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TITLE YEAR MEDIUM AT_A_GLANCE

Mariposa 2005 Sculpture Steel sculpture that captures the grace of both a butterfly and matador

Immense Mode 2009 Sculpture A two-storeys tall pair of legs with brown shoes and black and white stockings made from hand- made bricks.

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MATERIAL INSTALLATION_ADDRESS DESCRIPTION

mild steel Borden Art Park Mariposa is the Spanish word for butterfly and also refers to a particular stance adopted by a matador in the bullfight. As with many of Peter Hide’s sculptures, the image of the piece cannot be pinned down to one literal interpretation. Hide states, “Sculpture is, perhaps, the most literal of the arts, and for it to become a stimulus to imagination and feeling it has to overcome its literality. As an abstract sculptor one way I can achieve this is by using an ambiguous image or a succession of images that tend to cancel each other out.” Hand-carved bricks, glass tile 111 Street and 51 Avenue Immense Mode is an immediately recognizable work. Made from 42,000 pounds of brick and mortar, the sculpture is an expression of whimsy, which, at 20 feet tall, demands your attention. Red Deer-based artists Dawn Detarando and Brian McArthur imagined the legs to represent the

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ARTIST_NAME ARTIST_WEBSITE

Peter Hide

Dawn Detarando and Bryan McArthur http://www.voyagertile.ca/

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ARTIST_BIO IMAGE_01 IMAGE_02

http://edmontonpublicart.ca/asset s/media/art/8f189f8a-cd62-44d5- b6c6- bbb0b9acd47d.JPG.1000x667_q 85.jpg

This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/5a7e5b84-03b9- s/media/art/f485f316-fb3a-4243- 46bb-b64f- 8316- 5609810b5f18.jpg.1000x667_q8 1e03c67c17c3.jpg.1000x667_q8 5.jpg 5.jpg

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LONGITUD ARTS_COUNCIL_URL LATITUDE LOCATION E

53.563299999999 -113.454802 (53.5633, -113.454802) http://edmontonpublicart.ca/#!/details/148 998

53.48518 -113.51606 (53.48518, -113.51606) http://edmontonpublicart.ca/#!/details/16

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Edmonton Edmonton City of Public School Catholic Edmonton - Board (EPSB) School District Neighbourhood Roadway Ward Ward Ward Boundaries : Maintenance Boundaries Wards Boundaries Boundaries 2019 Area Polygon (effective at (effective at (effective at 12:00 AM on 12:00 AM on 12:00 AM on Oct 16, 2017) Oct 16, 2017) Oct 16, 2017) 130 153 4 3 10 7

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Edmonton Edmonton City of Catholic Public School Edmonton - School District Board Ward Neighbourhood Ward Boundaries Boundaries Boundaries

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Afghan Mural 2012 Installation Large, interactive photographic sculpture of three

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thousands of real, human legs that will use the transit centre by standing and waiting for a bus or a train, or walking to and from the shopping centre. After all, public transit is only partly about trains and buses; the rest is up to us. Our own locomotion takes us places and transit can complete the connections along the way. It’s a symbol of that shared experience, meant to inspire a smile during an otherwise routine commute. The massive legs are a nod to the history of monumental sculpture, while at the same time representing the artwork movements of craft and kitsch — a contrast of genre and content, as well as a contrast to the sleek utilitarianism design of the station itself. Because of its size, the piece is as much a work of engineering as it is art, as the entire structure is supported by a welded metal superstructure. The artists have built the sculptural form around the engineered framework from specially fired, hand- carved bricks made at their Red Deer studio. The artists are also known for tile mosaics, such as those found at the Red Deer Recreation Centre and the Killarney Pool in Calgary. Both artists also work independently, primarily in the medium of ceramics. Digital print on vinyl, aluminum 11000 Stadium Road Made of extruded aluminum, metal box frame and

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Instant Coffee http://www.instantcoffee.org/

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Instant Coffee is a service-oriented artist http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset

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53.559647200000 -113.4761333 (53.5596472, -113.4761333) http://edmontonpublicart.ca/#!/details/72

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afghan blankets.

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digital printed graphics, Afghan Mural is a large photographic mural/sculpture with a structure based on typical, rotating, commercial advertising billboards. These signs normally incorporate two to three advertisements that rotate at paced intervals. Instant Coffee used this basic principle to create a kinetic mural with three sides, but their version functions more like a puzzle that the community centre’s users will be able to move by hand. Each side of the rotating wall mural depicts one special afghan blanket. “The sixties and seventies were the primary time when Afghan blankets were made and circulated. They were normally homemade, rarely sold commercially and likely gifted items. Currently, they have found a secondary market are readily available in thrift stores. Economics, accessibility, colour and their relationship to do-it-yourself culture has led Instant Coffee to consistently use afghan blankets we find. They have a ubiquitous sentimentality that draws us to them, and certainly carry with them nostoglia. It is their vernacular aesthetic, punctuated by extreme colour that puts them into the realm of pop and op art. “Most North Americans have a relationship to this mid 20th century domestic craft. They likely have or have had one draped over their sofas, or know

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http://www.instantcoffee.org/

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collective based in Vancouver and Toronto; http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset they produce artworks, exhibition installations s/media/art/bffd8636-6b78-42ba- s/media/art/bf92d09e-9c9b-4b3c- and events. 8bd6- ad1e- 5ede461b3bcf.jpg.1000x667_q85 361a2cfeb877.jpg.1000x667_q85 .jpg .jpg

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001 http://edmontonpublicart.ca/#!/details/72

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Roadside Turnout 1992 Painting Painting of a roadside turnout that emphasizes the prairie horizon.

The Circle of Life 1976 mural A 60-foot long mural that depicts the cycle of life.

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someone who made them. For our project for the recreation centre we wanted to tap into this personal, yet shared memory.” – Instant Coffee Acrylic on Canvas 1 Sir Winston Churchill Square Painting of a roadside turnout that emphasizes the prairie horizon.

Acrylic Paint 9626 96A Street Winding around all four walls of the Muttart Conservatory’s main rotunda, which connects the four glass pyramids, is The Circle of Life , a mural by Cold Lake First Nations artist, Alex Janvier. Beginning at the south wall, the work is meant to represent the cycle of life, from the energy of the sun, to the growth of plant, animal, and human from generation to birth, maturity. There is struggle, challenge to tradition, finding one’s role in society, which turns to a settling down, wisdom, spirituality. The cycle ends with death, which returns its energy to the Sun—the beginning. The piece is a 60-foot long acrylic painting on white latex. Like his other works, Janvier draws from various aboriginal cultures, but interprets the imagery in a completely contemporary manner. Janvier is regarded as one of Canada’s most significant abstract painters, having been awarded the 2008 Governor General’s Awards for

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Jim Stokes

Alex Janvier http://www.alexjanvier.com/

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http://edmontonpublicart.ca/asset s/media/art/55ad0600-a06d-49cf- b35e- adeca4d1d24f.jpg.1000x667_q85 .jpg Born of Dene Suline and Saulteaux descent in http://edmontonpublicart.ca/asset 1935, Alex Janvier was uprooted from his s/media/art/71a73e68-af27-403f- home at the age of eight and sent to the Blue a069- Quills Indian Residential School near St. Paul, 3ceecf48f718.jpg.1000x667_q85. Alberta. Although Janvier speaks of having a jpg creative instinct from as far back as he can remember, it was at the residential school that he was given the tools to create his first paintings. Unlike many aboriginal artists of his time, Janvier received formal art training from the Alberta College of Art in Calgary and graduated with honours in 1960. Janvier is regarded as one of Canada’s most significant abstract painters. He was awarded the 2008 Governor General’s Award for Visual and Media Arts.

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53.545513 -113.489757 (53.545513, -113.489757) http://edmontonpublicart.ca/#!/details/40

53.535249999999 -113.4774 (53.53525, -113.4774) http://edmontonpublicart.ca/#!/details/60 998

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Dark Glade 1992 Painting Abstract painting.

Past and Present 2010 Installation Five tall steel masts topped with propellers set in orange circular bases.

Ukrainian Famine of 1933 1983 Sculpture The first public monument for the victims of the Memorial Ukrainian famine.

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awarded the 2008 Governor General’s Awards for Visual and Media Arts. Acrylic on Canvas 1 Sir Winston Churchill Square This painting is an example of the artist’s work from the period when he considered his practice focused exclusively on abstract painting. The large long colour blocks carried great symbolism in the painting. Abstract art uses strong elements of form, colour, and line to create the composition. Polyurethane paint, mild steel and 7000 143 Street Five tall steel masts topped with propellers set in stainless steel orange circular bases.

Painted aluminum and granite 1 Sir Winston Churchill Square The first public monument to the Holodomor was erected and dedicated in 1983 outside City Hall in Edmonton, Alberta, Canada, to mark the 50th anniversary of the famine-genocide. The sculpture of a large broken circle of cold grey metal emblazoned with skeletal hands memorializes the anonymous victims of the Soviet engineered genocide. “The twisted and fractured circle represents the life cycle being torn apart by an unnatural force: emaciated hands resist, grasp and then beg for an end to their inhuman condition,” states the inscription. Termerty’s sculpture symbolizes the scar on humanity left by authoritarian political regimes, and more

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Phillip Darrah

Kryzstof Zukowski http://www.k-zukowski.com/

Ludmilla Temertey

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This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/f40e4bc8-5f82-4e87- s/media/art/9f7fa14d-6c81-495d- 862d- 85e3- 529a613537b6.jpg.1000x667_q8 acf800a6fdb5.jpg.1000x667_q85. 5.jpg jpg

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53.545746999999 -113.49036 (53.545747, -113.49036) http://edmontonpublicart.ca/#!/details/32 999

53.501980000000 -113.57822 (53.50198, -113.57822) http://edmontonpublicart.ca/#!/details/10 003

53.544040000000 -113.4898 (53.54404, -113.4898) http://edmontonpublicart.ca/#!/details/82 003

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authoritarian political regimes, and more specifically on the Ukrainian people by Josef Stalin. It was commissioned by the Canadian Ukrainian Committee to commemorate the lives lost and acknowledge a little known and poorly understood event in world history. The genocidal famine was enacted to punish farmers for resisting the collectivization of agricultural production. The death of the greatest number of civilians during peacetime occurred when food, livestock and seed grain was removed from the country and the borders were sealed. Following the forced famine of millions of people, the russification of Ukraine saw the extermination of religious, academic, and cultural leaders. Until the fall of the Soviet Union in the 1990s, any record of the genocide was suppressed and those who spoke of it were silenced by the Soviet government. The public unveiling in 1983 by then Mayor Laurence Decore boldly proclaimed the existence of the event and spoke of the connection to the Ukrainian community in Edmonton. Beginning in the 1890s, successive waves of Ukrainian settlers came to the Edmonton area to build homesteads, representing a large portion of the population. The sculpture invites examination of the histories constructed by

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The Scroll 2013 Mural A wood, glass, and vinyl mural employing imagery of origami patterns to illustrate the incomplete yet interconnected nature of knowledge

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Wood, Acrylic, Glass 9010 156 Street The concept started with the idea of a paper scroll unfolding along the library wall and depicts the realization that knowledge is typically incomplete, and not always written. Expanding on the original idea of the scroll, the artists were inspired by James Minoru Sakoda’s book “Modern Origami”. Like the scroll, the aesthetics of origami represent a body of knowledge. The patterns in the artwork are based on the fold lines of paper origami creations. Combining the form and symbolism of the scroll with the patterns and techniques of origami, the concept becomes a metaphor for all other forms of knowledge accessible through the library. The pattern replicated throughout the work are based on the fold lines of the several basic origami forms – the bird base, four-point star, sitting crane, and lobster. The patterns have been enlarged and elements have been removed to represent incomplete or different forms of knowledge. Etched and engraved onto the wood, acrylic, and glass panels the patterns become visible as a whole to the viewer and reflect the holistic and interconnected nature of knowledge.

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Negar Seyfollahy and Alisdair MacRae http://dds1006.com/

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In realizing a project, Negar Seyfollahy and http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Alisdair MacRae draw on their combined s/media/art/ec2f688f-577e-4afd- s/media/art/f6a7e012-de2f-4851- backgrounds in architecture and fine arts. They 9c1c- 8335- aspire to appeal broadly while staying rooted in 6539b93a5fd3.jpg.1000x667_q8 9fe3ebbc304e.jpg.1000x667_q85 a layered research process accessible to a 5.jpg .jpg variety of groups and individuals. They often step back from the process to reflect on the project’s purpose, and in doing so, allow it to unfold without pursuing preconceived agendas. Although they develop a project as fully as possible in the planning stages, they look to maintain as much flexibility during its realization in order to be inspired by new possibilities.

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53.523479999999 - (53.52348, -113.59136) http://edmontonpublicart.ca/#!/details/91 999 113.591359999 99999

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View Februrary 1992, No. 2 1992 Sculpture Abstract, contemporary sculpture.

2FOLD 2012 Sculpture A contemporary steel sculpture reflecting the environment and neighbourhood surrounding the fire station.

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Welded Steel 1 Sir Winston Churchill Square Belonging to the formalist tradition of abstract steel sculpture associated with Edmonton art making, this artwork is one of a series of small welded steel sculptures. Beautifully minimal, it is composed of nonrepresentational forms. The careful placement of the objects gives heightened importance to the relationships between them. According to Burgess, the sculpture “takes the form of a tableaux or stage set, occupied by interacting geometric shapes that describe a narrative.” In her own words, “My work is about relationships and while I seek a sense of clarity in these relationships, my intent is not to arrive at a solution, or even a conclusion through order, but rather, to arrive at a place where contemplation can commence.” The artwork’s materiality — scale, bulk, presence, and tactility — plays a strong role in the response it evokes from the viewer. The eye follows the seams created by placing pieces of hard metal together and pauses at every weld. The size and scale of this piece allow the viewer to relate to the work on a personal level, and creates space for reflection on the symbolism or meaning of the artwork. Concrete, Steel 1203 Ellwood Drive SW 2FOLD is a contemporary sculpture. Placed at the centre of the site, it defines a space for observation, meeting, meaning, reflection, play

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Catherine Burgess http://www.catherineburgess.ca/

Eduardo Aquino & Karen Shanski (spmb)

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Catherine Burgess was born in Alberta in 1953 http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset and graduated from the University of Alberta s/media/art/3de604d6-2ae7-4a5f- s/media/art/b340779b-53d2- Fine Arts Department in 1975. In the past thirty a103- 4218-a517- years she has mounted 24 solo exhibitions and 5e6118fab922.jpg.1000x667_q8 720de840c7d6.jpg.1000x667_q8 participated in over 50 group shows, both 5.jpg 5.jpg nationally and internationally. Her sculptures are represented in over twenty public collections across Canada. Downtown Edmonton is home to two of her outdoor commissioned pieces: The Big Rock , 1995 (a collaborative sculpture done with Sandra Bromley) and Return , 2001.

Karen Shanski, born in Winnipeg, collaborated http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset with Rem Koolhaus at the Office for s/media/art/1ed4ebef-98ce-4c61- s/media/art/64939284-34db- Metropolitan Architecture ( OMA ) in Rotterdam b76e- 456a-92cf-

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53.545560000000 -113.49002 (53.54556, -113.49002) http://edmontonpublicart.ca/#!/details/44 002

53.429454999999 - (53.429455, -113.476199) http://edmontonpublicart.ca/#!/details/100 997 113.476198999 99999

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The Farm Family 2010 Photography Three digital composite photos of farm animals posed as if for a traditional formal portrait.

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and rest. The incisions and folds create a micro- landscape that celebrates Edmonton’s environmental culture, creating an engaging space for its inhabitants. The concrete base is an abstraction of the Edmonton City map. The main arteries and roads are marked with incisions made of brass inlays. The materials – brass, corten steel, and concrete – directly reference the geological traditions of Alberta.

Digital Photograph 13550 163 Street With his project for the newly constructed Animal Services Building, photographer Rob MacInnis has taken a traditional form of art and given it a new perspective. The piece, entitled The Farm Family , depicts dozens of farm animals— cattle, horses, sheep, hogs, goats, and dogs, all from farms that the artist visited on Prince Edward Island— lined up in front of farm buildings, as if posing for a traditional formal portrait. The completed work is very large, spanning a length of nine metres and a height reaching over a metre tall. Of course, in reality, the animals would not be so cooperative as to stand and pose for the camera all at once, so each animal was individually photographed and digitally collaged

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Rob McInnis http://www.robmacinnis.com/

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in 1999. She is a recipient of a Governor b76e- 456a-92cf- General’s award in Architecture and leads b706cf97d278.JPG.1000x667_q da7c191c5821.JPG.1000x667_q BLDG architecture office in Winnipeg. Eduardo 85.jpg 85.jpg Aquino, born in Sao Paolo, Brazil graduated in Architecture and Urban Studies in Brazil and worked with architects Paulo Mendes de la Rocha and Oscar Niemeyer before coming to Canada in 1988. He has worked with many artists including Tony Brown, Dan Graham, and Tadashi Kawamata among others. He is a PhD candidate at the University of Sao Paolo in Brazil.

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Community Table 2013 Functional Art Wooden table with a 55-person capacity made of Brazilian teak

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into one image. The Farm Family is part of a larger series of work, featuring individual animal portraiture and group portraits. The style of the photographs are meant to evoke contemporary fashion spreads, such as those by Annie Leibowitz and David LaChapelle. And, like fashion photography, the models are at once elevated to be ideal images of beauty, while they are also debased as objects. The intent of the artist is to have us question the role that animals play in our society: can we imagine them not as workers or food, but as individuals equal to ourselves? Portraiture is inherently about showing the personality of the subject—are we willing to grant animals the same self-expression? What does it mean to capture them in this way? As artwork in the Animal Care & Control Centre, where stray animals are housed and treated, The Farm Family will be a reminder of how important animals are in our lives, and how each animal is worthy of respect. Cumaru (Brazilian Teak), Powder Coated 9538 103A Avenue Community is at the heart of this public art Steel installation. “Community Table,” provides a meeting place for the people who live in the YMCA Welcome Village, use the Boyle Street Community League facilities, or simply enjoy watching the seasons pass in the Plaza’s

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Jordan Tomnuk http://tomnuk.com/

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For me, design is about innovation, questioning http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset the conventional, observing, and s/media/art/6988c26b-b21f-4889- s/media/art/ec086ff7-d98f-468d- understanding how to make things work better. a253- b9c7- My interest in design led me to the University 4bc031cf839e.jpg.1000x667_q85 d8c0794049e7.jpg.1000x667_q8 of Alberta’s Bachelor of Design program where .jpg 5.jpg I studied Industrial Design, with a focus on

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53.547638999999 -113.482001 (53.547639, -113.482001) http://edmontonpublicart.ca/#!/details/101 997

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grounds. The work reflects the ongoing animation and revitalization in Boyle Street and the Quarters. Boyle Street represents Edmonton’s culturally diverse past and future and aspires to be a destination for people living outside the area. Made from Cumaru (Brazilian Teak) wood and powder-coated welded steel, Community Table provides an alternative to the alienating 4-person picnic table, says Tomnuk. “My design has a continuous feature that places occupants face to face and side to side. I have also played with the idea of seating by creating a transitioning feature that moves from a standard table height that seats 24 people comfortably, to a bar height table with two sizes of seating – couples and families – that sit 16 people, and finally a standing section within the piece, one that allows you to converse or read a book with the option of standing.” Tomnuk’s designs, which incorporate simple, minimalist lines, emphasize practicality and durability as much as beauty. The 22-metre-long table can seat up to 55 adults in a configuration that is sculptural and elegant. However, the materials were chosen for their ability to withstand Edmonton’s changeable weather. Tomnuk expects the table could last for up to 100 years and that normal wear and tear will just add a

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furniture and product design. Since graduating in 2011, I have set forth in creating my own line of products that I feel connected to and passionate about, having been designed, tested and manufactured all by me. It is my mission to create quality products that are built to last. Like a modern keepsake, these objects are made to be cherished.

