Scott Bertram: We Cannot Say It Is There, and Yet We Cannot Say It Isn't

scott bertram · we Cannot Say It Is There, and yet We Cannot Say It Isn’t

vernon public art gallery vernon, british columbia canada www.vernonpublicartgallery.com

Scott Bertram

we Cannot Say It Is There, and yet We Cannot Say It Isn’t

scott bertram We cannot say it is there, and yet we cannot say it isn’t Vernon Public Art Gallery January 7 - March 10, 2021

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

Catalogue of an exhibition held at the Vernon Public Art Gallery 3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada January 7 - March 10, 2021 Production: Vernon Public Art Gallery Editor: Lubos Culen Layout and graphic design: Vernon Public Art Gallery Copy editing: Kelsie Balehowsky Front cover: Untitled 20 - 13 (detail), 2020, acrylic on canvas, 84 x 76 in Back cover: Untitled 20 - 14 (detail), 2020, acrylic on canvas, 84 x 76 in Photo credit: John Bonner - Bonner Photography Printing: Get Colour Copies, Vernon, British Columbia, Canada ISBN 978-1-927407-59-2 Copyright Š 2021 Vernon Public Art Gallery All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the Vernon Public Art Gallery. Requests for permission to use these images should be addressed in writing to the Vernon Public Art Gallery, 3228 31st Avenue, Vernon BC, V1T 2H3, Canada.

Telephone: 250.545.3173 Facsimile: 250.545.9096 Website: www.vernonpublicartgallery.com The Vernon Public Art Gallery is a registered not-for-profit society. We gratefully acknowledge the financial support of the Greater Vernon Advisory Committee/RDNO, the Province of BC’s Gaming Policy and Enforcement Branch, British Columbia Arts Council, the Government of Canada, corporate donors, sponsors, general donations and memberships. Charitable Organization # 108113358RR.

This exhibition is sponsored in part by:

table of CONTENTS

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Executive Director’s Foreword · Dauna Kennedy

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Introduction · Lubos Culen

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The Moon, her Face and the River: Scott Bertram’s New Body of Work · Vicky Chainey Gagnon

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We Cannot Say It Is There, and Yet We Cannot Say It Isn’t · Images In The Exhibition

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Selected Biography · Scott Bertram

Exhibition Statement · Scott Bertram

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Untitled 20 - 17 (detail), 2020, acrylic on canvas, 84 - 76 inches

executive director’s Foreword

It is a pleasure to welcome back Scott Bertram who had an inaugural exhibition with the Vernon Public Art Gallery in 2010 shortly after being named as a semifinalist in RBC’s highly recognized Canadian Painting Competition. Since that time, Bertram has completed his Master’s Degree in Visual Arts and been the recipient of numerous grants and scholarships. As a full-time Artist and Educator, Bertram has created a new large-scale body of work for this exhibition of abstract paintings.

We hope you enjoy the content within these pages which will help to enlighten your insights into Bertram’s work through the enclosed essay by guest writer Vicky Chainey Gagnon, Curator, Art Writer, Administrator, and Consultant.

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

Together with our Curator Lubos Culen, we hope you enjoy this publication and exhibition.

Regards, Dauna Kennedy Executive Director Vernon Public Art Gallery

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Untitled 20 - 13 (detail), 2020, acrylic on canvas, 84 - 76 inches

Introduction· Scott Bertram: We Cannot Say It Is There, And Yet We Cannot Say It Isn’t

Scott Bertram is introducing a new body of large-scale abstract paintings in the exhibition titled We Cannot Say It Is There, And Yet We Cannot Say It Isn’t at the Vernon Public Art Gallery. The paintings in the exhibition are very enigmatic and autonomous in that they do not reference the known world in any way. Formally, the paintings are akin to other non-representational structures which reference and construct deep space. Bertram’s paintings are ambiguous in the sense that they portray a space which is often contradictory. The visual structures do not lend themselves to verbal interpretations which is always an issue with non-representational abstraction. This fact is also reflected in Bertram’s mode of operation; he creates images without a preconceived idea of what the painting will look like once he considers them finished. His painting process relies on setting up circumstances for chance and accidents to occur, then accepts the outcomes as a partial solution for his pictorial propositions.

Bertram’s premise of constructing paintings is based in his insistence on non-objective abstraction and therefore rejects any allusion to an object or other phenomena relating to the physical world.

