Bio: Tara Cooper’s art practice draws from meteorology and creative non-fiction, resulting in projects housed under the moniker Weather Girl. The creative outcomes conflate the language of meteorology (forecasting, predictions, and atmospheric conditions) with the personal impact and experience of weather—visual … Continue reading →
Liz Menard’s practice explores our relationship to nature, which shapes our sense of place and sense of self. Our relationship reflects us as a society and as individuals. Through nature, Menard’s work considers resiliency and rejuvenation. Watersheds are rich … Continue reading →
Dana Tosic is a Toronto based artist who works in printmaking, installation and digital media. She holds a BFA from Queen’s University, an MFA from the University of Calgary, and was the 2010 participant in the Tim Mara Graduate Student … Continue reading →
Bio: Anna Gaby-Trotz, printmaker and photographer, often travels to the most remote places in Canada to explore our relationship to the land. In 2012, Anna received funding to travel through The North West Passage, furthering her work in the Canadian … Continue reading →
Pudy Tong’s art practice draws on elements from journalism as the subject through which our experience of contemporary, media-saturated society is refracted, re-interpreted and re-imagined. Not only is the newspaper an interesting material artifact due to its ephemerality, also presents therein a distilled snapshot of the world, a multi-dimensional mosaic that weaves together a wide narrative of collective experiences: documenting tragedies and celebrations, marking achievements and failures, announcing births and deaths. The history of news dissemination technologies also neatly parallels and intersects that of printmaking, making this pairing of form and content fertile grounds for inspiration and discovery.
Pudy Tong is a lithography instructor and custom printer at Open Studio. He received his BFA from the University of British Columbia Okanagan (2007) and an MFA from the Nova Scotia College of Art and Design University (2010). As the 2017 Nick Novak Fellow at Open Studio, Tong is currently working on a spot the differences activity booklet using film stills taken from the 1976 movie “All the President’s Men.”
“bruise-02″, 2016, photolithograph, Revlon Photoready Airbrush Effect Makeup 003: Shell, varied edition of 5, 12 13/16″ x 10”.
“bruise-01″, 2016, photolithograph, edition of 3, 12″ x 9”.
“edits-redux”, 2017, photolithograph, trial proof, 22″ x 15″.
“Where’s Waldo-01″, 2015, photolithograph, edition of 10, 15″ x 11”
“Springfield, USA”, 2015, digital collage, 11″ x 22″.
“obit-02 (pioneer)”, 2014, woodcut, edition of 3, 7″ x 9 5/8″.
“obit-03 (dissident)”, 2014, woodcut, edition of 8, 6″ x 8 1/2″.
“funnypages-02″, 2012, monoprint (intaglio of lithographic stone), embossing, lithography, edition of 3, 15″ x 11”.
“Pd Suite: President Obama on October Employment Numbers” (grid view of the entire piece composed of 8 individual prints), 2011, photolithographs on Japanese Paper, each 11″ x 11″.
“Pd Suite: President Obama on October Employment Numbers (pin)”. Photolithograph on Japanese Paper, 11″ x 11″.
Born into a traditional Chinese family in Taiwan, Carlina came to Canada to study printmaking at OCAD University, and stayed to pursue her art practice. She is currently working towards her MFA at OCAD University.
The experience of dual cultures has enriched her life, and inspired her art practice, often reflected in work juxtaposing text and image. With her recent installation-based work, she has been focusing on video and performance to explore the in-between, the ephemerality of experience.
“The Thaw came” series starts in responding to Carlina’s experience of living in Toronto where she love the distinct seasonal variation, especially winter and spring. For example, she enjoys walking on sidewalks or park paths at nights in winter season, hearing the crunching and squeaking sounds of her own footsteps on the snow-covered surfaces. In springtime, she likes to watch the buds on the tree branches when strolling around in parks or nature.
Therefore, Chen uses a very fibrous Thailand handmade paper, crumbling them before or during or after printing to recreate that crunching, squeaking sounds/feeling that she likes.
The Thaw Came #17-10. Serigraph. 2017. 28.25″ x 19″.
The Thaw Came #17-07. Serigraph. 2017. 26″ x 26″.
The Thaw Came #17-043. Serigraph. 2017. 11″ x 15″.
The Thaw Came #17-16. Serigraph. 2017. 9.5″ x 26″.
The Thaw Came #17-23. Serigraph. 2017. 13.5″ x 26″.
William Steinberg writes the following about his art practice:
Architecture inevitably erodes and as it moves towards entropy, it transforms. No longer part of the new and useful, it takes on a new persona and character—the ruin. It now possesses the remnants of its past glory, the physicality of its present existence, and the potential to inspire the future.
William Steinberg began printmaking in architecture school in the early 1970s under the instruction of his professor, Leslie Laskey, who was a student of Lazlo Moholy-Nagy of the Bauhaus. Prior to his joining Open Studio in 2015, he printed at The Saidye Bronfman Aetilier in Montreal from 1980 -1992 and Malaspina Printmaking Society in Vancouver from 1992-2015. Since 1985, his prints have been exhibited nationally and internationally and are included in numerous public and private collections in North America, Europe, and Japan.