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Encompass 2005 Painting Nine large, round canvases hang in the foyer of the South Division Police Station.

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Oil and digital print on canvas 104 Youville Drive Encompass is nine large, round canvases that hang in the foyer of the Southeast Division Police Station. The imagery is derived from global culture and represents a wide range of art and craft including ceramic, glass, metal and fabric designs from international museums’ collections. For example, “Morocco” is based on an arabesque design in blue and white glaze in the British Museum’s study collection. The digitally manipulated designs were printed on canvas and over-painted in high quality artist’s paint. The paintings are displayed on a wall in the main lobby of the police station. The circular format echoes the curved architectural design elements of the building and the shape of the earth, both symbolically and metaphorically. Painted by Edmonton artist Allen Ball, the inspiration for the artwork is “derived from global culture and represent a wide range of art and craft practice.” He describes the Police Station as being “the centre of a complex, modern, multicultural community” and reflects this dynamic in his paintings.

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Allen Ball

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Allen Ball is currently Associate Professor, http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Painting, and Associate Chair of s/media/art/780a15a4-7dfe-433f- s/media/art/8f661adf-cdc6-40bf- Undergraduate Studies in the Department of af34- 9f19- Art and Design at the University of Alberta. 838dfe9fe63b.jpg.1000x667_q85 b3cdbfc57b16.jpg.1000x667_q85 Over the past 20 years, his work has been .jpg .jpg grounded primarily in the practice of painting, interrogating the limits of its forms and extending the language of painting into an expanded field of inquiry. Recent projects include: “The Wordless Book and other sounds” (2010), a series of paintings that interrogates the associative power of colour through Baptist preacher Charles Haddon Spurgeon’s nonverbal evangelical device the Wordless Book; “The German Autumn in Minor Spaces” (2008), a photographic and screen- based collaboration with Dr. Kimberly Mair (Department of Sociology, University of Lethbridge), pertaining to the ideological struggles of the Red Army Faction or Baader- Meinhof Gang; and, “Spectacle in a State of Exception” (2007), a multi-media project stemming from research conducted as an embedded official Canadian War Artist with Canadian Forces Operation Calumet in the Sinai Peninsula.

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Farm Auction I 1992 Painting Portrait of attendees at a farm auction rendered in oil paint.

Towncar 2007 Sculpture Functional stainless steel bench made of geometric forms referencing transportation and vehicles.

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Oil on Panel 1 Sir Winston Churchill Square This painting is a large scale portrait of attendees of a farm auction. It is painted in a loose, gestural style with visible brushwork, layered to create a highly realistic and lively representation of the subject. Tension is created by the gaze of the subjects toward the action outside of the frame of the painting, presumably the auctioneer. It places the focus instead on the farmers, with whom the real action lies. The men portrayed here represent a zeitgeist of rural life on the prairies. The farmers symbolize a way of life that is disappearing as urbanization takes its place. Stainless steel 135 Street and 112 Avenue Public art can take many forms and is often most successful when it works within the context of its site. Towncar is, in fact, a functional bench. Sherwood Park artist Tania Garner-Tomas created the metal sculpture, which is an abstracted representation of a 1950’s vehicle—complete with fins–where commuters are encouraged to sit and literally engage with the art while they wait for a bus. The sculpture bench is durable enough to withstand the elements, but also has the capacity to comfortably seat five. The luster of the material is inviting and the curious shape of the bench has become a landmark for the folks who frequent the transit centre. The style of the sculpture is inspired by the modernist

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Richard Rogers

Tania Garner-Tomas http://www.tlgtstudios.ca/

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This artist does not currently have a bio in our http://edmontonpublicart.ca/asset system. s/media/art/29b9da00-abbe- 4070-8a28- c29b2bf3e925.jpg.1000x667_q85 .jpg

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Running Track 2010 Sculpture A large red and white striped abstract form of legs running.

From the Model 2008 Sculpture Welded steel sculpture that employs flowing and graceful lines

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Bauhaus school of art and though Garner-Tomas has a background in painting and photography, she has been working in metal since 1991. Polyurethane paint, polyurea coated EPS 2051 Leger Road Running Track is a monumental hybrid between a foam runner and a racetrack; it seems abstract and figurative in equal part. This intensely coloured sculpture combines the concrete, graphic aesthetic of sport (the lines of a racetrack, the sole of a running shoe, the stripes of athletic clothing) with the sculptural power of a dynamically curving form. The striking graphic quality of the lines and the exaggerated perspective give the work an explosive dynamic that is reminiscent of an animated cartoon. With its vitality and expression of movement, Running Track refers directly to the activities at the recreation centre, and inspires us to connect with the joy and playfulness of being physically active. mild steel, Welded Steel 11540 73 Ave NW From the model is a creative piece, made by the artist in a moment of inspiration. Artist Susan Owen Kagan says that she motivated by an object and the poetry of its relationship to its surroundings to begin sculpting. Many classical works of art including paintings were inspired by such moments, she says. The work was part of the Sculpture by Invitation program presented by The Places program at the Royal Alberta Museum

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Inges Idee http://ingesidee.de/index.php?lang=en

Susen Owen Kagan http://www.susanowenkagan.com

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This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/74438b8b-4448- s/media/art/68990eaf-f19f-4015- 4609-997b- a740- 9c5efce822d1.jpg.1000x667_q85 dfb110918333.jpg.1000x667_q8 .jpg 5.jpg

Susan Owen Kagan studied drawing and http://edmontonpublicart.ca/asset painting at the Banff School of Fine Arts in s/media/art/3a4116eb-793a-46cf- 1976, and at the University of Western Ontario 80ef- in 1980/81. She received a BFA with Honours 57883ed6485f.JPG.1000x667_q in Sculpture from the University of Alberta in 85.jpg 1984. She has since forged a successful career as a sculptor; her work has been included in many prestigious exhibitions and can be found in public and private collections

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53.509732999999 -113.5269672 (53.509733, -113.5269672) http://edmontonpublicart.ca/#!/details/113 997

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Still Life 2014 Sculpture Interactive sculpture that playfully takes on the stuffiness and insularity of “high” art, and provides a way for viewers to, quite literally, enter the realm of classical art.

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before finding a home in Belgravia Art Park.

Powder coated aluminum MacEwan LRT Station - 104 Street & 105 Sitll LIfe is created by Studio F Minus. In writing Avenue about this sculpture installation, the artists say: “Still Life, of course, isn’t still at all. [The work is] a set of six sculptures located in the centre of the grassy space near the Grant MacEwan LRT station. On their own, each is a whimsical, colourful addition to the site. When viewed together from a viewpoint looking through the final sculpture, a picture frame, the sculptures flatten into the classic trope of Western painting: the still life with fruit bowl. The sculptures are spaced with enough distance between them that commuters or students can walk freely between them, entering and exiting the “picture”. In some ways, the sculptures are like a puzzle, one that invites pause in order for curious viewers to solve with their own positioning. However, the piece is designed to also incorporate those who move through it as an equally important part of the experience. The project is titled “Still Life” as a play on the vitality of the site [and is intended] to capitalize on the heavy pedestrian traffic

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Studio F-Minus http://www.studiofminus.com

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across Canada. Owen Kagan has also completed several private and publicly-funded commissions, including the Edmonton Holocaust Memorial, which is located on the grounds of the Alberta Legislature. Brad Hindson is an architect and lighting http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset designer who has notched extensive s/media/art/f83c3c73-f01f-4e5f- s/media/art/5e851359-d757- experience working with Canada’s top b015- 4c51-9665- architecture and lighting design firms. Working d5f7d78b6aff.jpg.1000x667_q85.j 19c91f82d1fd.jpg.1000x667_q85. at internationally-acclaimed offices KPMB and pg jpg Diamond + Schmitt Architects, Hindson has contributed to the design of numerous high- profile buildings internationally, and served as project architect on prominent public art installations. Prior to moving to Toronto, Hindson was a designer at Gabriel Lighting Design, where his clients included the National Arts Centre and the City of Ottawa. He has since continued to lecture on lighting innovation, artistry, and technical execution to an international audience. Mitchell F Chan is an interactive media artist who has exhibited in galleries across Canada and the United States. He made his American gallery debut in 2009 alongside Robert Rauschenberg at the Alan Avery Art Company in Atlanta, while back home his work continues to attract national

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surrounding the rail station by creating a piece that the commuting masses could interact with. The people viewing the piece, or even just passing by, actually activate and animate this Still Life. They turn the installation into a flat image by standing in front of the frame, and change the image by walking amongst the sculptures.

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media attention for its innovative blend of technology and intuitive human experience. In 2009, the School of the Art Institute of Chicago made him the recipient of their highest award as a Merit Scholar in their innovative Art & Technology Studies department. Most recently, his water-vapor sculpture was exhibited in the iconic John Hancock Tower, as part of an exhibition re-imagining the possibilities of public artworks in the city of Chicago. Working in collaboration under the banner of Studio F- Minus, Hindson and Chan have earned numerous plaudits for their work from critics and media outlets as varied as The Toronto Star, The National Post, Boingboing.net, the Chicago Sun-Times, and Richard Florida’s Creativeclass.com. Their first collaboration, A Dream of Pastures, opened to a one-night audience of 60 000 people outside the Art Gallery of Ontario. This debut effort was later exhibited as part of the Corcoran Gallery’s travelling exhibition Helios: Eadweard Muybridge in a Time of Change, a retrospective on some of the most technologically innovative and significant art of the past 150 years. Since then, their commissions have included the installation of a

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Passengers 2009 Installation Flocks of illuminated clear Plexiglas bird forms suspended between architectural posts of the LRT station.

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Acrylic, black light LED, aircraft cable 116 Street and 65 Avenue In nature, many animals travel from one place to another periodically in order to feed, mate, or escape adverse seasonal conditions. These migrations are driven by daily or seasonal cycles, and are often undertaken in groups or herds. But it’s not just the flock of geese in the spring and fall or the massive herds of caribou making their way to the Arctic. In our modern, urban environment droves of commuters migrate from home to work and school and back again. Our daily commute echoes similar patterns of traveling to find food and shelter that exist across the animal kingdom. O’Neill O’Neill Procinsky Architects, the firm responsible for the design of the South Campus LRT station, were inspired by the prairie landscape in the creation of the structure. Edmonton artist Ray McAdam’s piece, Passengers , puts birds in the sky of this landscape. The work consists of stylized birds, made in transparent plastic, suspended along wires and illuminated by LED lights. Each bird is in a different stage of flight to simulate the movement of a real flock of birds. Passengers is strongly influenced by McAdam’s background in Industrial Design in terms of the functionality and materials used to create the piece. While it is not a functional light source for the station, it does

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Ray McAdam

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53.502749999999 -113.52843 (53.50275, -113.52843) http://edmontonpublicart.ca/#!/details/15 999

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EcoStation 2009 Mural Five large digital prints of characters made from recycled/found products set in images of Alberta landscapes.

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have utilitarian lighting technology integrated in its design. And the material itself is a contrast to the subject matter—plastic is a modern material of the mass-production generation. Ink on Vinyl 14710 Ellerslie Road Edmonton-born artist Brandon Blommaert created images for the new Ambleside Eco Station that feature Alberta’s beautifully diverse landscapes, which act as cinematic backdrops for Blommaert’s own particular brand of recycling. His work is a reflection of his personal interest and experience with post-consumer waste, and it allows us to re- imagine what it means to be a consumer, a recycler, and an Albertan lucky enough to live in a province so rich in natural beauty. Blommaert himself has worked in a paper sorting plant, which gives him an interesting and personal perspective on the process of recycling. It was the stacks of paper and cardboard that inspired his thinking about the waste we produce and the imagination it takes to recycle and reuse. Blommaert also has a background in animation, which lends an aspect of film or a stop-action model to the photographs he has created. The work itself consists of five images of typical Alberta landscapes: the Rocky Mountains, boreal forest, parkland, the Badlands and urban sprawl. The backgrounds are photographs, printed on large pieces of vinyl that

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Brandon Blommaert

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Summer Flowers 1991 Painting Painting of potted plants rendered in oil on canvas.

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cover significant sections of the exterior walls of the building. In these landscapes, Blommaert has digitally inserted monster-like creatures made from post-consumer waste. The artist collected trash he found on the street to create these sculptures, which is itself an ingenious way to recycle. Blommaert’s creatures invite curiosity in these familiar settings. Their presence is ambiguous: Are they mutants, resulting from environmental pollution? Are they malevolent or friendly helpers? Oil on Canvas 1 Sir Winston Churchill Square Summer Flowers is a large-scale representational painting of an everyday scene in a backyard garden. Flowers in pots sit on a wet patio with lush green grass in the background. The painting is rendered with lively, gestural brushstrokes, in a stippling pattern of closely spaced dots and small marks. The mark-making is reminiscent of pointillism, a French Impressionist technique developed by George Seurat, in which forms are modelled with broken colour and become visible from a distance when the viewer’s eye blends them to create masses and outlines. The artist’s choice to paint the vernacular gives heightened importance to the mundane objects in the image. The still life might be thought to anthropomorphize the flowerpots, giving them human-like

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Robert Lemay http://www.robertlemay.com

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This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/2d0e71f5-ea78-4e1a- s/media/art/6a2d5639-8027- 8575- 4e6b-bc72- d0d23a3132f5.jpg.1000x667_q8 46e345472d17.jpg.1000x667_q8 5.jpg 5.jpg

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53.545560000000 -113.490285 (53.54556, -113.490285) http://edmontonpublicart.ca/#!/details/41 002

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One Long Autumn 2002 Mixed Media Historical and contemporary imagery of the Edmonton Transit System layered with text.

Soleil de Nuit 2013 Installation A light and sculptural installation comprising neon lettering spelling "Soleil de Nuit" and rotating, faceted stainless steel spheres.

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characteristics and personifying them with individual personalities. Acrylic gel and colour laser toner on 48 Street and 139 Avenue Historical and contemporary imagery of the Plexiglass Edmonton Transit System layered with text.

Glass, Neon, Stainless steel 1100 Stadium Road Soleil de Nuit was created through the City’s Percent for Art policy related to the construction of the Commonwealth Community Recreation Centre. Artist Laurent Grasso designed the artwork specifically for Edmonton’s northern location and climate. Both elements – the neon letters and faceted stainless steel spheres –relate to the theme of light and false suns, and the creation of artificial climates. A northern city, Edmonton relies on artificial light and heat to survive long winters. The light cast by the neon portion of the artwork is a low-intensity orange glow – reminiscent of “vintage neon” rather than the intense hues seen now. Light tests were conducted to ensure that people living near the facility will not be impacted by light spillage after dark. The glow cast by the neon is estimated to be of the same intensity as a streetlight.

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Jonathan Eschak and Kelly Mellings

Laurent Grasso http://laurentgrasso.com/

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http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset s/media/art/f356ec1a-fee3-4148- s/media/art/b1bebdfa-e75a-4478- bc39- a636- 1d7f8f1b0da3.jpg.1000x667_q85 becee76cdd8d.jpg.1000x667_q8 .jpg 5.jpg Laurent Grasso was born in Mulhouse in 1972. http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset He lives and works in Paris. Recent exhibitions s/media/art/46224a31-2c5d-492f- s/media/art/6f9229bf-d30a-4877- and commissions include: “Reflections belong 8b1f- 96ee- to the past” (Kunstverein, Arnsberg, Germany); ae352c1a8214.jpg.1000x667_q8 a722dbaa7ea2.jpg.1000x667_q8 Group exhibitions such as “Projection” at Carré 5.jpg 5.jpg d’art (Nîmes, France), “Invention of a world” at Institut ITAU Cultural (Sao Paulo, Brazil). The project “Nomiya”, situated on the roof of Palais de Tokyo in Paris can be visited and also offers a unique culinary experience (www.nomiya.org). Laurent Grasso was an artist in residence at the Villa Medicis (Rome) and ISCP (New York). He was the winner of the Altadis Prize in 2005, and the Marcel Duchamp Prize in 2008. Whether he is (re)working the more or less identifiable forms of our control-oriented society or subverting the cinematic techniques and conventions that shape our collective imagination, Laurent Grasso creates environments with a strong

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53.558129999999 -113.476551 (53.55813, -113.476551) http://edmontonpublicart.ca/#!/details/97 998

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Futuristic Map 2009 Installation Low-relief abstract sculpture made from welded steel.

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Welded steel and aluminum 114 Street and 76 Avenue The new street-level LRT stations along 114 Street change the once-straightforward contours of the roadway. Sharing the road, there is also now a track, as well as the swells and curves of the islands of concrete and landscaping surrounding the stations. Patrick Jacob’s installation along the pedestrian underpass of McKernan/Belgravia LRT station, Futuristic Map ,

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Patrick Jacob

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Grasso creates environments with a strong narrative potential, combining atavistic fears, scientific evidence and ominous contemporary mythologies. His works could somehow revive a taste for the paranoid retro-futuristic prophecies pronounced by Charles Fourier two centuries ago. In fact, light, sound, radio and electromagnetic waves, natural, paranormal and meteorological phenomena are regularly incorporated in Laurent Grasso’s works. They create totally new sensory experiences that become vehicles for partially finished products of the imagination to be completed by the viewer. By generating a tension between the works on show, their environment and the sometimes dramatic projections to which they can give rise, Laurent Grasso creates nagging mental images that tend to obscure our view of what we commonly call “reality”.

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Random Thoughts Passing 2010 Installation Red and black horizontal linear design with Scene changing backlit colour patterns.