This really means that he is looking at the visual propositions he creates in a non-analytical way combined with the impossible articulation in a language structure. Bertram’s approach to painting is direct, yet not premeditated and without an expectation on how the finished painting will look like. His working methodology is reciprocal; once he creates a new mark or a shape on a canvas, he examines relationships to other shapes created previously. It appears that stream of consciousness is his guiding principle, but without the automatic writing aspect and disposition, and without the gestural delivery. He does not have a ‘plan’ other than an intent to create and solve the visual propositions at every juncture of the physical process of painting. Layers overlaid over the previous layers often change the context or contradict the pictorial space which result in ambiguous propositions of visual structures. There is a resulting tension from the overlays of paint and an echo of previous layers underneath, a visible pentimento that reveals the history of Bertram’s painting process, direction, and insistence on a certain order which is imposed and undermined at the same time.

Bertram’s working methodology counts on chance and accident to occur by orchestrating various ways for them to happen. While working on the canvas, Bertram is always focused on the relationships between shapes which ultimately create his invented pictorial space. Often, this space is visually illogical as the placement of the shapes conceal a part of the other shape below, which in turn can reveal another relationship and suggest a possibility of an uncertain outcome.

In this way, Bertram builds a complex space which is unfamiliar and ambiguous, all based on his openness to carry out structural changes throughout his working process.

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In the process of creating compositions, Bertram relies on his intuition and openness to accept or reject the changes he had orchestrated. There is also an experiential aspect to Bertram’s methodology in that he reacts to the changes on the canvas at each step and is always making arrangements which may allude to something representational, but in the end the viewer is confronted with non-representational abstract compositions. On purpose, Bertram abandons the representational elements in favour of complex renderings of pictorial space, which will only be revealed once the painting is ‘proclaimed’ finished.

Bertram strives to cultivate his approach towards unknown outcomes in his painting process. He erases on purpose all possible and accidental references to existing objects. His intuitive approach is guided by the reciprocal process of paint application and his instant reaction to newly created pictorial elements; he either affirms their occurrence, or, by contrast, changes the composition further. His approach to painting leans towards an uncertainty of outcome, yet with a goal to create paintings that embody mystery. The finished paintings have a strong autonomy and only reference created illusory pictorial space. Bertram’s work is created by negating recognizable references to the outside world. The viewers can apprehend proposed visual structures visually, but their possible explanation exists in the Gestalt, an experience felt, but unarticulated in a language form.

Lubos Culen Curator Vernon Public Art Gallery

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Untitled 20 - 12 (detail), 2020, acrylic on canvas, 70 x 64 inches

Untitled 20 - 14 (details), 2020, acrylic on canvas, 84 - 76 inches

The Moon, her Face and the River: Scott Bertram’s New Body of Work “Not knowing is giving up fixed ideas about yourself and the world.

The practice of not knowing is a practice of hope.”

Michael Stone1 Canadian abstract painter Scott Bertram thrives on a specific form of evasiveness in his artworks: large-scale paintings that privilege opaque flatness in an often surprising and measured palette.

His new body of work at the Vernon Public Art Gallery, We Cannot Say It Is There, And Yet We Cannot Say It Isn’t, consists of nine canvases that construct liminal spaces while bringing forward ideas about hope. Against a context of a grave pandemic and global anxiety, these works prickle in their relevance and dialogue around today’s chaotic world.

Trained at the Nova Scotia College of Art and Design (now NSCAD University), and earlier at the University of British Columbia Okanagan (UBCO), Bertram’s current preoccupation is to make work that focuses the mind and eye on a form of presence, described by him as “liminal,” a space of transition. Through paint he invokes an elusive atmosphere that evacuates and destabilizes the traditional semblance of foreground, mid-ground and background. The perception of the viewer is re-shaped, and brought into a fixed position before an image that cannot be swiftly resolved. No deterrents (such as titles) are given, and the paintings seemingly fog the formation of narrative, rooting attention to the formulation of shape, colour, technique and structure.

