL Witness: Sherri Chaba and Lyndal Osborne, essay: Steve Harris, Strathcona County Art Gallery 501, Sherwood Park, AB

2011 2112: Imagining The Future. RMIT Gallery, Melbourne, Australia

Animal: essay: Corinna Ghaznavi, Museum London, London, ON Lake: A Journal of Arts & Environment, Craig, Briar. (UBC Okanagan, Kamloops, B.C.

2009 Timeland: 2010 AB Biennial of Contemporary Art: essay: Richard Rhodes, Art Gallery of AB, Edmonton, AB

2008 Imagining Science: Art Science and Social Change, eds. Caulfield, Sean and Caulfield, Timothy, University of Alberta Press, Edmonton, AB Lyndal Osborne: Ornamenta. Jansma, Linda and Eichorn, Virginia. Robert McLaughlin Gallery, Oshawa, ON

2007 Landscape Stories: Erik Edson, Lyndal Osborne, Rod Strickland, Thames Art Gallery, Chatham, ON, essayists: Daniela Sneppova, Diana Sherlock

2004 human/nature: Contemporary Canadian installation, Gogarty, Amy. University of Alberta, Dept. of Foreign Affairs & Canadian Consulate, Chinese & English

2003 Shoalwan: River Through Fire, River of Ice. Christensen, Lisa. (Whyte Museum of the Canadian Rockies, Banff, AB Geographies & Objects of Enticement. Holubizky, Ihor, Kelowna Art Gallery, Kelowna, B.C.

2000 Lyndal Osborne: The Poetic Structure of the World. Garneau, David, (Southern Alberta Art Gallery, Lethbridge, AB

COLLECTIONS

Lyndal Osborne’s work is represented in 75 permanent collections in USA, Europe, Australia, New Zealand and Canada, including universities, corporations, regional and provincial art galleries and the National Gallery of Canada in Ottawa.