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takes those new topographies and abstracts them into Art Deco-style conceptualizations of transportation in the 21st century. The work is meant to represent “where we once were and where tomorrow will lead,” as Jacob describes in his artist statement. Futuristic Map is a relief sculpture made of layered, laser-cut steel with stylized imagery of a map, as the title suggests. Art Deco is a particularly interesting inspiration point given that the movement coincided with the rise of modernism in the ‘20s, favouring science, technology and geometry over traditional subjects such as landscape or portraiture. A movement that emphasized futurism over romance or sentimentalism, Art Deco lends some of its characteristic qualities to the material choice and production of this work. The components are made of steel and were constructed using high- tech manufacturing processes that result in bold lines and geometric shapes. The industrial feel of the artwork is no coincidence. Jacob worked as a machinist in the oil field for 14 years, and has been practicing as a self-taught artist since 2001. Dibond, programmable LED lights 156 St & Ellerslie Road Random Thoughts Passing Scene focuses primarily on light and movement. The linear architectural sculpture installation mirrors the forms that make up the matrix of our city’s

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Jesse Sherbrune http://jessesherburne.com/home.html

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Jesse Sherburne’s professional practice and http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset academic research explores transdisciplinary s/media/art/ee65b1e5-bc6e- s/media/art/b4380216-a1c5- practices that fall between art and design. 4727-9f9a- 4d8e-99b0- Sherburne’s projects are created with a focus 73c6daa8b66b.jpg.1000x667_q8 3c71caf86581.jpg.1000x667_q85

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Guardian 2002 Painting Abstract painting depicting large brush patterns with gradual color shifts.

Pine Trees 1988 Drawing/print Etching of pine trees.

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landscape. This landscape is often experienced as part of a daily commute and although the passenger is in motion, the blurred landscape experienced by the commuter generates its own momentum and movement. During the day it is seen by its coloured aluminum forms that adhere to a palette of black, red and grey and refer both in form and colour to the architectural landscape of Edmonton. By night, the sculpture comes to life as an ever changing pattern of form and light—a system of red, green and blue environmentally friendly LEDs create a constantly shifting spectrum of colour that emits from behind each linear wall form. Acrylic Paint, Plexiglass 14203 50 Street Abstract painting depicting large brush patterns with gradual color shifts.

Etching 1 Sir Winston Churchill Square Pine Trees is an etching made by coating a metal plate with a blocking material and scraping through that material with a needle or drawing tool. An acid bath eats away at the exposed portions of the plate when submerged. Wherever the plate is exposed is where the printed image will appear. The result is a fine art print that can be produced in editions. This print depicts the sun

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Glenn Guillet

Steven Dixon

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on intermixing environmental and object design 73c6daa8b66b.jpg.1000x667_q8 3c71caf86581.jpg.1000x667_q85 with installation and conceptual art. These 5.jpg .jpg works aim to create challenging and transformative experiences for the public participants with the goal of questioning expectations of engagement and interaction within social space. As well, Sherburne’s objects, environments and large-scale installations also focus on concepts relating to memory, emotion and mythology as a means to heighten public engagement and meaning for participants.

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untitled 2014 Mural Large graffiti, or street art, mural executed with aerosol paint

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be produced in editions. This print depicts the sun dappled floor of a pine forest, common to Alberta’s climate. Naturalistic shading of the trees is created by layers marks, ranging from detailed hatching and controlled lines to splatters and gestural marks. The result is a landscape drawing that inspires awe and evokes the sublime experience one feels when surrounded by nature. aerosol paint, concrete panel 3010 119 Avenue Vancouver artist Scott Sueme is well-known for his geometric works which reference his background as a graffiti or street artist. His vision for the Abbottsfield Recreation Centre was rooted in this aesthetic and further refined by input from community members at a weekend workshop held in February 2014. He writes: “I wanted to reference some of the patterns created by the community members during the seminar, but rather than collaging multiple submissions of pattern design, I decided to simplify and reduce this idea to something I saw recurring in the submissions. The use of ‘Stripes’ or bands represent a commonality amongst one another That together we are all part of a uniform direction, or a common goal. This idea is then contrasted with the use of colour to highlight a sense of individuality. The focal point of the piece is a word piece that reads ‘ARC’ done in a

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Scott Sueme http://suemenow.com/

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Scott Sueme was born in 1986 and raised in http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Vancouver BC. He currently works out of his s/media/art/ec20f0d4-cdf0-450d- s/media/art/f991259c-8647-4425- studio near Vancouver’s Olympic Village. He b873- 83b7- continues to travel and showcase his work in f8e666f56e59.JPG.1000x667_q8 97b09a9ed482.jpg.1000x667_q8 public spaces and in galleries. ‘My work is 5.jpg 5.jpg interested in connecting the visual world with my personal experiences and perspective in travel. Graffiti Ideology is often referenced and conveyed through certain stylistic traits and aesthetics. I’m inspired by the abundance and wealth of my visual surroundings – the subtle textures in our natural world and more often, man-made creations in contrast. The work attempts to uncover the link within communication, geometry, landscape, pattern, and colour. Combinations with their respective opposites expose both the contrast, and natural balance of those ideas. My aesthetic is driven with solid colors, bold marks, hard

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Bio-Glyphs 2008 Installation Laser-cut stainless steel column depicting scientific, biological and hieroglyphic imagery.

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minimal graffiti style. With this aspect of the artwork I wanted to instill the message that graffiti can be more associated with design and craft as opposed to its potential negative associations, ego, violence, etc. I felt as though the community was truly passionate about graffiti as a culture and creative outlet, and through the artwork we can set an example and portray graffiti in its distilled tradition of craft, design and positivity.”

Laser-cut and etched stainless steel 94 Street and 23 Avenue Some projects lend themselves to some fascinating collaborations and the discovery that art and other disciplines have more in common than we think. In the case of Bioglyphs by Ron Baird, the intersection between art and science has created a work that is very meaningful to the place where it has been installed: the Biotechnology Business Development Centre. The BBDC is a research park with laboratory space and offices for companies conducting scientific research in medicine, biotechnology, electronics, telecommunications, software, petroleum research and cold-climate engineering. Artist Ron Baird drew inspiration from the world of science— biology, medicine, environmental and agri-food science—when composing the imagery for the artwork. Bioglyphs is a metal column with

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Ron Baird http://www.ronbairdartist.com/

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edges, and subtle textures – where their execution can play as both uniform and spontaneous. I work with geometry as a narrative with landscape and perspective in attempt to reveal its role in both nature, and human interaction within it. Referencing my experiences through a small window of representation allows me to feel connected to the viewer in a new way. The moment of inspiration is born again.’ Ron Baird, RCA , AOCA , has been regularly http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset commissioned to create large-scale, site- s/media/art/735afa8a-8d60-4227- s/media/art/2e5df6c5-ba96-48f2- specific sculpture installations across Canada a315- a988- and abroad for more than 40 years. Often his 5e9239e487fe.jpg.1000x667_q8 34f95c30b27b.jpg.1000x667_q85 work has imaginative elements that move in 5.jpg .jpg the wind, are light-responsive or make sounds. Some pieces also include electronics, electronic sound, interactive elements or incorporate programmed light sources. He has completed more than 150 public commissions with a variety of inventive concepts. These include fountains, sculptural landmarks for world fairs and civic parks, towers, murals, carillons and site-specific pieces for business, donor recognition, industry government and private collectors. A winner of numerous awards and medals including allied arts awards

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Wither and Tome 1993 Sculpture A graceful cold steel sculpture

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laser-cut symbols from ancient mythology and science. Baird calls his work “a wall of historic graffiti,” using both contemporary and ancient symbols from around the world. The central image, sandblasted into stainless steel, is adapted from an Assyrian painting depicting the Water God surrounded by water molecules. The other images are cut out of the metal and include stylized symbols of a cell membrane G protein (the target of many pharmacological studies), and the Egyptian hieroglyph for fruit fly- a significant research subject for those working in the field of genetics. Baird worked with medical researcher and CEO of DecisionLine Clinical Research Corporation, Dr. Edward M. Sellers, who provided the background knowledge on specific scientific concepts, formulae, and symbols. The resulting work draws the link between mythological concepts and scientific reality— and the places where they are one and the same. Cold Steel Borden Art Park Wither and Tome is one of a series of pieces produced by artist Clay Ellis in the early 1990s. It is made of mild steel with a coating produced through a simple oxidization process. Before embarking on the series, the artist traveled, within an 11-month period to Scotland, northern China, New York City, and led a workshop in Botswana.

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Clay Ellis

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from both The Royal Architectural Institute of Canada and the Ontario Association of Architects for his work. Ron is a member of the Royal Canadian Academy of the Arts, he is a graduate of the Ontario College of Art and has also been awarded prizes for his prints.

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net_Work 2012 Installation Two-part work of replicating code in aluminum and vinyl.

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Ellis states that although he gathered many impressions in his travels, “…it was the time spent working in a remote village, on the border of the Kalahari … that shaped the work from this period. Starting a sculpture from a place where only the landscape is monumental seemed right . . . and familiar.” Anodized Aluminum, Glass, Vinyl 11004 190 Street One part interior glass print, one part exterior wall installation. _net_Work_ consists of two elements conceived as a single artwork. As such, it creates a changing interplay within the minds of those who directly experience the building, serving as an intriguing integration of interior and exterior. The work is conceived from a deep inner logic and a complete holistic experience aimed at presenting a new kind of contemporary order. These patterns are the result of geometric thinking developed by Cecil Balmond over the course of his career. Both works are derived from rhythmic compositions and are based upon a hidden system of numbers. Through this, the viewer is given a sense of an underlying structure and yet on closer inspection, one realizes that the patterns never repeat. The art is rooted in an investigation of diverse forms; a way to see and feel movement much in the same way a classical concert evokes emotion.

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Cecil Balmond http://www.balmondstudio.com

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Widely considered as one of the most http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset influential creators of his generation, Balmond s/media/art/ad2e76f9-cc49-4fff- s/media/art/4074d9ea-aad3- successfully occupies multiple roles as artist, a684- 4941-bb6a- designer, architect, theoretician and writer. His d729e33316e1.jpg.1000x667_q8 569e505f25d8.jpg.1000x667_q8 art is one of investigation, drawing on his 40 5.jpg 5.jpg years of research into diverse forms as inspiration for works which range from installation and sculpture, to video and textiles. Through this approach informed by the structure of the non-linear, Balmond’s work uses a foundation of science to underpin the beauty of form. Projects include The Star of Caledonia , a £4m national art monument to mark the England/Scotland border crossing at Gretna Green, an immersive artwork in the South of France, and Snow Words , a light sculpture for the Crime Detection Laboratory in Alaska. Most recently he has co-designed the ArcelorMittal Orbit with artist Anish Kapoor, which opened during the London 2012

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Form and Content 1988 Sculpture Mild Steel Sculpture

Madonna of the Wheat 1981 Sculpture Bronze statue that celebrates the role of Ukrainian pioneer women in Alberta.

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mild steel Borden Art Park Form and Content could be interpreted as a metaphor for life and death. Structurally, it consists of a vertical stack of separate components (content) that are bound together by a powerful containing outline (form). The outline and stack strongly communicate a sense of upward progression. However, the progression is, or seems to be, checked by the topmost boxy volume. This component, while strongly compartmental in character, peacefully coexists at one with the outline. Bronze 1 Sir Winston Churchill Square The naturalistic bronze sculpture portrays a female figure wearing a traditional Ukrainian costume. According to the artist, “The young woman cradles the wheat in her arms as though it were a child. She feels the good earth beneath her feet and turns her face to the warm sun. Without words she is giving thanks for the miracle of the wheat” symbolizing agriculture, abundance and the fertility of the land. This figurative bronze has its roots in commemorative heroic sculpture common in European public art traditions. In keeping with the tenets of the style, the artist portrays an idealized allegorical figure that embodies the common people, in this case the early female homesteaders of Alberta. The

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Peter Hide

John Weaver

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Olympics.

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Once graduated in 1946, he taught sculpture http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset and figure drawing at the Layton School of Art s/media/art/b02f6149-ed82-4ac3- s/media/art/9d08ad3e-7b5a- in Milwaukee until 1951, followed by a position 9222- 496a-b8e7- as a curator for the Montana Historical Society. a71999b014cc.jpg.1000x667_q8 8b06cf76ffa2.jpg.1000x667_q85.j He worked at the Smithsonian Institute as a 5.jpg pg Natural History Sculptor for six formative years, about which he said, the “scientists of the Smithsonian Institute have made me think of art as a way of life, a profession which should serve people, not as an ivory tower retreat of self fulfillment in which the artist himself and his identifying style is more important than the requirements of a job.” He moved to Edmonton, home to the largest collection of his artworks, in 1966 when he was hired by the

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Gigi 2005 Sculpture Large abstract sculpture carved from three tons of concrete

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sculpture’s didactic message extolls the virtues of traditional rural culture, conservative values, and authentic peasant culture. Although it was commissioned by the Alberta Branch of the Ukrainian Women’s Association of Canada, according to the dedication the sculpture commemorates all pioneer women of Alberta. The title, Madonna of the Wheat, canonizes the common woman and recognizes those who were commonly left out of the prevailing historic narratives. These women were often left to tend farms and raise families alone while their husbands sought seasonal labour on the railroad. By placing her on a pedestal, the artist has heightened the importance of agricultural work by female pioneers and raises her above the petty day-to-day concerns of humankind. Concrete Borden Park Gigi was created during the 2005 Works Art & Design Festival on Churchill Square. The artwork is a collaboration between Louis Munan and members of the Alberta Sculptors’ Association. The piece contains 3,000 pounds of concrete. Sponsoring Partners: City of Edmonton & The Works Art & Design Festival Supporting Partner: Oxford Properties Group Community Partner: Edmonton Arts Council Founding & Ongoing Partners: Edmonton Journal, City of Edmonton,

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Louis Munan et al

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Alberta Provincial Museum to sculpt numerous pieces for the opening of the new building in 1967. Eventually, he became a Canadian citizen and continued creating bronze sculpture from his home in Silver Creek, BC until he suffered a heart attack and died April 10, 2012.

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Continuum 2009 Sculpture Large orbs composed of hundreds of coloured maple leaf shaped forms suspended within the transit station.

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Downtown Business Association, The Edmonton Business Council for Visual Arts Powder coated aluminum, Stainless steel 111 St and 23 Ave Public art not only has to provide an aesthetic experience for those who pass by it, but it often has the added challenge of having to harmoniously fit into and define a space. Continuum , created by industrial design team of Cezary and Danielle Gajewski, has the enviable position of, well, its position: suspended in alcoves, surrounded on all sides by glass walls. The three forms are suspended at the entrances of the Century Park LRT station, contrasting the modernist lines of glass and aluminum with Continuum’s roundness and playful evocation of nature. The artists both have a background in industrial and interior design, as evident in Continuum’s structure and architectural detail. Continuum consists of three wire spheres, covered with hundreds of maple leaf forms of water-jet cut aluminum. The leaves are spaced so that light can be seen through the sphere. It is an airy bubble of near-nature, visible from most angles by the many commuters who move throughout the building. The pieces work with the transparency of the glass and apparent lightness of the spheres, which are powder-coated red, yellow, blue and green to bring a sense of

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Danielle Gajewski

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Gaekwar of Baroda 1999 Sculpture Steel sculpture that evokes classical Indian sculpture and architectural forms

Parade II 2010 Mural A multi-panel image of birds and fish migrating.

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seasonality and heighten our connection to nature— the template of leaf itself is taken from a fallen leaf collected by the artists from a tree on the University of Alberta campus, which they scanned and traced, and then scaled up to various sizes. At night, they will be illuminated from below, to give a sense that they are floating. mild steel Borden Art Park Gaekwar of Baroda is particularly inspired by the Indian sandstone reliefs of the Bordon Collection housed at the Glenbow Museum in Calgary. Sculptor Peter Hide states, “I was attracted by the voluptuous curves of the human body played off against the massiveness and rigidity of architectural forms. I wanted to try and bring some of these qualities into steel sculpture.” Digital High Pressure Laminate 1021 Webber Greens Drive The modern geometric style of this artwork was done on a grid system. This technique allows for a compact representation of many different types of animals together. It creates dynamism and unifies the composition. The highly stylized representation of animals is a contemporary approach to illustration, and the result is an eye- catching artwork that viewers can return to with each visit to the transit centre. Living in urban centres often creates a divide between the natural and the constructed. Images that portray nature remind us of the intimate connection between the

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Peter Hide

Gabe Wong

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53.523380000000 - (53.52338, -113.66728) http://edmontonpublicart.ca/#!/details/28 003 113.667280000 00001

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fire_scape 2010 Mural A polytych comprised of four offset rectangular panels depicting digitized aerial views of fire.

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two, and that the land where we live was once a habitat for these animals. Wong wanted to create images that remind the viewer of the large amounts of wildlife that surround us and to create a sense of curiosity for the natural world. He hoped people would look at the piece and ask, “What animal is that?” Digital print on vinyl 9020 111 Avenue The work 'fire_scape' is a 4-panel wall installation, each staggered 5cm from the next. Images are top views of a digitally created landscape. The panel on the top right shows a fire that seems to come from the centre of the overall composition but is cut off at the bottom left of the panel. Each of the 4 images shows the landscape from a different distance. The software used—a landscape modelling software—creates imagery that suggests computer games, reality, and colour field painting at the same time. The fire in the centre is naturalistic. 'fire_scape' reflects its role as a work of art in the public realm by highlighting its artificiality, and also by incorporating strands of popular culture (computer gaming). It is a fragment, a small section, of what could be a larger electronic landscape that provides the background for an imaginary world. It may be a window onto the parallel existences that are flourishing in the ‘virtual’ realities.

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Jorn Ebner http://www.jornebner.info/index.html

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Jorn Ebner is an artist based in Berlin. Born in http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Bremerhaven, Germany, he studied English s/media/art/3fdb25fe-9c7e-4727- s/media/art/5205cc77-f46c-4cae- Literature at Universitaet Hamburg 1990-95 a250- bcb9- and Fine Art in London at Central Saint Martins 4cabe9e243b6.jpg.1000x667_q8 9e52e657af15.jpg.1000x667_q8 College of Art 1995-98. Since 2000 he has 5.jpg 5.jpg been working mainly working with digital media and production tools.

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Iceland Poppy, Peppers, Chinese 1990 Painting One in a series of four still-life paintings. Vase and Chopstick Rest on Mat

Counterpoise 2012 Sculpture A suspended marble sculpture of flowing cloth that lends a sense of weightlessness to both the location and medium

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Oil on masonite 1 Sir Winston Churchill Square These four still life paintings are painted to scale making them relatively small in size. They call for close observation, so the viewer can experience them on an intimate level, akin to the focus and attention the artist has paid to each grouping. Each painting is composed of natural and manmade objects viewed from overhead. The influence of living amidst asian culture can be perceived in the artist’s work, as seen in the types of objects and their carefully considered arangement. The paintings are an ordered blend of rocks, shells, familiar childhood flowers and fruit native to the artist’s home on Salt Spring Island, and objects like Chinese cups, Japanese vases, rice paper boxes and chopsticks. The study of meticulously placed objects in a collection gives heightened importance to each item and its relationship to the others, “exploit[ing] the tensions and rhythms suggested in their relations to each other and to the boundaries of each composition”, according to the artist. Marble 170 Street SW & Wates Link Counterpoise is composed of two images: one of cascading drapery and a second of radiating waves that are also drapery-like. Both are hand carved in marble, with a honed finish that has a silken dull sheen. The ungrouted spaces between the panels act as shadow lines that delineate a

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Sharon Simonds-Chia

Carl Taçon http://www.carltacon.com/

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These paintings are an affirmation of her http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset continued delight and enthusiasm for the s/media/art/151f85dd-4f98-41b1- s/media/art/6e6b8abd-aac6- challenge offered in painting still life; combining 8e88- 417d-b764- man-made objects with rocks , shells, flowers, cbfbc76560ce.jpg.1000x667_q85 db8e0820561d.jpg.1000x667_q8 and fruit; exploring the beauty of their shapes .jpg 5.jpg and colour; positioning them in an intimate arrangement to exploit the tensions and rhythms suggested in their relations to each other and to the boundaries of each composition.