If uncertainty is what makes Bertram’s paintings effective, a strict methodology outlines the process. Modulating between modes of layering, the canvasses are composed of at least four distinct layers. The first brings gestures of spontaneity where the artist feels his way through the flat plane of the surface. A second level serves as the backbone for the structural forms; and the subsequent intricate layers, deemed “constructions,” are where his visual language is expanded and a drawing out of the flatness is made evident. The application of asymmetrical shapes continues, coupled with an extensive deployment of drop shadows that builds the illusion of a ‘falling away’ of forms. This process illuminates the fragile play between a uniform flatness and the falsified perspective that produces an intriguing encounter.

During a studio visit, Bertram outlined his influences for We Cannot Say It Is There, And Yet We Cannot Say It Isn’t, a title drawn from a Zen poem written by a 12th century Vietnamese monk, Tu Dao Hanh.2 Bertram describes a process of having to let go of habits in order to achieve looser parameters that could capture an atmosphere of space. Pulling away before reaching autopilot is in homage to this necessary and gentle ‘stepping back.’ I can’t help but make the link to the tone of urgency we now live in, and how bearing the weight of harsh realities could benefit from a new

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posture. Integrating the fuzziness of the unknown (as opposed to the dominant lens of clarity) frames the idea of retracting from autopilot mode as a tool for navigating a changing future.

Bertram’s recent foray into Eastern philosophy via podcasts of Buddhist Michael Stone facilitated a new, distinctive way of seeing hope. This differentiated view, culled from Stone’s lectures, fundamentally separates hope from the expression of optimism (being a kind of toxic belief that everything is going to turn out fine). Stone instead sets up hope as an intentional, even radical expression that is contagious and functional to society: “Hope is when there is a possibility of change, but we just don’t know where it’s going. Hope without optimism is very radical and it comes from the practice of: not knowing, bearing witness, and then taking loving and creative action… Hope is this little margin of possibility that there’s still some wiggle room to create a new story.”3 In an era of uncertainty, this message should not come as a surprise. Further into his analysis, Stone offers a simple, salient point that defines how despair (as the opposite of hope) is predicated on the idea of certainty. Bertram spoke about how the contours of his canvasses move towards the uncertain – the abstract, where the ‘definite’ can no longer find definition. Maybe the future is obscure and the ‘new normal’ will feature an intangible and ambivalent outlook, but hope is still necessary.

This ‘unknowing’ that catalyzes each canvas is also a blurring of the points of reference that imbed layers into layers. The Zen poem shaping the title of the exhibition offers a clue: Yes and no.

If we answer yes, even a speck of dust has existence.

If we answer no, then the entire universe is void, always empty.

Yes and no, like the moon’s face in the river, We cannot say it’s there, and we cannot say it isn’t.4 Bertram’s paintings make sense against the disconcerting societal disorder marking our history.

They operate by cementing the idea of abstruseness that is the ringtone of the era. The work can be likened to a maddening puzzle that one is attempting to piece back together, to no avail. Bertram delivers through his work a form of disarray, highlighting a potentiality that is unachievable. What happens here is that the perception of wholeness falls into a fabricated illusion that is unzipped and laid bare. Like the moon’s face reflected in the river, as written by the 12th century monk, a

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strange parallel is cast onto the reflection. The immateriality is further buried, hidden, and a form of presence emerges that leaves an undeniable awareness of what we cannot see.

For generations of artists, abstraction has carved out a space in the visual arts, existing as a resilient style that is an antagonist of sorts to the pluralist spectrum in the global world. The driving force behind Bertram’s recent work is the idea that what is inherent is, as of yet, unidentified. The (absent) referents function like quills, or antennas that reawaken and delve into the spheres of belief systems, in this case the spiritual, in an attempt to reckon with how we make sense of the world. The work reigns in opacity, and renders its presence as a state of betwixt and between, “a midway position: neither one thing nor the other.”5 In this play with layers, delicate illusions in a muted palette fold together to foil the total picture. There is a deliberate effect of blurring. This is Bertram’s singular contribution: his steadfast commitment to a language of atmosphere that echoes the intertwined, often shapeless world of global capitalism we inhabit, where boundaries are continuously fraying.

Vicky Chainey Gagnon November 2020 1 2 3 4 5

Michael Stone, “Awake in the World Podcast.” Recorded February 4, 2014. https:// michaelstoneteaching.com.

Tu Dao Hanh, Vietnamese monk, n.d. – 1117. http://vietnamwar.lib.umb.edu/country/docs/ poem_Zen.html. Date accessed November 20, 2020.

Michael Stone, ibid.

Tu Dao Hanh, ibid.