Carl Taçon is an artist based near Grand http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Valley, Ontario. He has exhibited in Canada s/media/art/4f68e71f-92bb-4961- s/media/art/4bfd1cfe-0eee-422d- and the United States and his work is owned b848- 9025- by numerous private and public collections. 552f2206fc8a.jpg.1000x667_q85. b5d49d0cffe2.jpg.1000x667_q85. Taçon has completed a number of public art jpg jpg commissions that include; Sky Map, Field

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Promise of Dusk 1992 Painting One of a set of two large abstract paintings.

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grid. This visual overlay fragments the imagery so that one becomes aware of a relationship of parts within a whole. The grid somewhat abstracts the imagery, moving it away from a literal reading of cloth sections to a sense of flowing motion. The manner in which the art has been hung suggests suspension – hovering a few inches above the floor, it appears weightless despite the weight of the stone. This contrast reinforces the perceptual flow of cloth. By its very nature, the drapery imagery remains somewhat ambiguous, transforming into patterns of water, light & shadow, wind, sand etc. It is imagery that speaks of both natural and man-made elements. In its chosen location, the carved surface captures the indirect natural light that enters the space through the windowed entranceway. The play of light gently animates and changes the look of the wall throughout the day. Acrylic on Canvas 1 Sir Winston Churchill Square The two large paintings by Douglas Haynes, located in the City Room at Edmonton’s City Hall evoke feelings of the pursuit of light and the search for enlightenment. The painted forms describe a movement upwards. The paintings are abstract and able to stand alone, but together they form a greater whole. The colours and tonal contrast are strong, in order for them to hold

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Douglas Haynes http://www.dhaynes.com/

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Study and Landmarks, three separate but conceptually linked interior commissions (in collaboration with artist Jeannie Thib) for the Bloorview Kids Rehab hospital in Toronto; Passage, a carved marble entrance sculpture for Synagogue Darchei Noam in Toronto; and Shift, an international public art competition to design, fabricate and install a 136’ exterior sculptural wall for a Toronto condominium building, designed by architect Robert Stern. He is currently working on drawn down, commissioned by the Peel Heritage Complex in the City of Brampton, Ontario, that is comprised of an integrated memorial/sculpture to be installed outside of the former Region of Peel Jailhouse. Carl Taçon is represented by Peak Gallery, Toronto.

This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/aabb8ac8-c1ed- s/media/art/857e767d-1e86- 4dd0-a845- 42ec-aba0- c60c0b9e2a14.jpg.1000x667_q8 a7bbb509aa7d.jpg.1000x667_q8 5.jpg 5.jpg

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Blair Introspection 2014 Sculpture Welded steel, lockable artist space

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space from numerous vantage points, and amid the light and shadow cast by the glass pyramid above. Haynes also took into consideration the richness of the wall pattern flanking the staircase and planned for that to enhance the paintings and vice versa. mild steel, Steel, Welded Steel 73 Street & 112 Avenue Mills made this sculpture as a space for Edmonton artist Blair Brennan as a place of inspiration. It is a lockable, safe venue that contains potential. He is the key to completing this piece from within. What he does here is unlimited: the works produced might enter galleries, or perhaps this sculpture will be relocated to places where he will modify the inside in response to locale. Transitory only in so much as Blair might decide when to change it or call it done, the sculpture invites you to imagine what it might contain, do or be. Getting to know the results of Blair’s efforts is between you and him.

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Royden Mills http://www.roydenmills.ca

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Royden Mills was born in Canada on March http://edmontonpublicart.ca/asset 19, 1963. As a youngster he spent an s/media/art/fcfd1f31-9899-428a- extended amount of time in the hospital. In b3c4- very uncertain times, he learned that there was ec72cfc241ad.JPG.1000x667_q8 a sense of control to be gained from creating. 5.jpg While all else seemed uncertain, there were certain freedoms in the act of Drawing. Mills became dedicated to a career in Architecture, which took him to a diploma in Architecture and a short freelance career. His studies were funded by working with mentally handicapped people who continually reminded him that the human spirit is such a beautiful thing. At this time he followed his hearts desire and returned to Art School. In school he supplemented his visual studies with reading Buddhism and Taoism and Eastern Philosophy As a Graduate Student, it was an extended assistant-ship with the English Sculptor Sir Anthony Caro that helped to really open his eyes. In the early 90’s his wife, wished to move to Japan for a chance

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to experience something different. Mills saw this a possibility to learn more about “things” and was able to work in a studio on his own and create sculpture for a solo exhibition there in 1993. When they returned home, Canada and life in the world seemed much different. Mills realized that he could never make sculpture the same way, and could never teach as he had before, either. Royden Mills served as President of The Edmonton Contemporary Artists Society; Board Member at the Art Gallery, Chair of Committees etc., and even a recent role as Curator. All these roles have helped him appreciate the relationships and the work that are involved in bringing art to an audience. Royden Mills – “I feel that we all have very different tastes and life experiences, but we also share many similar values in life. It is these shared feelings that I feel are the most important and defining elements of being human. With my sculpture, my teaching, with my life, I try to explore the limits of our human liberty. Our freedom to explore, to be surprised, and yet to share a familiarity, is the essence of what I am trying to do. I consider all that we do to be a kind of unplanned preparation to further explore freedom.”

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Conrich 1991 Photography A photograph depicting an iconic Albertan architectural form - the grain elevator.

Duets: Sphinx 2002 Photography Digital print on fiberboard mounted on pine with a

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Gelatin Silver Print 1 Sir Winston Churchill Square This photograph is printed using a black and white process in which the negative is laid over the gel emulsion of silver nitrate which reacts to UV light and produces an image. It depicts a rural scene in Alberta, populated by grain elevators and train tracks leading into the horizon. The title of the artwork refers to the hamlet of Conrich which started as a flag station for the Grand Trunk Pacific Railway; passengers wanting to board had to flag the train down. The landscape shown was a typical sight on the prairies. The vernacular picture captures the essence of everyday rural life in towns like Conrich and represents a lifestyle that is rapidly disappearing to make way for economic development. Documentation of this way of life is important for the preservation of our culture and heritage. Social documentary photography has a long tradition with roots in the 19th Century work of Henry Mayhew, Jacob Riis, and Lewis Hine, but was popularized by the Farm Security Administration during the Great Depression and photographers like Dorothea Lange and Walker Evans. Since the seventies, social documentary photography has become increasingly more accepted by the art world alongside fine art photography. Digital Print on fiberboard, Pine & Aspen Edmonton Police Service One in a series of three diptych photographic

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Raymond Gogarty

Robert (Bob) Chelmick

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Bob developed an international reputation as a http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset

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53.605227 -113.417248 (53.605227, -113.417248) http://edmontonpublicart.ca/#!/details/133

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plywood backing and aspen frame.

Have A Nice Day 2013 Mural Multicoloured mural incorporating geometric shapes

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images of butterfly wings.

Acrylic Paint, Aluminum 137 avenue between 93 & 97 streets This hand-painted mural celebrates colour and motion. The artists intended to complement both the new transit center and the nearby urban landscape. The colours and shapes relate to the visual experience of the mural and the surrounding neighbourhood – a place of diverse land uses, pathways, commerce, and people.

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Chelsea Boida & Mark Feddes

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visual artist while maintaining a 25 year career http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset as news anchor journalist and program host for s/media/art/6a57ddaa-2c6e- s/media/art/03831664-db4a- CBC television and radio. His news 43eb-8f95- 4ae2-b2f8- documentary work received a national award 19fc6f8c0df3.jpg.1000x667_q85.j 101da2a897bb.jpg.1000x667_q8 from the Radio and TV News Directors pg 5.jpg Association. As well as taking up duties as host of Alberta Morning beginning February 3rd and producing The Road Home for CKUA , Bob develops and produces projects for the CBC radio program Ideas (Hafiz and Bob, Ferlinghetti – The Last Bohemian, Roma vs. Amor, The Cathar Genocide). Bob has a long history as a speaker, seminars presenter and master of ceremonies. His presentations often involve multimedia visuals and words of wisdom from a diverse cultural spectrum. The impact of intuition on the creative process and the power of the photograph as a bridge between the worlds of art and science and of silence and activity are common themes. Living in Edmonton where she completed her http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset BFA in Printmaking and Drawing from the s/media/art/957b7322-2f8c-47db- s/media/art/3da373cc-e941- University of Alberta, Chelsea Boida focuses a2dd- 4a14-8cc4- her personal art practice on photography, f71a7eea0560.jpg.1000x667_q8 c3751c149e6a.jpg.1000x667_q8 video, and printmaking. 5.jpg 5.jpg

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Shelter 1989 Sculpture Small clay sculpture of house.

The Lost Poems of Vasyl Stus 1989 Drawing/print Abstract collage created with acrylic and paper.

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Colours on signs, packaging, clothing and other details of this landscape make Have a Nice Day at home in a sea of changing colour. Earthenware 1 Sir Winston Churchill Square Shelter is a small earthenware sculpture. It’s scale draws the viewer near, and forces him or her to relate to the piece on an personal level. The textural qualities of the clay are embraced by the artist, helping achieve a strong sense of materiality and visually rewarding the person who goes up close to experience the artwork. According to artist Joan McNeill, “I think a pot should have something dark, something light, with contrast supplied by colour, edges, or surface texture. These are essential human qualities as well, and I want my work to express warmth and humanness. I am not too rigorous about achieving perfection; a certain amount of discord or irregularity seems compatible with the nature of clay and doing studio work.” Shelter , as suggested by the name, represents a building upon a high foundation of strata resembling sedimentary rock. It also functions as a vessel, illustrating the artist’s interest in exploring the concepts of interior vs exterior. Acrylic and collage on paper 1 Sir Winston Churchill Square This non-figurative painting is collaged with fragments of text in cyrillic script. Its high contrast brushwork is clearly visible; the strong marks are

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Joan McNeil http://joanmcneil.com/Site/Home.html

Ksenia Aronetz

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Joan McNeil studied architecture in the early http://edmontonpublicart.ca/asset sixties at the University of Manitoba in s/media/art/0449b50c-1826-4fab- Winnipeg, Manitoba. She practiced b0f2- architecture for about ten years and began f8bd313d9dcd.jpg.1000x667_q85 studying ceramics in a casual way during that .jpg time. She eventually took a masters degree in Fine Arts at the University of Regina, graduating in 1982. After spending a number of years teaching art and ceramics across Canada, Joan opened a ceramics studio in downtown Toronto in 1995. Since 2007 she has been doing collage and painting full-time in her Toronto studio.

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53.545734000000 - (53.545734, -113.490451) http://edmontonpublicart.ca/#!/details/54 003 113.490450999 99999

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Cotoneaster Leaves and Fruit, 1990 Painting One in a series of four still-life paintings. Japanese Vase and Rice Paper Box By Blue Jay Feather and Chinese Cup on Mat

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at once gestural and intentional. Colour is limited to black and white, giving the painting a severe and sombre tone. As the title suggests, the work makes reference to the banned Ukrainian literature of Vasyl Stus, a poet who was imprisoned by the Soviet regime for his political convictions. Stus spent 23 years in detention on charges of political dissent, and died after a hunger strike in a forced labour camp. Appropriately, the heavy marks at times obscure the words making them appear to sink into the mud. Oil on masonite 1 Sir Winston Churchill Square These four still life paintings are painted to scale making them relatively small in size. They call for close observation, so the viewer can experience them on an intimate level, akin to the focus and attention the artist has paid to each grouping. Each painting is composed of natural and manmade objects viewed from overhead. The influence of living amidst asian culture can be perceived in the artist’s work, as seen in the types of objects and their carefully considered arangement. The paintings are an ordered blend of rocks, shells, familiar childhood flowers and fruit native to the artist’s home on Salt Spring Island, and objects like Chinese cups, Japanese vases, rice paper boxes and chopsticks. The

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Sharon Simonds-Chia

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These paintings are an affirmation of her http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset continued delight and enthusiasm for the s/media/art/2c174521-fa54-4106- s/media/art/77ef6bbe-4100-4969- challenge offered in painting still life; combining 9471- bee7- man-made objects with rocks , shells, flowers, 4f8db30b66f1.jpg.1000x667_q85 16ba1c6ff89c.jpg.1000x667_q85. and fruit; exploring the beauty of their shapes .jpg jpg and colour; positioning them in an intimate arrangement to exploit the tensions and rhythms suggested in their relations to each other and to the boundaries of each composition.

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53.545444000000 -113.490537 (53.545444, -113.490537) http://edmontonpublicart.ca/#!/details/46 003

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Henri 2011 Installation Sculpture of large white cat sleeping on a black net, suspended above a community gathering space.

Caravel 1992 Sculpture Vessel shaped reflective steel sculpture.

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study of meticulously placed objects in a collection gives heightened importance to each item and its relationship to the others, “exploit[ing] the tensions and rhythms suggested in their relations to each other and to the boundaries of each composition”, according to the artist. Polyurethane paint, polyurea coated EPS 15204 23 Avenue The idea of community, gathering and comfort is foam, nylon, aircraft cable at the heart of Craig Le Blanc’s sculptural installation, Henri . A sleeping cat is quietly and securely curled in a net, suspended above a community gathering space as a representation of an idyllic environment with suggestions of safekeeping, home and comfort. In time Henri may become an intimate part of the neighbourhood landscape, and a familiar component of personal, family and community activities. Henri was recognized by the Public Art Network and was selected for inclusion in the Public Art Network’s 2011 Year in Review. Much of Calgary-based artist Craig Le Blanc’s work involves re-creating familiar objects that convey a simple or singular narrative. His technical and refined works are representations of concepts relating to gender, identity and place. Stainless steel 10248 99 Street For years Isla Burns worked with the idea of using a vessel as a base or container to hold precarious arrangements. Initially, Caravel was going to

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Craig LeBlanc http://www.craigleblanc.com/

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This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/f4b473eb-a03b-4939- s/media/art/ebb135b5-de16- 9783- 4657-a593- 4ac1464ee953.jpg.1000x667_q8 76324ff37070.jpg.1000x667_q85 5.jpg .jpg

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53.546129999999 - (53.54613, -113.490626) http://edmontonpublicart.ca/#!/details/59 998 113.490626000 00001

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Clusters 2009 Sculpture Numerous clusters of multi-coloured, hand-blown glass spheres suspended in the social heart of the building.

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feature a thick flat dish, but that changed once she reevaluated the site. She decided on a horizontal canoe shape, which would read long and low, so as to avoid any visual friction with the building. She also considered how it would look from above, from buildings like the CN Tower. The feel and tension of the sculpture lies in its shape, the relationship of the ground to its curving form the ground, the weight pressing down one end while the other lifts up, weightless. Blown glass, Steel 11113 113 Street Clusters is a hanging garden of glass vines, flowers, and fruit, each component is handmade and unique. Artist Keith Walker chose to work with bright colours and exaggerated dimensions knowing that the glass sculptures would be installed near windows, high above. About 500 separate pieces of glass were created to form the eight clusters, which are suspended from the ceiling of a gathering space in the Central Lions Senior Recreation Centre. This process took nearly a year to complete with a production style akin to that of the traditional glass artisans in Italy and Poland. Historically, glass making was a highly prized skill and techniques were often kept secret with methods passed down from master to apprentice. There is an elusive quality to glass that has enchanted people for generations. The

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Keith Walker http://blowinthedark.ca

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Started working as a volunteer at Glass http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Happens Studio in Edmonton since March s/media/art/4114d353-b130- s/media/art/b205a553-2ade-4f78- 2001. It was there that i “grew up“ with the 4b86-b517- a767- glass, practicing skills and learning about hot 9cd97effe797.jpg.1000x667_q85. 2d1d648f510e.jpg.1000x667_q8 glass as a material. Having a creative jpg 5.jpg background in photography already, i soon realized that as my attraction to glass grew, it demanded more of my attention and photo ended taking the back seat. It became clear at the time that i had room for only one main creative interest in my life. This transition in creative thoughts although sad was a necessary one and paved the way to a new creative career and a new medium of choice. As a journeyman carpenter with a strong work ethic, I really appreciated how physical the process was in creating glass objects. I draw a

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We Are Here 2009 Sculpture Granite pyramid depicting imagery of plant structures and urban map systems.

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materiality of glass is extremely technical, something that Walker feels one never fully masters. This piece is a demonstration of the beauty and versatility of the medium, used in an imaginative way. Walker intends this piece to generate discussion on the art of glass making. Edmonton-based glass blower Keith Walker likens his craft to a sport requiring drills and exercises before the final execution of the piece. It requires teamwork, a gambler’s sense of risk- taking, and some improvisation as the glass evolves during its creation. Many steps are required before the project is completed, and a team of players (assistants, welders, installers) works together to coordinate such a large-scale project. In terms of the material, working with glass is a physically demanding process, yet must be handled with extreme delicacy.

Paint, etched granite 9626 96A Street Pyramids are a running motif among Edmonton’s most recognizable landmarks. We have architect Peter Hemingway to thank for the original inspiration— in the early ‘70s he designed the now-demolished Central Pentecostal Tabernacle.

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Mia Weinberg http://www.miaweinberg.com/

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lot of parallels between carpentry and glass, one of these parallels is the struggle and challenge it can take me before i can really appreciate the finished result. Nothing worth having or doing seems to come easy for me. During my time with glass i have managed to broaden myself by, helping teach beginner glass classes at Red Deer College and volunteering at Pilchuck glass school as a poleturner. I have had the opportunity to work with other artists and industrial designers in bringing their ideas to life and enjoy the challenge which comes with these new ideas and approaches. I have designed and fabricated custom lighting fixtures for clients, produced recognition and achievement awards for various local organizations, as well as been a successful candidate for a City of Edmonton permanent art installation. I continue to live and work in Edmonton, Alberta with my family and am always in hot pursuit of the next best curry house and the perfect punty. Born in London, England, Weinberg left a http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset career in industrial manufacturing, and moved s/media/art/b0ec4681-6f24-419c- s/media/art/adeac7c1-5adb- to Vancouver in 1987. She graduated from the 966d- 4ec2-a8cf- Emily Carr University of Art and Design in 35a42de8ac88.jpg.1000x667_q8 f6eeed8e6dde.jpg.1000x667_q8 1994, and subsequently her work has been 5.jpg 5.jpg

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Part of which was a large pyramid structure- a precursor to the Muttart Conservatory, which he created later in the decade. The Muttart Conservatory is a striking addition to our River Valley, and its four pyramids are mirrored in other elements of civic architecture like Gene Dub’s City Hall design. In 2008, the Muttart Conservatory underwent a renovation, which included interior improvements and the addition of a bold front entryway. To mark the entrance, the City of Edmonton wished to have a black granite pyramid to be engraved with an artist’s design placed at the entry to the new plaza. Vancouver artist Mia Weinberg was commissioned to design the four sides of the pyramid and chose to represent both natural and man-made images, which were sandblasted into the surface of the black granite. Two of the four sides reference the context of the Muttart Conservatory and are engraved with images of plants; one a microscopic view of an aspen leaf and the other a fern frond. The two remaining sides are city maps, the grid-like streets that surround West Edmonton Mall and the more curvy roads of the river valley bisected by the North Saskatchewan River. This juxtaposition points out similarities between the vascular system of plants and the macro-view of

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exhibited across Canada and internationally. In 2002, she participated in a collaborative residency at the The Banff Centre (Alberta) that resulted in the acquisition of her work by the Walter Phillips Gallery. In 2004 Weinberg was awarded an Earthwatch fellowship to participate in an archeological project in Washington State, and in November 2008 her image “Atlin II” received the Director’s Selection Award from The Center for Fine Art Photography in Fort Collins, Colorado. In 2007, Weinberg was awarded her first public art commission for the Muttart Conservatory in Edmonton: her sculpture We Are Here was unveiled in June 2009. Since then she has been commissioned to create several public art pieces for the City of Richmond in BC.

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Carousel 2014 Mural Abstract mural incorporating imagery of old fashioned fairground rides

Pumpkins and Moons 2012 Sculpture Sculpture that employs autumnal imagery

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our streetscapes— they are both “skeletons” for the organism/city, shuttling nutrients/passengers to where they are needed. The imagery is appropriate, considering Edmonton is known for its extensive park system nestled within heavily urbanized areas. Acrylic Paint Borden Park Carousel is a large abstract mural created with acrylic paints and protected with a topcoat. It is located within the new Borden Park Pavilion on the west wall. The pavilion’s shape resembles a carousel, which is inspired by the history of the park as a former fairground. Through the layering of bright colours and shapes with lots of movement, the artist’s intent is to capture the spirit of vitality and enthusiasm. Just as a park becomes a place for collective imaginations to flourish, the mural echoes this sentiment. The abstracted shapes incorporate imagery if swings, carousels, and roller coasters. The viewer can interact visually with the work as he or she circles around the building. Welded Steel 11540 73 Ave NW

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Nicole Galellis

Ken Macklin http://www.kenmacklin.com

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Ken Macklin is an Edmonton-born visual artist. http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Holding Education and Fine Arts Degrees from s/media/art/4c9b7f2d-61fd-4e5a- s/media/art/14cc42be-ae27- the University of Alberta, he has studied b5b8- 42de-a350- extensively in workshops led by leading 45f6f54ae91c.JPG.1000x667_q8 e91c3ee63e80.JPG.1000x667_q sculptors such as Sir Anthony Caro and at St. 5.jpg 85.jpg Martin’s School of Art, London, UK. The

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recipient of numerous provincial, national, and international awards and grants, his work has been exhibited widely, and is held in many private collections. Ken Macklin writes: “To me, making art is a form of narrative that is at once both personal and universal. While I draw much of my inspiration from my own lived experience and the zeitgeist of the modern day, so too do I aim to embody in my work emotions and perspectives that change little across time and space, and are part of shared human experience. What was relevant to the old masters of the past, to Michelangelo, to Goya, and to Rothko, is still relevant, and the essential artistic vocabulary of line, volume, form, and colour is a universal and a constant to me. Nature is another constant and a touch- stone of my work. I am inspired by the dense forests and landscape surrounding my home and studio in northern Alberta near the Alaska highway. Living in a landscape covered by snow for as much as half the year, I look to the tangled clusters of branches, the incredible light that gives such clarity, and to the magnificent colours of the sky and the four seasons. I enjoy mixing materials to make colourful and whimsical pieces that provoke

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Willow 2014 Sculpture Multicoloured, interactive sculpture

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Aluminum Borden Park Willow is a celebration of artistic, architectural, and mathematic disciplines. Artist Marc Fornes describes the sculpture as an “architectural folly,” evoking the decorative, but generally non- practical structures that adorned the great estates of Europe in the 18th & 19th centuries. As a structure, it explores the concept of lightweight, self-supporting elements generated through computations of form and structure as well as descriptive geometry. The use of these processes unifies all elements of the sculpture – its structure, skin and ornamentation – into a single unified system. From a distance, the sculpture’s colours seem to meld seamlessly into one another. Up close, the surface is revealed as an intricate assembly of coloured structural shingles. Although similar, each digitally fabricated strip is unique. The shingles overlap each other creating a strong and thick, but delicate-looking structure. Willow’s colors originated in its immediate natural environment. The artist, realizing the sculpture’s potential as an iconic destination within Borden Park, pushed the hues toward artificiality. The greens and blues blend into a synthetic magenta, imbuing the sculpture with the appearance of motion. Willow’s colour, shape and tracery of light and shadow invite the passerby to stop, explore

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Marc Fornes & THEVERYMANY

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Within his academic background Marc Fornes http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset has taught design studios and seminars at the s/media/art/fbceb18a-5a8b-4175- s/media/art/e4f807b6-773d-4a39- University of Southern California in Los b434- b05c- Angeles, Columbia University in New York, 70c5b6bf33c4.jpg.1000x667_q85 ece1ea0fb6f4.jpg.1000x667_q85. Harvard University in Cambridge, University of .jpg jpg Michigan in Ann Arbor, and Die Angewandte in Vienna. He has led many workshops and served as a guest critic at several institutions such as the Architectural Association in London, The Royal College of Art in London, Pratt Institute in New York, the University of Pennsylvania, and Ball State University. In 2007 Marc Fornes produced & curated ‘Scriptedbypurpose’, the first exhibition exclusively focusing on scripted processes within design, and recently curated the European section for the Architecture Biennale 2008 in Beijing.

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Parade I, Alberta Wildlife 2010 Mural A multi-panel image of birds and mammals migrating.

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and play within. BITS AND PARTS: Willow is comprised of 721 aluminum stripes, 14,043 connectors (1/4” aluminum rivets) and 60 epoxy concrete anchors. The aluminum (5052 type) is used in three different thicknesses: 1/8” (3mm) stripes, 1/4” (6mm) at the feet, and 1/2” (10mm) for the 24 base plates that are anchored to a concrete pad of 240 cubic feet.. It took four days, and a crew of 4 to assemble the prefabricated parts. Digital High Pressure Laminate 17 Street and 40 Avenue The modern geometric style of this artwork was done on a grid system. This technique allows for a compact representation of many different types of animals together. It creates dynamism and unifies the composition. The highly stylized representation of animals is a contemporary approach to illustration, and the result is an eye- catching artwork that viewers can return to with each visit to the transit centre. Living in urban centres often creates a divide between the natural and the constructed. Images that portray nature remind us of the intimate connection between the two, and that the land where we live was once a habitat for these animals. Wong wanted to create images that remind the viewer of the large amounts of wildlife that surround us and to create a sense of curiosity for the natural world. He

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Gabe Wong

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Elemental 2014 Installation 24 plexiglass panels that evoke both the ancient elements earth, fire, air, and water and the modern periodic table of the elements.

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hoped people would look at the piece and ask, “What animal is that?” Collage, Lexan, Plexiglass 3802 139 Avenue Elemental is a series of 24 panels referring to the original ancient Greeks’ belief that there were 4 elements – earth, fire, air, water. Artist Lynn Malin writes: “One can understand why the Greeks thought that these were the original elements as they are the source of all life on earth. As we now know, there is a periodic table that boasts many elements that make up the complex compounds and substances that exist in the world. Earth, water, fire, and air are not elements but conglomerations of many elements. We have expanded our knowledge but we still fail as stewards of the 4 originals. Elemental highlights how knowledge has expanded. Lessons about new scientific theories, how better to use our resources and guard against pollution, and recycling when possible, are suggested in this installation.” The abstract images refer to the four original elements in a colourful and visually interesting way. The arrangement of the images in grid format references the modern periodic table, and maps the history of human imprint on the original elements. The play of shadow and light on the panels over the course of a day further animates the piece.

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Lynn Malin

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ARTIST’S STATEMENT “Practicing within the http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset tradition of landscape painting, I am aware that s/media/art/bd0b184b-89f0-4be0- s/media/art/8068e83e-49e4-4ff9- early renditions of Alberta reflected a 19th 86b4- 93e6- century European style. Later Illingworth Kerr b243bf5e9849.jpg.1000x667_q8 ee6abab9ab9c.jpg.1000x667_q8 introduced his understanding of modernist 5.jpg 5.jpg colour theory to site-specific observation. Although I appreciate these historical approaches, I am interested in moving away from the recreation of the landscape as a window into “reality” or an exploration of a two- dimensional surface.”

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A View From A Train 2013 Sculpture Cartoon mountains provide a playful comment on the landscape for LRT commuters

Spruce Trees 1988 Drawing/print Etching of Spruce trees

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Aluminum Kingsway LRT Station - 111 Avenue & A View from A Train is a hybrid landscape. A Kingsway stylized cartoon mountain range, the artwork suggests a world where the natural and the artificial coexist in a playful and optimistic dialogue. The mountain range is generated via an algorithm. Popping through this cartoon landscape are real evergreen trees that play with the scale of the piece as they grow.

Etching 1 Sir Winston Churchill Square Spruce Trees is an etching made by coating a metal plate with a blocking material and scraping through that material with a needle or drawing tool. An acid bath eats away at the exposed portions of the plate when submerged. Wherever the plate is exposed is where the printed image will appear. The result is a fine art print that can

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Chris Doyle

Steven Dixon

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His temporary and permanent urban projects http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset include LEAP , presented by Creative Time; s/media/art/539c61a2-42b5- s/media/art/0b97a05c-e136- Commutable, commissioned by the Public Art 4d66-8282- 4a73-a7f2- Fund, as well as recent permanent e42aafcf6ad8.jpg.1000x667_q85. d63ebc31d19b.jpg.1000x667_q8 commissions for Culver City, California; jpg 5.jpg Tampa, Florida; Kansas City, Missouri; Austin, Texas. In addition to recent exhibitions in Los Angeles and New York, his work has been shown at the Taubman Museum of Art, the Brooklyn Museum of Art, MassMoCa, P.S.1 Museum of Contemporary Art, The Tang Museum, the Brooklyn Academy of Music, The Sculpture Centre, and as part of the New York Video Festival at Lincoln Centre and the Melbourne International Arts Festival. 50,000 Beds, a large-scale, collaborative video installation involving 45 artists was presented simultaneously by the Aldrich Contemporary Art Museum, Ridgefield; ArtSpace, New Haven; and Real Art Ways, Hartford.

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53.545819999999 -113.48996 (53.54582, -113.48996) http://edmontonpublicart.ca/#!/details/53 999

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Diary 1991 Drawing/print Abstract Print

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be printed in editions. This print depicts a snow- covered spruce forest floor. The trees are rendered with layers of detailed hatching and controlled lines. This is contrasted with splatters and gestural marks. The overall effect is a peaceful landscape scene amidst the trees. Lithograph 1 Sir Winston Churchill Square “My mother died suddenly in Australia at the end of 1990 and Diary is one in a series of 10 prints were focused on memories of our relationship and a celebration her life. The frame suggests a box filled with objects. Inside the box are the letters that my mother and I wrote to each other on a regular basis. I used hairpins as a metaphor to suggest a code that we both understood and the closeness that we had despite the great distance between us. At the centre of image is a folded leather cloth that secretly contains a group of sapphires mined by her father that my mother had passed on to her three daughters. I regret that I never showed any appreciation for the gems or the role that my grandfather played in digging them out of the ground. Her death reminded me to have them made into jewelry for my sisters and myself.” – Lyndal Osborne

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Lyndal Osborne http://www.lyndalosborne.com/

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Lyndal Osborne was born in Newcastle, http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Australia. She studied at the National Art s/media/art/fa64a2af-3a9e-4a22- s/media/art/f7885089-d3be-485b- School in Sydney and received her MFA from 801b- b681- the University of Wisconsin, Madison, USA . b5eed53c57ba.jpg.1000x667_q8 7c3e215a60f4.jpg.1000x667_q85 Since 1971, Osborne has been based in 5.jpg .jpg Edmonton, and is Professor Emeritus in Department of Art and Design, University of Alberta. Osborne has been exhibiting in Canada and internationally since the early 1970s and has shown in over 360 exhibitions. She is represented in many private and public collections worldwide. Osborne’s sculptures and installations have developed an individual approach that utilizes found and recycled material that she alters through the application of color, manipulating their original shape, and/or by placing the objects in new contexts so they develop new metaphorical meaning. Her installation work speaks of the forces of transformation within nature, as well as commenting upon pressing issues relating to

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Grandin Murals 2014 Mural Two murals in Grandin LRT Station reflect the spirit of reconciliation through historical and cultural imagery.

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110 Street & 99 Avenue The Grandin Murals are the outcome of two years of dialogue and consultation among Edmonton’s Francophone and Aboriginal communities. They were created by artists Aaron Paquette and Sylvie Nadeau. Aaron’s Paquette’s artwork is new. Sylvie Nadeau, who created the original mural, has added panels depicting an Aboriginal boy and girl. The original mural, painted by Nadeau in 1989 was commissioned in order to celebrate the historical contributions of Alberta’s Francophone community and particularly Bishop Vital Grandin. However, many felt that the imagery of the original evoked the troubling history of the residential schools. In 2011, Francophonie jeunesse de l’Alberta and the City of Edmonton with the support of various community agencies, convened a working circle to find solutions to the issue. The collective decision was made to re- envision the original work and commission a new mural. Sylvie Nadeau added two panels to her original work. The panels, depicting an Aboriginal boy and girl, “speak” to the new mural by Aaron Paquette. The new mural depicts more than

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Aaron Paquette & Sylvie Nadeau

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the environment. In her work Osborne has focused on an examination of the issues of genetically modified organisms and more recently on the crisis in the global oceans. Sylvie Nadeau – Born in Quebec, Francophone http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset artist Sylvie Nadeau has been practicing for 45 s/media/art/f5ef2bb5-34ee-4e61- s/media/art/9e497557-00ab- years. Her career has encompassed sculpture, 9bad- 457a-b5c1- poetry, and dance. Holding degrees and b278a7bf485f.jpg.1000x667_q85 8831e7b7bde9.jpg.1000x667_q8 diplomas from Université Laval, University of .jpg 5.jpg Alberta, Northern Alberta Institute of Technology ( NAIT ), Nadeau is also a respected arts educator. Her artistic practice is interested in humanistic and spiritual endeavours. These inspirations give her a sense of purpose and make her creations true labours of love – a channel of love and peace.

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Great Divide 1980 Installation 200 pipes producing a cascade of water from the High Level Bridge

I Witness 2003 Installation Text etched into glass walls of LRT station waiting area and footprint impressions in concrete platform.

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10,000 years of Aboriginal history in the Edmonton area and through the use of colour and symbol paints a portrait of hope and healing. Pipes, Water High Level Bridge A waterfall in the middle of the prairies is not an obvious piece of public art but it has become a familiar and loved landmark for the city of Edmonton. It was created by artist Peter Lewis and was unveiled in 1980 as a gift for the Province of Alberta’s 75th anniversary. In an Edmonton Journal article, Lewis’ waterfall is described as “… ambitious to be sure. And crazy in a way. And completely marvelous.” At 64 metres high, The Great Divide is more than seven metres higher than Niagara Falls, pumping 50 000 litres of water per minute. It became a focal point for summer long weekends running Victoria Day, Canada Day, Heritage Day and Labour Day.

Etched glass, sandblasted concrete 114 Street and 83 Ave. Text etched into glass walls of LRT station waiting area and footprint impressions in concrete platform.

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Peter Lewis

Holly Newman http://www.hollynewman.ca/

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Although he’s most celebrated for the Great http://edmontonpublicart.ca/asset Divide Waterfall, he is also known for other s/media/art/70269ed5-e3c2-45f4- waterfall projects including Splash at the 2011 a390- Lumiere Festival in Durham, UK, and Running 2f3cd2f1a127.jpg.1000x667_q85. Water, two temporary water features in jpg Olympic Park for the 2012 London Olympics. In 1981, he instigated, as a “wedding gift” to Prince Charles and Lady Diana Spencer, 1,200 bonfires from Scotland to the Channel Islands. Architectural projects have included work for Clive Piercy and Cowichan Tribes in British Colombia. At his home in Vancover Island, Peter has built the Bright Angel Garden, a 10- acre water garden that includes a 2-acre lake, 14 fountains and the largest prayer wheel in North America. Holly Newman received her Bachelor of Fine http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Arts from the University of Alberta in 1985. s/media/art/65faad8f-c7bf-4242- s/media/art/aee6358c-cb41- Since then she has exhibited extensively 9b3c- 4039-836d- around Edmonton and throughout Canada. 86b31f157954.jpg.1000x667_q8 6e46f20b2df6.jpg.1000x667_q85 Currently she is one of the artists participating 5.jpg .jpg in the Quarters transitory public art project and is reconfiguring “I Witness”, a text based project completed for the Health Sciences LRT

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Paskwamostos 1999 Sculpture Steel sculpture of a bison overlooking the river valley.

Grove of Light 2014 Installation Shimmering stainless steel stalks invite the zoo visitor to explore

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Steel 9797 Jasper Avenue The large plasma-cut and powder-coated steel sculpture stands over three and a half meters high, recalling the magnificent size of a Bison. Its convex shape towers over and surrounds the viewer, drawing the viewer in to its centre. The title can be traced back to the Cree word for Bison, revealing the influence of aboriginal culture and legends on the artist, as well as the inspiration from his Saskatchewan home on the Great Plains. “The Bison is an animal of strength and symbolism. It represents food, clothing and shelter for our native western Canadian people,” according to the donor of the artwork, JR Shaw, Executive Chairman of Shaw Communications Inc. on whose property the sculpture sits. The sculpture is located on the lookout deck on the south side of the Shaw Conference Centre.