Betwixt and Between, https://www.merriamwebster.com/dictionary/betwixtandbetween, Merriam-Webster. Date accessed November 20, 2020.

Vicky Chainey Gagnon is an arts administrator and curator. In 2017, she relocated from Newfoundland and Labrador to assume the position of Executive Director and Head Curator at the Campbell River Art Gallery on Vancouver Island, B.C. Her current work as an art consultant aims to support the efforts of Canadian artists and arts organizations by helping them grow their opportunities.

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exhibition statement

The work in this exhibition comes from a rigorous period of studio production that took place between June and October of 2020. By the time I had started these paintings we had all come to terms with the new reality of life in a pandemic. In addition to this, the long list of sobering, grotesque, and absurd events of 2020 had also taken root in our consciousness. I must say that I am grateful that with this exhibition I was given a reason and a purpose to go into the studio every day to make work. This opportunity allowed me to channel my thoughts and emotions, which were already intensified and brought to the surface, into these paintings.

A state of uncertainty (not unlike what we’ve all been feeling during 2020) is, funnily enough, what I had already been tracking and nurturing in my work for years. In many ways, uncertainty is the state that drives my work and it’s also what I want to see reflected back at me in a finished painting. The kind of painting I’ve always been aiming for is one where I’m not able to totally grasp it, and yet it doesn’t push me away, and so I want to just stay with it and remain in the ambiguity.

Personally, I’ve always been intrigued by experiences in my life where I encounter something that is so defamiliarizing that my ability to preconceive, classify, name or judge is momentarily suspended. During these situations, I focus on the experience and attempt to understand the overflow of potential associations or outcomes, but eventually I am led to an acceptance that closure and clarity will not occur. This type of experience is an appropriate metaphor for how I approach my artistic practice and why I choose to work in the medium I do.

Paint, with its ability to suggest, conceal, reveal form, and create or problematize space, offers an ideal vehicle to explore this type of experience further. Through the use of improvisation, intuitive structures, and openness to possibilities, I am able to proceed in a painting without fixing my view or knowing what the painting will eventually become.

As I progress in a painting I will add disruptive elements to continually change the context that I understand the painting to be in. I do this by both including spaces that contradict previous layers, and also by echoing the initial shapes across the canvas in different ways. Progressing in this way maintains a state of uncertainty for me as I include one layer overtop of another, creating tensions between disparate elements while also revealing their interconnectedness.

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Over the past year I have been striving to become released from the stories that I tell myself about my work and to not be stubborn in the area I have carved out. I have loosened up my paint application, gone outside of my comfort zone in terms of colour, and have not followed the usual rules that I might otherwise have a year ago. With this body of work I have strived to embrace uncertainty during the process and to increase my tolerance for ambiguity in a finished painting.

Ideally I have created an exhibition with a sense of openness and unfamiliarity. In other words, I have attempted to create a space free from the hardening, narrow-mindedness and rigidity that inevitably emerges from one’s being certain.

Finally, I would like to express gratitude towards my wife and daughter, Nicole and Lena, for being supportive during this process as well as to Michael Stone, Enrique Martinez Celaya, and Caroline Shaw for continually filling my head with their ideas and work during the process of making this exhibition.

Scott Bertram

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We Cannot Say It Is There, And Yet We Cannot Say It Isn’t images of the installation at the Vernon Public Art gallery October 8 - December 22, 2020

Images of paintings in the exhibition at the Vernon Public Art Gallery January 7 - March 10, 2021 Photo credit: all images by John Bonner - Bonner Photography

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Untitled 20 - 10, 2020, acrylic on canvas, 76 x 96 inches

Untitled 20 - 11, 2020, acrylic on canvas, 70 x 64 inches

Untitled 20 - 12, 2020, acrylic on canvas, 70 x 64 inches

Untitled 20 - 13, 2020, acrylic on canvas, 84 x 76 inches

Untitled 20 - 14, 2020, acrylic on canvas, 84 x 76 inches

Untitled 20 - 15, 2020, acrylic on canvas, 84 x 76 inches

Untitled 20 - 16, 2020, acrylic on canvas, 84 -x 76 inches

Untitled 20 - 17, 2020, acrylic on canvas, 84 x 76 inches

Untitled 20 - 18, 2020, acrylic on canvas, 84 x 76 inches

SCOTT BERTRAM

CURRICULUM VITAE

EDUCATION 2010 2007 2006

MFA, NSCAD University, Halifax, NS BFA, University of British Columbia Okanagan, Kelowna, BC Hamburg University of Applied Sciences, Hamburg, Germany