Stainless steel Valley Zoo - 13315 Buena Vista Road Grove of Light is a kinetic, interactive sculpture that reflects the many seasons of Edmonton’s River Valley. The facets of the 12 stainless steel

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Joe Fafard

Laura Haddad & Tom Drugan http://www.haddad-drugan.com

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Station. Fafard’s career was focused on plaster and http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset ceramics before shifting to bronze sculpture in s/media/art/290229e2-e1cc- s/media/art/8a5f4f32-7440-4f10- 1985 upon opening the Julienne Atelier foundry 47c8-b5e8- 9064- in Pense, Saskatchewan. Currently he lives 7264cdcd57c6.jpg.1000x667_q8 ae4f55268caa.jpg.1000x667_q85 and works from his acreage in Lumsden, 5.jpg .jpg Saskatchewan outside of Regina. The landscape, people and animals of Fafard’s surroundings influence his work. Horses, deer and foxes have all been subjects in his sculpture, while cows have become one of his trademarks. Fafard is world renowned and the recipient of numerous awards, including the designation of Officer to the Order of Canada recognizing his contribution to the arts in Canada in 1981 and the Architectural Institute of Canada Allied Arts Award in 1987. He received an Honorary Degree from the University of Regina in 1989 as well as the University of Manitoba in 2007. Most recently, a retrospective of his work organized by the National Gallery of Canada and the Mackenzie Art Gallery toured 6 venues over two years from 2007 to 2009. Laura Haddad and Tom Drugan’s collaboration http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset as an artist team over the last nine years has s/media/art/f795edd5-befb-404c- s/media/art/d042849b-3e29-4cf5- fostered a wide range of innovative site-

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stalks are treated with a variety of finishes to catch, absorb, refract, and reflect light and the surroundings. Because of their height and the thinness of their tops, the wind moves the stalks to create shimmering and bouncing light as the sky and environment reflect from all around. They can also be moved by hand, transferring a person’s energy into the artwork. Both wind and human-created motion create dynamic visual effects and playful reflectivity with the changing sky-scape and environment. The sky contributes a cinematographic effect with moving clouds, storms, and sunlight throughout Edmonton’s long summer days, dramatically changing Spring and Autumn, and cold white Winters.

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specific public art commissions and plans. 9ae6- b37b- Their Seattle-based studio, Haddad|Drugan 30b39b2a3739.jpg.1000x667_q8 afe8d5fdeab6.jpg.1000x667_q85 LLC , specializes in conceptually driven site- 5.jpg .jpg specific art that is often integrated into large- scale infrastructure projects, but also includes temporary installations. Past and current work includes art for storm water utility and transportation projects, libraries, and urban plazas and parks. Laura Haddad is an artist and landscape architect, with a Master’s degree in landscape architecture from U.C. Berkeley and a Bachelor’s degree in history from Bowdoin College. Her background also includes jewelry and stage set design. Tom Drugan holds dual registrations in architecture and landscape architecture. He received a Master’s degree in landscape architecture from Harvard University and a Bachelor’s degree in architecture from the University of Colorado. His background includes sustainable building and filmmaking. Haddad and Drugan have taught at Rhode Island School of Design and University of Washington. Their training in architecture and landscape architecture helps them to successfully translate artistic concepts to large scales, respond to contextual conditions, and integrate ecological processes

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Landscape Series 1 2014 Painting A series of Alberta landscapes painted in vibrant acrylics

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Acrylic on Dibond 66 street & 23 Avenue Artist Erin Ross has created a series of landscapes that depict the terrain surrounding Edmonton. Wheat fields and prairie vistas enliven the slate grey wall of the new park pavilion.

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Erin Ross

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Her illustrations have won ACE awards, a http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Communication Arts Award of excellence and s/media/art/ab64edf0-d421-41af- s/media/art/924ad527-a173- inclusion in their Design Annual. She was also 8e21- 42b3-80b0- nominated as an emerging artist for the 25th 87e864078649.jpg.1000x667_q8 d4d376cf8a91.jpg.1000x667_q85 and 26th Mayor’s Celebration of the Arts, and 5.jpg .jpg one of her pieces was short-listed for the inaugural CSCE Art Award, curated by Ryan Doherty of the SAAG , where she won the people’s choice award and a cash prize. Erin is extremely engaged in her community. She has made it a real focus to advocate for the arts in Edmonton, not only through her board work, but also by volunteering her time to assist on creative projects. She has initiated and developed a brand new advocacy and fundraising approach in her role as chair of fundraising for Latitude 53, where she is in her second year as a board director, and as fundraising chair. She has volunteered for the EAC as well as M.A.D.E. Edmonton, and participated in various speaking engagements. She was recently a pecha kucha presenter at the Mayors Think Tank: Our Arts, Our City, and has worked with the cities Arts Visioning Committee. She believes in promoting art as a crucial social investment. She has demonstrated her commitment by giving back

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Buffalo Mountain 2001 Sculpture Carved granite sculpture in the form of a buffalo.

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Granite 9703 88 Avenue When the Rock Grandfather saw that the great herds of buffalo were going to be destroyed, He opened a hole in the mountains, leading to another dimension, similar to this one, but safely separated from our time and place. There, the last of the great herds passed through the hole in the mountains to await a time of safe return. Buffalo Mountain is a reminder, a message to the future to remember, that what humans did to the buffalo herds we may easily do to the entire planet, our beautiful mother earth. The sculpture is made of rock, representing the Rock Grandfather, a Cree spiritual being charged by the Creator with helping fragile humans with communication, which is why we use stone for our spiritual pipe bowls. The tobacco we used made a spiritual pathway, when burned, for the meaning of our

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Stewart Steinhauer http://www.stonesculpture.ca/

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in several ways, whether it’s fundraising for the cities needy through her board work with the CTV Good Neighbour Fund, donating for auction to Latitude 53’s Fine Art of Schmoozy fundraiser in 2011 and 2012, Compassion house foundation, Leukemia and Lymphoma society of Canada, and many others. She is also a member of Artsscene Edmonton, where she was the co-chair for its reincarnation as a brand new board in 2011/2012. Steinhauer writes that he is self-taught as a http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset stone sculptor/foolish person, beginning his s/media/art/bd161367-cf75-41a2- s/media/art/6f1cbc9c-97a1-44e1- adventures in stone sculpture the day after the 8907- 9c7c- birth of his first child, in July 1973. After 2c8dda966339.jpg.1000x667_q8 1c70ea4ca1a1.jpg.1000x667_q8 seventeen years of using the stone sculpture 5.jpg 5.jpg process as unconscious art therapy (on his own foolish self, of course), he was tossed into the maelstrom of the professional gallery system. Over the decade 1991-2001 he produced 21 exhibitions worth of new works in shows from Victoria BC to Stratford, Ontario. His works are in private collections around the world, and in public collections in BC and Alberta. Since 2003 he has been the sole representative of his own works, and currently has several ongoing public exhibitions of major works. He maintains on-reserve studio

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words to travel on, when we prayed with the pipe. The wood from the tree, made into a pipe stem, represents honesty, one of the four sweetgrass teachings; when the bowl and the stem are joined, smudged with sweetgrass, and loaded with tobacco, then humans are ready to speak honestly with the Great Mystery. The centre rock is carved into a representation of a buffalo, for the great herds—our general corner store of days gone by—and also representing the mountains, particularly the mountain with the hole through it, leading to a safe place. Around the centrepiece stands a ring of 13 boulders, representing the 13 “moons” in the Cree calendar. The 13 boulders you see in Tubby Bateman Park, as well as the Buffalo Mountain boulder, are all collected off of the landscape at Saddle Lake Cree Nation. The hole in the buffalo mountain sculpture was cut through by hand, a task I will never again undertake. It was weeks of physical torture, but an important lesson for me as an emerging granite sculptor. In hindsight, I recognize that my Rock Grandfather was working with me, training me in acquiring the endurance necessary to work with granite. In the sweetgrass teachings, the sweetgrass represents humble kindness, a spiritual love, the animals represent sharing, the

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locations in both BC and Alberta.

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Sir Winston Churchill 1989 Sculpture Bronze sculpture of Sir Winston Churchill.

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bronze NW Corner of Churchill Square This monolithic bronze statue, standing watch over the square that bears his name, was donated to the City of Edmonton by the Sir Winston Churchill Society in 1989. Churchill’s likeness, facial expression and tightly clenched hands are realistically rendered in high detail. This is contrasted by the generalized shape and gestural marks that cover the majority of the monument’s surface. The larger-than-life sculpture stands on a pedestal, raising him physically and figuratively above the petty problems of everyday society. Fiercely staring into the distance, he represents inspiring and unflagging leadership in times of hardship and war.

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Oscar Nemon

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As the Royal Sculptor, Oscar Nemon was http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset initially commissioned by the Queen to sculpt a s/media/art/0547ae9f-8cf9-42ac- s/media/art/372f3db8-168c-4929- bronze bust of then Prime Minister Sir Winston 9c08- ae7c- Churchill, among other sitters in the Royal c984a83527c4.jpg.1000x667_q8 29ed2ddce78e.jpg.1000x667_q8 family. A friendship developed between 5.jpg 5.jpg Churchill and Nemon, which resulted in a variety of artworks produced by both sculptor and sitter. Churchill sketched and sculpted portraits of his favorite artist Nemon, during frequent sittings for numerous bronzes and busts.

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Ace of Wands 2014 Sculpture Welded steel sculpture juxtaposing rhythm and structure

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Welded Steel Borden Park Ace of Wands is a highly visual work, inviting the viewer to discover complex, intriguing relationships within its structure. The curvy, or rhythmic section is interdependent upon the more angular structural element upon which it leans. The artist evokes imagery found in the minor arcana of the Tarot. Aces signify beginnings; wands animation and enterprise. The inspiration and sculpture represent an artistic departure for the artist in the use of repetitive curves.

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Ken Macklin http://www.kenmacklin.com

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Ken Macklin is an Edmonton-born visual artist. http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Holding Education and Fine Arts Degrees from s/media/art/8301ae5a-850d- s/media/art/7a541d0c-4afd-47b2- the University of Alberta, he has studied 4ddb-8d80- bd37- extensively in workshops led by leading 2359a194c51d.jpeg.1000x667_q 619c31c6400d.JPG.1000x667_q sculptors such as Sir Anthony Caro and at St. 85.jpg 85.jpg Martin’s School of Art, London, UK. The recipient of numerous provincial, national, and international awards and grants, his work has been exhibited widely, and is held in many private collections. Ken Macklin writes: “To me, making art is a form of narrative that is at once both personal and universal. While I draw much of my inspiration from my own lived experience and the zeitgeist of the modern day, so too do I aim to embody in my work emotions and perspectives that change little across time and space, and are part of shared human experience. What was relevant to the old masters of the past, to Michelangelo, to Goya, and to Rothko, is still relevant, and the essential artistic vocabulary of line, volume, form, and colour is a universal and a constant to me. Nature is another constant and a touch- stone of my work. I am inspired by the dense forests and landscape surrounding my home and studio in northern Alberta near the Alaska highway. Living in a landscape covered by

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Hope 2007 Sculpture Gravity defying welded steel sculpture

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Welded Steel Borden Art Park This sculpture is reminiscent of everyday objects such as tools or toys – or is it? It rises up and resists gravity from a rather formal, sturdy and strong base. In some ways it is like a traditional monument. Unlike a monument, which features a heroic figure, the imagery is of a resistance to inevitable entropy. In resisting gravity the tool may be a humble metaphor for Hope – the sculpture’s title. “In the face of life’s inevitable challenges we are all free to try to look beyond conventions of common thinking, and in that, perhaps we find hope.” Royden Mills

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Royden Mills http://www.roydenmills.ca

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snow for as much as half the year, I look to the tangled clusters of branches, the incredible light that gives such clarity, and to the magnificent colours of the sky and the four seasons. I enjoy mixing materials to make colourful and whimsical pieces that provoke positive emotions in viewers. My work, then, is a study in emotional contrasts, extemporaneous one moment, deliberate the next. It is subtle commentary on personal experience and grounded in the history of art.” Royden Mills was born in Canada on March http://edmontonpublicart.ca/asset 19, 1963. As a youngster he spent an s/media/art/67781d3a-a0e7- extended amount of time in the hospital. In 4621-b514- very uncertain times, he learned that there was 4f493f3cb694.jpeg.1000x667_q8 a sense of control to be gained from creating. 5.jpg While all else seemed uncertain, there were certain freedoms in the act of Drawing. Mills became dedicated to a career in Architecture, which took him to a diploma in Architecture and a short freelance career. His studies were funded by working with mentally handicapped people who continually reminded him that the human spirit is such a beautiful thing. At this time he followed his hearts desire and returned to Art School. In school he supplemented his visual studies with reading Buddhism and

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Taoism and Eastern Philosophy As a Graduate Student, it was an extended assistant-ship with the English Sculptor Sir Anthony Caro that helped to really open his eyes. In the early 90’s his wife, wished to move to Japan for a chance to experience something different. Mills saw this a possibility to learn more about “things” and was able to work in a studio on his own and create sculpture for a solo exhibition there in 1993. When they returned home, Canada and life in the world seemed much different. Mills realized that he could never make sculpture the same way, and could never teach as he had before, either. Royden Mills served as President of The Edmonton Contemporary Artists Society; Board Member at the Art Gallery, Chair of Committees etc., and even a recent role as Curator. All these roles have helped him appreciate the relationships and the work that are involved in bringing art to an audience. Royden Mills – “I feel that we all have very different tastes and life experiences, but we also share many similar values in life. It is these shared feelings that I feel are the most important and defining elements of being human. With my sculpture, my teaching, with my life, I try to explore the limits of our human

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Still Life 1999 Sculpture A multicoloured sculpture that evokes the forms of a classic "still life"

Overflow 2009 Installation Illuminated Lexan panels fixed to the exterior wall of the arena to resemble icicles. LED lights cycle through changes in intensity and color (lights visible at night only).

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Welded Steel 11540 73 Avenue Evoking the forms of ancient Grecian and Roman urns and amphorae, this sculpture was inspired by a visit to New York City’s Metropolitan Museum of Art. Drawing on imagery found in classic “still life” paintings, the sculpture incorporates bright colours and fruit imagery as well as a wine glass stem to create a bright oasis in the Belgravia Art Park. Polycarbonate, programmable LED lights, 17740 69 Avenue Overflow is an elaborate relief sculpture galvanized steel composed of layers of frosted polycarbonate, cut into hundreds of icicle-like outcroppings. The sculpture sits in front of a contrasting backdrop of galvanized steel. Inspired by natural phenomena, the piece resembles rain, a frozen waterfall and light penetrating through clouds. At night the sculpture is illuminated by LED lights to become a giant lantern that slowly and almost imperceptibly shifts in hue generating various associations. Overflow was created by Brooklyn-based artist Brendan McGillicuddy, originally from Edmonton. It was McGillicuddy’s first work of public art, although he has extensive experience fabricating

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Andrew French

Brendan McGillicuddy

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liberty. Our freedom to explore, to be surprised, and yet to share a familiarity, is the essence of what I am trying to do. I consider all that we do to be a kind of unplanned preparation to further explore freedom.”

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Sound Columns 2011 Multimedia Audio installation whereby visitors can experience water themed soundtracks.

Wheatfield With Crows 2014 Installation A sculptural installation evoking the motion and colour of a wheatfield

The Abduction of Liberty 2005 Sculpture Sculpture made of carbon steel in outdoor

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others’ public art works and a significant gallery practice. Digital audio 9100 Walterdale Hill. Sound Columns is an audio installation that uses water and underwater recordings from locations in and around Edmonton: the North Saskatchewan river valley, public pools and water parks, fish hatcheries, and even West Edmonton Mall. These recordings became the source material for a series of compositions that blend with the sounds at the site of the new Queen Elizabeth Pool. Using “audio spotlights’— speakers that create a focussed beam of sound — the work invites audiences to explore these sounds by “immersing” themselves in the audio streams located at the entrance to the Pool. Concrete, epoxy rods 17 Street & 23 Avenue The visitors to Meadows Community Recreation Centre will experience Wheatfield with Crows by Konstantin Dimopoulos. The piece is a sculptural installation composed of five vertical groupings of rods varying in height from 2 to 7 metres. Coloured inshades of yellow and golden browns, the rods will move with the wind. This will give the effect of a gently waving field of what or grass. The artist will also hand paint each sculpture with the shadows of crows.

Steel Belgravia Art Park The sculpture depicts a personified Liberty,

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Darren Copeland and Andreas Kahre

Konstantin Dimopoulos http://www.kondimopoulos.com

Ryan McCourt

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Copeland and Kahre have worked together in a http://edmontonpublicart.ca/asset number of other contexts since 1992, including s/media/art/1cf99a7a-21b5-4f8b- installations, radio works and performance 8713- works for Rumble Theatre, the Deep Wireless 053bb3469937.jpeg.1000x667_q Festival, and Wireless Graffiti. Individual artists’ 85.jpg websites: www.darrencopeland.com www.andreaskahre.net

Konstantin Dimopoulos is internationally http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset acclaimed for his sculptures and installations. s/media/art/1d8d0d83-830d- s/media/art/041f7127-3749-4c3c- Based in Australia, he was born in Egypt to a 4d33-9a70- 996b- Greek family and grew up in New Zealand. 61feb774a65b.jpg.1000x667_q8 194bd6148a28.jpg.1000x667_q8 This experience of living in many cultures has 5.jpg 5.jpg directly influenced his work – which examines the question of place and identity. His work is featured in public art collections throughout Europe and the United States. In 2011 and again in 2014, he was a featured artist at the Vancouver Biennale of Public Art. Ryan was born February 23, 1975, the fifth of

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sculpture park.

Jasper Avenue Benches 2013 Installation Whimsical words and images sandblasted into black granite benches

Battle River Interlude 1992 Painting A photorealistic representation of a prairie landscape rendered in acrylic on canvas.

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hooded and struggling, enshrined but shackled, imprisoned on a pedestal. Inscribed on the piece are the remembered words of Benjamin Franklin: “They that can give up essential liberty to obtain a little safety deserve neither liberty or safety”.

Sandblasted Images on Black Granite Jasper Avenue Holly Newman’s whimsical design “Geese in the City” evokes Edmonton’s changing seasons, people, flora, and fauna. Each piece, which includes 21 benches and planters, tells its own story, and can be viewed on both the north and south sides of Jasper Avenue.

Acrylic on Canvas 1 Sir Winston Churchill Square This artwork is a photorealistic representation of a prairie landscape rendered in acrylic on canvas. The artist is a landscape painter who refers to his

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http://www.ryanmccourt.ca

Holly Newman http://www.hollynewman.ca/

William H. Webb

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Ken and Sheelagh McCourt’s five children. He http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset grew up in Edmonton, Alberta, and went to s/media/art/af6dec86-0a3f-45eb- s/media/art/3c254af6-206c-4bf1- school at Patricia Heights Elementary, Hillcrest bf96- 94c9- Junior High, Jasper Place High, and the 8fd2dba87ca1.jpeg.1000x667_q8 2f4b6403ecc8.jpeg.1000x667_q8 University of Alberta, where he earned his BFA 5.jpg 5.jpg in 1997, and his MFA in Sculpture in 1999. He married Nola Cassady in 2008, and their daughter Hazel was born in 2010. McCourt founded the North Edmonton Sculpture Workshop in 2002, and the Common Sense gallery in 2008. He has won numerous awards and honours for his work, and his art is found in diverse public and private collections. He works at the North Edmonton Sculpture Workshop. Holly Newman received her Bachelor of Fine http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Arts from the University of Alberta in 1985. s/media/art/420c90b8-a667- s/media/art/165fd95d-50c4-470e- Since then she has exhibited extensively 4319-b338- ab7c- around Edmonton and throughout Canada. aaa415095da8.jpg.1000x667_q8 0ff43fd8f80f.jpg.1000x667_q85.jp Currently she is one of the artists participating 5.jpg g in the Quarters transitory public art project and is reconfiguring “I Witness”, a text based project completed for the Health Sciences LRT Station.