SOLO EXHIBITIONS 2020

2017 2016 2015 2014 2012 2010

Distance. Motion. Moment., Harcourt House Artist Run Centre, Edmonton, AB Distance. Motion. Moment., SOPA Fine Arts, Kelowna, BC PULL, Comox Valley Art Gallery, Project Room Studio, Courtenay, BC New Work, Feature Artist, Vancouver Art Gallery: Art Rental & Sales, Vancouver, BC A Piece of the Ground, A Piece of the Sky, Two Rivers Art Gallery, Prince George, BC Syncopate For, Forest City Gallery, London, ON Taking Shape, Galerie BAC, Montreal, QC Unfixed, Vernon Public Art Gallery, Vernon, BC Subject to Change, MFA Thesis Exhibition, Anna Leonowens Gallery, Halifax, NS

GROUP EXHIBITIONS 2020 2019 2018

2015 2014 2013 2011

2010

Fifteen, Kelowna Art Gallery, Kelowna, BC Approaching Painting, Comox Valley Art Gallery, Courtenay, BC JuxtaPositions, The Painting Center, New York, NY Horizon Felt, Campbell River Art Gallery, Campbell River, BC Framed Spaces: Contemporary Canadian Painting Exhibition, Arcite Inc., Windsor, ON On the Flip Side, SOPA Fine Arts, Kelowna, BC Bus, FINA Gallery, UBC Okanagan, Kelowna, BC El Arbol de la Garceta, Centrol Cultural Ajijic, Ajijic, Mexico Extreme Painting, Galerie BAC, Montreal, QC HRM Contemporary Visual Art Shortlist Exhibition, Halifax City Hall, NS Inaugural Exhibition, Meghan Fish Contemporary Art + Projects, Halifax, NS Voices of Fire: Towards a Postmodern Theory of Abstraction, curated by Benjamin Klein, Galerie SAS, Montreal, QC 12th RBC Canadian Painting Competition, The Power Plant, Toronto, ON; Dalhousie Art Gallery, Halifax, NS; Art Gallery of Northumberland, Cobourg, ON; Art Gallery of Calgary, Calgary, AB With a Twist, NSCAD Fine Arts Faculty Show, Anna Leonowens Gallery, Halifax, NS

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2009 New and/or Knot…, Anna Leonowens Gallery, Halifax, NS

Fresh Paint / New Construction, Galerie Art Mûr, Montreal, QC

Aural Fixations, Port Loggia Gallery, Halifax, NS In Return, Sydney College of Art Gallery, Sydney, Australia. Curators: Dr. Brad Buckley and Dr. Bruce Barber

Hello, My Name Is…, Anna Leonowens Gallery, Halifax, NS 2008 Where else we gonna put it? Wee Red, Edinburgh College of Art, Edinburgh, UK 2007 Audiospace 2007, Open Space Arts Society, Victoria, BC UBC-O Graduating Exhibition, Vernon Public Art Gallery, Vernon, BC 23/7, UBC-O Graduating Exhibition, UBC-O Art Gallery 2006 Drei Kunstler, UBC-O Gallery, Kelowna, BC (Three Person Show) Behind the Stage, HAW Hamburg Gallery, Hamburg, Germany AWARDS 2020 2019

2018 2011 2010

2009 2008

2007

Canada Council Research and Creation Grant Canada Council Concept to Realization Grant Canada Council Professional Development Grant BC Arts Council Project Assistance Grant Honourable Mention - HRM Contemporary Visual Art Purchase Program Untapped Emerging Artist Competition – The Artist Project Toronto Semifinalist - 12th RBC Canadian Painting Competition Nova Scotia Tourism, Culture & Heritage Presentation Grant SSHRC Canada Graduate Scholarship – Joseph Armand Bombardier BC Arts Council Senior Scholarship Award 2 Travel Grants, NSCAD University BC Arts Council Senior Scholarship Award Robert Pope Foundation Graduate Scholarship, NSCAD University Graduate Fellowship Award, NSCAD University Travel Grant, NSCAD University Audiospace 2007 Competition Winner, Open Space Arts Society CanWest Global Centre for Artists Video Award BMO 1st Art! Invitational Student Art Competition Nominee Award