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Caesura 2006 Sculpture A restful sculpture provides a break in the landscape

I Am You 2012 Mural Digital composite still life of pop culture toy figures.

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work as stylistically representing a “painterly realism”. His work references the technical methods used in watercolour and etching practices. Glass, mild steel 11540 73 Avenue A pause or break in a line of poetry/ verse usually in the middle. This is the thought that describes this sculpture. Divided into three sections, reading from left to right. The vertical reeds introduce the viewer to the sculpture. The middle section or screen create the pause that give the viewer a sense of fluttering sails in a soft breeze waiting for the next gust of wind to carry it forward. The large bowl serves as the safe resting place, inviting the viewer closer, to literally get inside and consider the world from the inside looking out Ink on Dibond 138 St and Fox Drive With the Whitemud Trailhead Building being a meeting place, the artist felt the mural needed somehow to reflect a collective identity to the community. “I Am You” is a title that reinforces this theme and is a positive representation of the similarities we all share. The tumble of figurative references is a structural metaphor for how a group is made up of individuals. Echoing the architectural friezes of historical mural facades, the image becomes a heroic emblem for the everyday person. Included are an array of archetypes that go beyond race, job, gender, age,

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Bianca Khan

Alexandra Haeseker

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Her work can be found in collections ranging http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset from The Montreal Museum of Fine Arts, to s/media/art/f3dc2e4a-cba8-4378- s/media/art/9675addc-7c18- The National Ballet of Canada, to the a287- 4a8a-b348- Queensland College of Art Gallery, Australia, 48edcf67caea.JPG.1000x667_q8 b48dcad10116.jpg.1000x667_q8 to The National Art Gallery, Varna, Bulgaria, 5.jpg 5.jpg The Bibliotheca Alexandrina, Egypt, and the Shanghai Art Museum, China. Public Commissions of her work include major mural for Calgary International Airport 2004; The Business Revitalization Zone BRZ 17 Avenue Mural Commission 1990; and Outdoor installations in Quebec at the Foundation

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To Morning Light 1992 Painting One of a set of two large abstract paintings.

New Life...New Beginnings 2008 Sculpture Bronze statue of a mother playing with her small child.

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and social status. The artist wanted the image to celebrate everyday people, like those who will be shareholders using the building. To access the building, take Keillor Road through Whitemud Park. Acrylic on Canvas 1 Sir Winston Churchill Square The two large paintings by Douglas Haynes, located in the City Room at Edmonton’s City Hall evoke feelings of the pursuit of light and the search for enlightenment. The painted forms describe a movement upwards. The paintings are abstract and able to stand alone, but together they form a greater whole. The colours and tonal contrast are strong, in order for them to hold space from numerous vantage points, and amid the light and shadow cast by the glass pyramid above. Haynes also took into consideration the richness of the wall pattern flanking the staircase and planned for that to enhance the paintings and vice versa. Bronze 9330 Groat Road In this representation of pioneer motherhood, a mother is playing with her small child in a universal and timeless throwing game, catching him directly over her head and lowering him for an intimate moment of touching foreheads. This image of good humor, play, and childhood – combined with a sensitivity to William Hawrelak Park (with it’s varied and joyful uses) – highlights

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Douglas Haynes http://www.dhaynes.com/

Richard Tosczak http://www.richardtosczak.com/

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Derouin 2005 under the title: The Library of The PreCambrian.

This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/949aed36-7670- s/media/art/684567bb-94d7-41fe- 456a-ba94- b371- beca11564c6d.jpg.1000x667_q8 e8e2d32b6b86.jpg.1000x667_q8 5.jpg 5.jpg

Richard Tosczak is a Belgian-born, Edmonton- http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset based figurative sculptor. He studied s/media/art/b160899e-1220-473f- s/media/art/51282ce3-edad- philosophy and modernist sculpture, working in 8f3f- 42ab-bf9b- steel, at the University of Alberta, and pursued a573bcb81fa3.jpg.1000x667_q85 b4931a4c84c9.jpg.1000x667_q8 further artistic training in the Loire Valley with .jpg 5.jpg Martine Vaugel, first director of figurative sculpture at the New York Academy of Art. Tosczak’s creative work is rooted in the

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Memoryscape 2013 Sculpture Aluminum "totems" illustrating the role of the

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the role of family, historically and currently, in the use of this land. In addition to the motif of family and play, Tosczak intends to honor the courage and perseverance in overcoming the hardship and isolation of the pioneer experience by distilling the monument to the symbolically unified form of mother and child – an image that evokes a sense of hope for the future as well as a grounding in the past. The circular composition of the child in a semi-fetal position, the mother’s arms, and their touching heads unifies the overall form while creating an intimate interior space emphasizing the mother’s protective role. This alludes to a circle of life and rebirth – a cycle which is the guiding principal of daily life for those who break and work the land. The drapery is light and allows tension in the body to show through, maintaining the expressiveness of the human form. Tosczak chose drapery over period clothing to allow viewers opportunity for universal and timeless interpretations. This woman is Pioneer, but she is also First Nations, recent immigrant, and so on. This sculpture both celebrates the joys of life amidst toil and isolation and the pioneer experience characterized by courage and perseverance. Aluminum 1 Sir Winston Churchill Square The modern military is a longstanding citizen of

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Marc Boutin http://www.the-mbac.ca

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expressiveness of the human form.

The Marc Boutin Architectural Collaborative is http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset

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military in Edmonton and around the world.

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the City of Edmonton. This complex and layered relationship speaks to the region’s special recognition of, and care for, the Canadian Forces and the soldiers’ integration into the community as Edmontonians themselves. Therefore, any artistic representation or commemoration of that connection, an atypical approach that eschews traditional war memorials. Instead, Memoryscape employs a celebratory approach which is at once robust, timeless and capable of dynamically capturing all voices of the military and their kin. Memoryscape asks visitors to assemble their own understanding of the roles of the modern military and community through stitching together fragments of stories. These fragments are images, personal experiences and associations that assemble and re-assemble to form narratives which speak to ideas of peacekeeping, aid, community and homecoming. Activated by a visitor’s movement through the site, memories come in and out of focus as visual connections and reflections [both literal and figurative] are established, broken and re-visioned. Formally, the piece speaks to the ambiguous distinction of the individual to the whole; a sentiment which reinforces the connection between troops and their community abroad and at home.

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http://www.the-mbac.ca

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a research-based critical practice. The work in http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset the studio is focused on the design s/media/art/15f270fa-3956-4440- s/media/art/a64f82d1-e488-461f- opportunities that lie at the confluence of 8b1b- bf3e- different disciplines, seeking a density of 6011555f10a9.jpg.1000x667_q8 373d7d8daf5c.jpg.1000x667_q85 meaning that can only be achieved through the 5.jpg .jpg synthesis of art, architecture, urban design, and landscape architecture. The concepts of negotiable space and imprintable architecture have been central contributors to the value of the design projects pursued. Equally important is the firm’s capacity to dynamically and responsively engage clients in order to develop project accountability. MBAC’s resultant design portfolio has received numerous international and national awards for architecture and public space design and has been internationally published and exhibited. Recent work includes the Eau Claire Plaza Redevelopment, one of Calgary’s premiere public spaces; the revitalization of Calgary’s river pathway system through a series of plazas and nodes; the restoration of the historic Calgary Public Building; the Calgary Centre for Global Community; The National Mountain Centre; and The Roadshow: Architectural Landscapes of Canada.

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002 http://edmontonpublicart.ca/#!/details/92

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Maple Leaves and Marigolds, 1990 Painting One in a series of four still-life paintings. Chinese and Japanese Vases, Jay Feather, Rowan Berries and Obed Rock on Mat

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Memoryscape comments on, and pays tribute to, the layered roles of military personnel and their families in the city as they transition from supporter to supported. Engagement with the piece offers visitors an experience that is as open-ended as it is intimate. Oil on masonite 1 Sir Winston Churchill Square These four still life paintings are painted to scale making them relatively small in size. They call for close observation, so the viewer can experience them on an intimate level, akin to the focus and attention the artist has paid to each grouping. Each painting is composed of natural and manmade objects viewed from overhead. The influence of living amidst asian culture can be perceived in the artist’s work, as seen in the types of objects and their carefully considered arangement. The paintings are an ordered blend of rocks, shells, familiar childhood flowers and fruit native to the artist’s home on Salt Spring Island, and objects like Chinese cups, Japanese vases, rice paper boxes and chopsticks. The study of meticulously placed objects in a collection gives heightened importance to each item and its relationship to the others, “exploit[ing] the tensions and rhythms suggested in their relations to each other and to the boundaries of each composition”, according to the artist.

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Sharon Simonds-Chia

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These paintings are an affirmation of her http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset continued delight and enthusiasm for the s/media/art/89af8e51-e39f-4eef- s/media/art/882c089a-dafa-49f2- challenge offered in painting still life; combining 92e1- b4da- man-made objects with rocks , shells, flowers, 8a9ede73f0bf.jpg.1000x667_q85 d36ca63425e2.jpg.1000x667_q8 and fruit; exploring the beauty of their shapes .jpg 5.jpg and colour; positioning them in an intimate arrangement to exploit the tensions and rhythms suggested in their relations to each other and to the boundaries of each composition.

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The Transformed Feather 1992 Painting Contemporary First Nations artwork.

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Watercolour and mixed media on paper 1 Sir Winston Churchill Square Transformed Feather is composed of a combination of watercolour and collage on paper. The artist collected found objects, personal photographs, and childlike drawings, and glued them to the painting, achieving a deceptively naive, unsophisticated aesthetic. She describes her style as “deconstructive, spiritual, political, non-political. It’s a little bit of everything, like chicken soup.” The energetic application of colourful paint, loose drawing style and glyphic writing have the air of being spontaneous and unaffected, yet are rich with symbolism and meaning. According to Pamela McCallum, author of “Cultural Memories and Imagined Futures: The Art of Jane Ash Poitras”, the artist “combines representational strategies of postmodern art — collage, layering, overpainting, incorporation of found objects — with a deep commitment to the politics and issues common to indigenous peoples.” This artwork uses aboriginal imagery with personal and spiritual significance to evoke an obscure narrative. A feather in the center of the painting is surrounded by a triangular shape representing a teepee. Below it is a shaman figure, suggesting a spiritual transformation or ritual. Plains Cree syllabics are scrawled loosely, scratching into the surface of the paint, like a

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Jane Ash-Poitras

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Her academic achievements include a B.Sc. in http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Microbiology from the University of Alberta, a s/media/art/8736332a-d073-4b9f- s/media/art/d7f77e1c-69c5-460e- B.F.A. in print and design at Yale University, 8b5e- 9cfd- and an M.F.A. in Printmaking from Columbia b2c9c6c5a734.jpg.1000x667_q8 533f1b118f6f.jpg.1000x667_q85.j University in New York City. Over the past l0 5.jpg pg years her work has been exhibited in numerous solo and group exhibitions in commercial galleries, public galleries and museums in the United States, Canada and around the world. Her work is included in public, corporate and private collections. Public collections include the Brooklyn Museum, New York; Columbia University, New York; Canadian Museum of Civilization, Hull, Quebec; Art Gallery of Ontario, Toronto; Vancouver Art Gallery; McMichael Canadian Art Collection, Kleinburg, Ontario; and the National Gallery, Ottawa. Jane Ash Poitras currently lives and works in Alberta.

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untitled 1967 Sculpture Cast Iron Mural

Duets: Parnassius 2002 Photography Digital print on fiberboard mounted on pine with a plywood backing and aspen frame.

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verse or incantation. As in the rest of her body of work, she is a storyteller, and her art combines disparate ideas and images to express the artist’s unique worldview. Cast Iron Millwoods Library The cast iron mural formerly found at the north entrance of the Stanley A. Milner branch will be transported to the new Mill Woods branch. The mural was done by Jordi Bonet, a well-known artist from Montreal. Mr. Bonet’s works can be found in many Canadian buildings, in particular the Place Ville Marie in Montreal. There are ten sections to the mural, each weighing 1100 pounds. Shapes and figures are integrated into the mural. The dark surface was attained through burnishing and glazing. The work measures 10 × 20ft. the cost of the mural was $23,000 in 1967. The project was commissioned for the opening of the Centennial (now Stanley A. Milner) branch in 1967. Digital Print on fiberboard, Pine & Aspen Edmonton Police Service, Northeast Division One in a series of three diptych photographic 14203 50 Street images of butterfly wings.

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Jordi Bonet http://www.jordibonet.net

Robert (Bob) Chelmick

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Born in Catalonia, Jordi Bonet was turned to http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset art early in life by the loss of his right arm. He s/media/art/d903fe93-b47a-4708- s/media/art/735d4d47-d90f-4db2- began to work in paint, ceramics, and murals. b623- 8a49- After studying in Barcelona, he settled in 0d62f4b7c080.JPG.1000x667_q 9c8dc6c3356e.jpeg.1000x667_q Quebec in 1954, where he continued his 85.jpg 85.jpg studies. Over the next twenty years, he created more than a hundred murals in ceramic, cement, bronze, and aluminum across the world, and associated with the likes of Salvador Dalí. Much of his work was in sacred and liturgical art. He won a place among Quebec’s most important artists before his early death of leukemia at age 47. source – metromontreal.com

Bob developed an international reputation as a http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset visual artist while maintaining a 25 year career s/media/art/cc7c618a-c077- s/media/art/67f4e83b-e08a-4b3b- as news anchor journalist and program host for 4327-943c- a70d- CBC television and radio. His news b59a173bd235.jpg.1000x667_q8 41543ac5e899.jpg.1000x667_q8 documentary work received a national award 5.jpg 5.jpg from the Radio and TV News Directors Association. As well as taking up duties as host of Alberta Morning beginning February 3rd and

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Travail in Tandem 2002 Installation Stained glass windows depicting the history and industries of the area.

Capital Boulevard Light Finials 2013 Glass Art Blown and embellished glass anchored with a custom designed assembly system IMAGES DEPICT MAQUETTES - NOT THE FINISHED WORK

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Stained Glass 62 Street and 129 Avenue “When the call for artwork was made for the new Belvedere LRT station it was requested that the work reflect the history of the Fort Road area. I decided to compose an artwork that represented the various labourers and wage earners that helped to build this area, that has now become part of Edmonton, and continue to be the foundation of all communities,” writes Father Douglas. Glass, Stainless steel Capital Boulevard (108 Street 99 & 104 Edmonton glass artist Keith Walker was selected avenues to provide a design for, and to fabricate, decorative finials for new light standards along Capital Boulevard. The “ceremonial street” connects the Alberta Legislature Building with

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Father Douglas

Keith Walker http://blowinthedark.ca

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producing The Road Home for CKUA , Bob develops and produces projects for the CBC radio program Ideas (Hafiz and Bob, Ferlinghetti – The Last Bohemian, Roma vs. Amor, The Cathar Genocide). Bob has a long history as a speaker, seminars presenter and master of ceremonies. His presentations often involve multimedia visuals and words of wisdom from a diverse cultural spectrum. The impact of intuition on the creative process and the power of the photograph as a bridge between the worlds of art and science and of silence and activity are common themes.

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Started working as a volunteer at Glass http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Happens Studio in Edmonton since March s/media/art/8972745c-bd06- s/media/art/c6838c02-d4e3- 2001. It was there that i “grew up“ with the 4d08-a261- 456d-abc8- glass, practicing skills and learning about hot bf4f3d916491.jpeg.1000x667_q8 075117a2d97c.jpeg.1000x667_q glass as a material. Having a creative 5.jpg 85.jpg

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MacEwan University and will provide a pedestrian-friendly artery. Walker’s design consists of up to 204 hand-made and sandblasted blown glass components. The finials stand 26” tall and are affixed to the light standards by means of a custom-designed screw and collar system. Each finial will consist of up to 3 glass pieces threaded onto a centre pole which screws into the light fixture. Although the prototype is made from clear glass, the finished installation will feature coloured glass in myriad hues. Fabrication of this intricate design will take up to a year and installation is anticipated for 2014. For more information about Capital Boulevard, please visit : http://www.edmonton.ca/city_government/projects _redevelopment/capital-boulevard.aspx

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background in photography already, i soon 5.jpg 85.jpg realized that as my attraction to glass grew, it demanded more of my attention and photo ended taking the back seat. It became clear at the time that i had room for only one main creative interest in my life. This transition in creative thoughts although sad was a necessary one and paved the way to a new creative career and a new medium of choice. As a journeyman carpenter with a strong work ethic, I really appreciated how physical the process was in creating glass objects. I draw a lot of parallels between carpentry and glass, one of these parallels is the struggle and challenge it can take me before i can really appreciate the finished result. Nothing worth having or doing seems to come easy for me. During my time with glass i have managed to broaden myself by, helping teach beginner glass classes at Red Deer College and volunteering at Pilchuck glass school as a poleturner. I have had the opportunity to work with other artists and industrial designers in bringing their ideas to life and enjoy the challenge which comes with these new ideas and approaches. I have designed and fabricated custom lighting fixtures for clients,

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Flux 2008 Mural Hand-painted aluminum panels feature undulating lines that suggest water, movement and energy.

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Enamel paint on aluminum 13808 111 Avenue Montreal-based artist Robbin Deyo created Flux by hand-drawing a series of wave-like lines on metal using a modified version of a Super Spirograph. The repeating colours of blue, cyan, and red were painted with enamel, leaving areas where the grey of the underlying raw aluminum shows through. The lines in Flux are not uniform; the depth of each “wave” varies, with the deeper waves near the top of the drawing and shallower waves at the bottom, which resembles the fluid dynamics in a swimming pool. The painting is nearly seven metres wide and a metre-and-a-half tall. The painting follows the bend around the south and east walls above the sauna in the pool area. The artwork mirrors the wave-like structural design of the leisure centre. This piece is similar to a series of pencil drawings called Life’s Little Upsets , created by the artist with the same Spirograph device, which use lines to create a sense of movement and rhythm. There is an op- art quality to the images, with an illusion of undulation in three dimensions, depending on where the viewer stands in relation to the artwork.

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Robbin Deyo http://www.bluerobbin.com/

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Robbin Deyo grew up in the suburbs of http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Vancouver and now lives and works in s/media/art/2a802f84-33d6-48c2- s/media/art/49f6a2e9-bb2b-4ce2- Montreal, Québec. She completed a BFA at 840b- bb52- Emily Carr Institute of Art & Design, 03e1849c46d7.jpg.1000x667_q8 e92f660e146b.jpg.1000x667_q8 Vancouver, in 1995 and received a MFA from 5.jpg 5.jpg Concordia University, Montréal, in 1998. Her work has been exhibited in Canada, the United States, France and Italy since 1995. Among her recent solo exhibitions are Imaging the invisible (Axeneo7, 2010), Spin (La Bande Vidéo, 2010), Flow (La Chambre Blanche, 2009) and sweet sensation (Southern Alberta Art Gallery, 2005). Group exhibitions include Artefact Montréal 2007 – Urban Sculptures, Specific Objects (Charles H. Scott Gallery, Vancouver 2004) and the 1st edition of Manif d’art (Manififestation internationale d’art de Quebec, 2000).