ART FAIRS & AUCTIONS 2019 2017

Shoal, Campbell River Art Gallery, Campbell River, BC Live Art Auction, Two Rivers Art Gallery, Prince George, BC

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2014

2012

2011

Art Toronto, (Galerie BAC), Toronto, ON Papier 14: Contemporary Art Fair of Works on Paper, Galerie BAC, Montreal, QC Vendu/Sold (Esse Magazine), Montreal Museum of Fine Arts, Montreal, QC (Auction) Art Toronto, Galerie BAC, Toronto, ON Papier 12: Contemporary Art Fair of Works on Paper, Galerie BAC, Montreal, QC The Artist Project, Toronto, ON

PUBLICATIONS 2019 2018 2013 2012 2011

2010

10 Questions with Artist Scott Bertram, Trio Magazine, Spring 2019, p. 64-65 New Exhibits at Campbell River Art Gallery Unsettle Canadian Landscapes, David Gordon Koch, Campbell River Mirror, July 21, 2018 RBC Painting Competition 15 Year Catalogue, Royal Bank of Canada Taking Shape, Exhibition Catalogue, Essay by Benjamin Klein, Galerie BAC Vendu/Sold 2012, Benefit Auction Catalogue, Les Éditions Esse, 2012 Border Crossings, Issue No 119. Cameron Skeene, “Voices of Fire: Toward a Post Postmodern Theory of Abstraction” (review) p.144 Signs of Life Among the Dying, John Pohl, The Gazette (Montreal), April 2, 2011 Peintures Enflammées, Jérôme Delgado, Le Devoir, April 2, 2011 RBC Canadian Painting Competition Catalogue, Royal Bank of Canada Unfixed, Vernon Public Art Gallery, Vernon, BC Studio Visit Magazine, Summer 2010, Volume Eleven Graduation Catalogue, NSCAD University, NS

COLLECTIONS Halifax Regional Municipality, NS Vernon Public Art Gallery, Vernon, BC University of British Columbia Okanagan, Kelowna, BC Various private collections RELATED PROFESSIONAL ACTIVITIES 2019

2018

Advanced Mentored Study with Enrique Martinez Celaya, Anderson Ranch Arts Centre, Snowmass Village, CO, USA Instructor, North Island College, Courtenay, BC Advanced Mentored Study with Enrique Martinez Celaya, Anderson Ranch Arts Centre, Snowmass Village, CO, USA

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2018

2017

2016

2014

2013

2012 2011 2010 2009 2008 2007 2006

Artist Talk, Exhibition Walk-through, Campbell River Art Gallery, Campbell River, BC Artist Talk, North Island College, Courtenay, BC Instructor, North Island College, Courtenay, BC Instructor, North Island College, Courtenay, BC Artist in Residence, Comox Vallery Art Gallery, Courtenay, BC Founding Board Member (until 2018), McLoughlin Artist Residency, Courtenay, BC Artist Talk, Vancouver Art Gallery, Vancouver, BC Instructor, OCAD University, Toronto, ON Artist in Residence, Spark Box Studios, Picton, ON Artist in Residence, Bus from Guadalajara, Ajijic, Mexico Artist Talk, Forest City Gallery, London, ON Instructor, OCAD University, Toronto, ON Instructor, University of Manitoba, Winnipeg, MB Instructor, OCAD University, Toronto, ON Instructor, University of Manitoba, Winnipeg, MB Instructor, NSCAD University, Halifax, NS Instructor, NSCAD University, Halifax, NS Artist Talk, NSCAD University, Halifax, NS Artist Talk, NSCAD University, Halifax, NS Artist Talk, NSCAD University, Halifax, NS Gallery Assistant, Alternator Gallery for Contemporary Art, Kelowna, BC Guest Lecture/Artist Lecture, Visual Forum, UBC Okanagan, Kelowna BC, January 23 Gallery Assistant, Alternator Gallery for Contemporary Art, Kelowna, BC

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scott bertram · we Cannot Say It Is There, and yet We Cannot Say It Isn’t

vernon public art gallery vernon, british columbia canada www.vernonpublicartgallery.com

Scott Bertram

we Cannot Say It Is There, and yet We Cannot Say It Isn’t