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En Masse Mural 2013 Mural Large scale black and white mural that incorporates imagery specific to Edmonton's identity

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Acrylic Paint on Plywood 109 Street and 99 Avenue The content and flavour of the En Masse wall was spontaneously defined by by the many artists that participated in the creation of this work over the course of a week in production. Most of the artists, both emerging and professional, were coming from the ‘underground’ or ‘lowbrow’ arts (ie comics, graffiti, tattoo and street art communities). There were many elements within the work that made specific reference to the Edmonton Radial Railway Society in general, forming key components to the composition of the mural.

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Jason Botkin (EN MASSE Collective) http://enmasse.info

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A Drawing major with a BFA honors from the http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Alberta College of Art and Design (Calgary), s/media/art/c47888e3-69de- s/media/art/539e140a-905a-46f3- Botkin a pusher of charcoal, ink, and paint 40c0-8df4- bf88- across many surfaces far and wide. Based out b0a4668bd193.jpg.1000x667_q8 306cf47a72a2.jpg.1000x667_q85 of Montreal, he has been involved in the 5.jpg .jpg creation of over 200 murals internationally as the co-founder and director of the EN MASSE project , and pursues his personal work through solo and group exhibitions throughout Canada, the United States and Europe. Artistic Statement: Working always in black and white, EN MASSE is a multi-artist collaborative drawing initiative that through a layered game of visual cross-reference, encourages the recall and development of personal and collective narratives within artists from very diverse artistic backgrounds. Drawing on an ever-expanding global network of visual artists involved in graffiti, comics, illustration, tattoo and street arts (to name a few), this graphically powerful study in pop-surrealism explores how we can both test and transcend deeply ingrained and often flawed social identities and realities, in order to broaden and solidify our own artistic communities. This practice is fundamentally an exploration of artistic identity, where individual authorship is cast aside for

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Summer Front 1991 Painting Abstract Painting

Almost Whole 2012 Sculpture An architectural sculpture that comments on natural events and the imposition of structured forms

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Acrylic on Canvas 1 Sir Winston Churchill Square Summer Front is a monumental painting that owes its non-figurative aesthetic and highly- energetic gestural mark-making to the abstract expressionist movement. Large areas of paint are applied and scraped away, showing the artist’s emphasis on spontaneous, automatic and subconscious creation. The resulting image of this action painting is not only a picture but is also the record of an event. The painting’s all-over composition illustrates the influence of the abstract expressionist style on the artist. Keller’s choice of colour is rich and saturated. The painting’s monochromatic palette is limited to tints and shades of brown, suggesting an earthiness, and metallic gold paint begs a spiritual interpretation. Welded Steel 11540 73 Ave NW Almost Whole is a vessel with an opening through it. It contains a sense of strength and permanence in spite of it having a large open hole through it. Light green in colour, architectural, [the] human made form engages with [the] organic form in an interdependency to promote a contemplation point where the two become one. Permanence of natural events and insistence of structure

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Terrence Keller

Royden Mills http://www.roydenmills.ca

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the creation of a collective vision, greater than any one could create on one’s own, through the act of communication. Terrence Keller received his diploma from http://edmontonpublicart.ca/asset Alberta College of Art in 1973. He is featured in s/media/art/397a5546-b934- many public and private collections, including 4ea9-ac25- the Canada Council Art Bank, the Art Gallery of bc3c540aeff7.jpg.1000x667_q85. Alberta, the Boston Museum Collection and the jpg City of Barcelona.

Royden Mills was born in Canada on March http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset 19, 1963. As a youngster he spent an s/media/art/0d97a786-903b-42fa- s/media/art/e4a157aa-9734- extended amount of time in the hospital. In bd7b- 4326-97f4- very uncertain times, he learned that there was 27a876850079.JPG.1000x667_q c8a09e95a8b7.JPG.1000x667_q a sense of control to be gained from creating. 85.jpg 85.jpg While all else seemed uncertain, there were certain freedoms in the act of Drawing. Mills became dedicated to a career in Architecture,

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combine.

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which took him to a diploma in Architecture and a short freelance career. His studies were funded by working with mentally handicapped people who continually reminded him that the human spirit is such a beautiful thing. At this time he followed his hearts desire and returned to Art School. In school he supplemented his visual studies with reading Buddhism and Taoism and Eastern Philosophy As a Graduate Student, it was an extended assistant-ship with the English Sculptor Sir Anthony Caro that helped to really open his eyes. In the early 90’s his wife, wished to move to Japan for a chance to experience something different. Mills saw this a possibility to learn more about “things” and was able to work in a studio on his own and create sculpture for a solo exhibition there in 1993. When they returned home, Canada and life in the world seemed much different. Mills realized that he could never make sculpture the same way, and could never teach as he had before, either. Royden Mills served as President of The Edmonton Contemporary Artists Society; Board Member at the Art Gallery, Chair of Committees etc., and even a recent role as Curator. All these roles have helped him appreciate the relationships and

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The Ballroom 2014 Mural Mural depicting the trajectory of balls bouncing down the hall

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Latex paint The Meadows Community Recreation Centre The Ballroom is a three-dimensional drawing conceived for the four walls of the multipurpose area in The Meadows Community Recreation Centre. It displays the trajectories of bouncing balls across a virtual space contained by those same four walls, The Ballrooms where balls escaped from the nearby gymnasium and pool area come to dance. The architectural transparency of the building and flow of natural light inspired this painting of balls passing through virtual walls. The trajectories of the dancing objects continue on outdoors. They are of all sizes ranging from ping-pong balls to basketballs. France Dubois writes, “Implicitly, the artwork continues the recreation centre mandate of mixing leisure and culture by adding the dancing activities as they were formerly practiced in community centres.”

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France Dubois http://www.franced.org

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In her artistic practice, France Dubois http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset combines video and photography producing s/media/art/c3b99f94-655d-4974- s/media/art/529e967e-b546-4c9f- new narrative forms with images taken from bcaa- a284- reality. In the continuation of her image ad24bd5bc789.JPG.1000x667_q 5af469326b32.JPG.1000x667_q production, she has developed installation 85.jpg 85.jpg works in public spaces away from the usual exhibition places. Using her knowledge of the image components, she also investigates the potential of light as an artistic medium. Within this framework she resorts to digital technologies both as technical tools and creation instruments. The audience is invited to participate in this interaction with the urban space. Her work targets not only art lovers but also the public in general. Installations often initiate a direct dialogue with the viewers and they sometimes involve the community in their conception and implementation. Resorting to elementary devices, her artworks are meant to reveal a hidden dimension of the site or intervention space. For this purpose her approach is articulates via a global perception of space including the architectural project, nearby environment, the cultural background of the site, and/or dialogue with the “users’” community. Dubois’s work includes site- specific video and light installations for Nuits

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In-Out 2013 Sculpture Aluminum sculpture that evokes the act of mining

Madrigal 1992 Sculpture Two suspended sculptures of semi-abstract sail- like shapes made of silk.

Winter, Lodgepole Pine, Banff 1989 Photography Photograph of trees in Banff National Park.

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Water Jet Cut Aluminum 45 Street & 118 Avenue In-Out is an aluminum sculpture. It is a conceptual interpretation of the Beverly neighborhood coal mining heritage and its cavernous underground. The act of mining is evoked through the sculpture shapes – digging into the ground for the resource (the In) and transferring matter onto a plane (the Out) as if it were mining slag. Both shapes are in a relation of tension via a median traversing cavern void. Metal leaf, silk, fibreglass rods 1 Sir Winston Churchill Square Madrigal consists of two separate but related hanging sculptures. Each is crafted out of a combination of media including fibreglass, silk, and metal leaf. The sail-like structures of this kinetic sculpture capture air currents and dance in the light. It expresses dynamism and is evocative of travel and a desire to wander. Described by the artist as a “mindscape”, the sculpture reflects an ongoing journey or quest. His personal exploration brought him to an inner landscape which at the same time is universal and timeless. It is also inspired by the artist’s study of physical movement, as he explored modern dance, flamenco, and Argentine tango in Buenos Aires. Gelatin Silver Print 1 Sir Winston Churchill Square This photograph is printed using a black and

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Claude Boullevraye de Passillé

Mitsu Ikemura http://www.mitsu-ikemura.com/

Craig Richards

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Blanches in Paris, Montreal, and Toronto as well as site-specific drawings in Paris and Perm (Russia).

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Mitsu Ikemura lives in Victoria, BC. His studio http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset is at Honeymoon Bay, one and a half hours s/media/art/2a71d64f-2934-4d48- s/media/art/afb57586-7e99-4a39- outside of Victoria, where he has been working b9d9- ae0f- on site specific installations. His works overflow 2847ee3ed16b.jpg.1000x667_q8 96ec104a4704.jpg.1000x667_q8 with sensitivity, detailed texture, rhythm, plays 5.jpg 5.jpg of colour and light. One may see in this his cultural background, growing up in Japan to the sounds of his mother playing classical piano. Also evident is his training as an architect and urban designer, with his mastery of colour hues and overarching structural sense of tension and compression.

Craig Richards was born in Edmonton, Alberta

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National Park

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white process in which the negative is laid over the gel emulsion of silver nitrate which reacts to UV light and produces an image. The picture is of the snow covered forest in Alberta. It belongs to the genre of nature photography that has its roots in the Victorian era fine art photography meant to capture the artist’s personal impression. In Richards’ own words: “I love the violence of storms as well as the delicacy and the calm. All of this is prevalent in my photographs as well as my excitement, my awe, and my interpretation. I’m not trying to document where I have been but show what I feel about this landscape. This dramatic and textural mountain-scape is not just a mass of inanimate objects, it is alive, with personalities that change continuously with each minute, hour, day and season.” Nature photography often becomes important in raising awareness of environmental causes. “The mountains pose a universal paradox, an ever- present reminder of nature’s power and its fragility,” says Richards. Photographs can be used to help grow political support for areas that need protection such as the Canadian National Parks.

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http://www.craigrichardsphotography.com/port folios

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in 1955. In 1980 he moved to Canmore, http://edmontonpublicart.ca/asset Alberta, the gateway to the Canadian Rockies s/media/art/746db0cc-a1c9- and continues to call these mountains home. 4021-bbe9- For 30 years Richards has used a 4×5 camera 0c70cbbb323e.jpg.1000x667_q8 combined with the traditional silver gelatin 5.jpg printing process. His interests as artist, avid hiker, photographer, and mountain culture aficionado have coalesced to form an engaging body of work. His photographs have been the subject of over 40 solo exhibitions, and another 45 group exhibitions at public and commercial galleries as well as museums throughout the world. Photography is woven into all aspects of his life. Craig Richards has been a guest instructor teaching photographic workshops in Canada, the United States, Mexico, Europe and Africa. He has given lectures and presentations of his photographs around the world. Richards is currently Curator of Photography at the Whyte Museum of the Canadian Rockies, Banff, Alberta. Since 1995 he has worked on numerous projects for the Museo Nazionale Della Montagna, Torino, Italy. These photographic projects include Canada (Rocky Mountains and Yukon), Guatemala, Italy (Valle di Susa), Uganda (Rwezori), USA (Alaska) and the Chezch

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Sculptures in Landscapes 2014 Installation Hundreds of catalogue card sized acrylic paintings featuring fantastical creatures in Canadian landscapes

LEGER/REGEL 2009 Mural Diptych mirror image of trees with yellow leaves against a blue sky.

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Acrylic on MDF panels 17 Street & 23 Avenue More than 500 paintings by Canadian Artist Cliff Eyland adorn the Meadows Library. Painted on file card sized panels, each miniature acrylic combines typical Canadian landscape features with imaginary sculptural or technological forms. The size of the paintings evokes the cards found in the analogue card catalogues of just a few decades ago. Road paint, anodized aluminum 14994 23 Avenue Hamilton-based artist C. Wells’ recent practice has involved using line marker paint— the medium used to draw the lines on road— in performance as well as on canvas. With LEGER/REGEL , his piece created for the Leger Transit Station, Wells has created an interesting composition, which juxtaposes natural and man- made elements. On the one hand there is an image of trees taken from an angle approximating a bus rider’s view, and on the other hand white and yellow line marker paint has been meticulously added along the lower edge of the image. Despite the representation of trees as nature, the paint lines underscore the fact that we are in an urban environment. In addition, the images are mirrored horizontally and read like a palindrome. This visual cue is echoed in the title of the piece, LEGER/REGEL , and is evocative of

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Cliff Eyland http://www.cliffeyland.com/

C. Wells http://www.cwells.com

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Republic (Teplice nad Metuji). Cliff Eyland is a bibliophile who has explored http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset his passion for art, books, and libraries since s/media/art/2999867b-9786-4faa- s/media/art/236e7119-9726- his days as an art student at the Nova Scotia 9f6e- 47dc-bd1e- College of Art and Design ( NSCAD ). His d47b86320d40.jpg.1000x667_q8 6e08f59bd52b.jpg.1000x667_q8 works aim to erase the distance between 5.jpg 5.jpg library and art gallery, which he believes is an artificial one.

This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/3b5fb82f-cb00-4aa0- s/media/art/7abf1f29-9986-4fe6- b962- aa22- 7cf66e29e61c.jpg.1000x667_q85 8cd7ecf988f2.jpg.1000x667_q85. .jpg jpg

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One 1992 Sculpture A pair of abstract sculptures, positioned as a mirror image which creates balance and harmony.

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the action of commuting in the form of a return trip. The neighborhood of Leger is named after a former Edmonton city alderman, Edmund Hugh Leger, who served in the late ‘50s and early ‘60s. And “regel” happens to be a German word, which roughly translates in English to mean “as a rule, generally or under normal circumstance.” “Regel” would apply to activities like a daily commute, or taking transit on one’s daily errands like shopping or traveling to appointments. It also applies to the ubiquity of the Alberta sky, and the sight of native trees while looking out of the window of a bus, as well as the universally understood meaning of marker paint on a road. Wells’ past work has been on canvas, as performances on site, or as poetic nonfiction that combines theory, history, and personal experience of his work with line markings. LEGER/REGEL is true to Wells’ practice as it is a reworking of the familiar (trees and traffic lines) in an unfamiliar fashion, creating the effect of recognition and re-cognition of the presented image. Like the title, the image is a palindrome— it takes only a moment to register the joke, but given time to understand, the meaning becomes richer. Steel and glass 1 Sir Winston Churchill Square These large sculptures, built out of welded steel and glass, reach over 2 metres high. They relate

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Petronella Overes

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The Migrants 1957 Sculpture Abstract sculpture inspired by Canada Geese.

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to the formalist tradition of abstract steel sculpture, however the pieces are not purely abstract and make reference to the concrete world. With this artwork, the artist’s intention is to create independent visual experiences that stimulate the viewer to make their own associations and interpret the works themselves. For example, the sculptures are evocative of the meandering turns of a river or curves of a silhouette. For the artist, steel is symbolic of humankind’s achievements, glass represents water, or “universal reflection of life,” and oxidation is suggestive of time and change. The juxtaposition of steel and glass can be translated as a balance of technology and nature. Tobin bronze 1 Sir Winston Churchill Square The sculpture is a direct response to the arrival of the International Style of Architecture in Edmonton. It was unveiled in June of 1957 directly in front of the new City Hall building that opened the same year. Its freeform, abstract shape and colourfully-lit fountain waters stood as a prominent counterpoint to the unadorned modernist building. The artist and two assistants produced the individual pieces in Vancouver before assembling the 20-foot high sculpture on site in Edmonton. Inspired by Canada Geese, the artist made sketches of the birds at Stanley Park

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Lionel A. J. Thomas

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Thomas often worked on public commissions http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset like bronze doors, fountains, mosaic murals s/media/art/8a778cfe-467a-40df- s/media/art/24453389-c980-429f- and carvings that integrated into their 96e9- 956a- architectural surroundings. He believed that cf7169e5ac47.jpg.1000x667_q85 eb767339c79c.JPG.1000x667_q artists should avoid simple decoration while .jpg 85.jpg staying true to the materials used and demonstrating unity with the surrounding architecture.

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over several days. The three-dimensional drawing of bronze tubes depicts a flock of nine abstracted geese. Five standing and four flying geese symbolize Edmonton as a destination for progress and as the aviation gateway to the North, while paying homage to the city’s history and the immigrants who played a role in building the city. The need to inform the public about the source of inspiration and its link to the site became evident after several weeks of controversy. Following the unveiling, the sculpture appeared in photos and major articles on the front page of the Edmonton Journal, as well as in the “Letter Box”. Citizens felt the sculpture was a waste, citing their inability to recognize the supposed subject of the sculpture and the extravagant use of public money. When it was incorporated into the new building, the infamy surrounding the sculpture was all but forgotten. “Although it wasn’t popular in its early days, over time it came to find its place, and when the new city hall was built hundreds of citizens called to demand it be incorporated into the new design,” wrote Lawrence Herzog in his article 'Edmonton’s 1957 City Hall’. The only hint of its troubled past is the lingering nickname that it received from a radio station after it became the subject of a spoof song called The Spaghetti Tree.

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Pregnant Silence 2007 Sculpture Welded steel sculpture that imparts a sense of stillness

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welded steel Borden Art Park Life can be about waiting, wanting, and hoping for meaning. This sculpture, with its surface skin of steel, contains empty space that waits and is with the energy of thought or anticipation. The upper chamber seems to focus that potential energy so it may be passed on across a synapse and then through the grounded base and onto freedom beyond the structure. As children we created meaning for objects we did not understand. As adults, we wrestle with the need to take action versus the need to accept and hope. Contemplative in nature, Pregnant Silence is a metaphor for a search towards meaning, hope, and personal direction.

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Royden Mills http://www.roydenmills.ca

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Royden Mills was born in Canada on March http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset 19, 1963. As a youngster he spent an s/media/art/ce6117f9-e2ef-47a4- s/media/art/afd33a63-b14a-4da5- extended amount of time in the hospital. In 9228- b3ef- very uncertain times, he learned that there was 24e28f6815d3.jpeg.1000x667_q 979d5b9cbf64.jpeg.1000x667_q8 a sense of control to be gained from creating. 85.jpg 5.jpg While all else seemed uncertain, there were certain freedoms in the act of Drawing. Mills became dedicated to a career in Architecture, which took him to a diploma in Architecture and a short freelance career. His studies were funded by working with mentally handicapped people who continually reminded him that the human spirit is such a beautiful thing. At this time he followed his hearts desire and returned to Art School. In school he supplemented his visual studies with reading Buddhism and Taoism and Eastern Philosophy As a Graduate Student, it was an extended assistant-ship with the English Sculptor Sir Anthony Caro that helped to really open his eyes. In the early 90’s his wife, wished to move to Japan for a chance to experience something different. Mills saw this a possibility to learn more about “things” and was able to work in a studio on his own and create sculpture for a solo exhibition there in 1993. When they returned home, Canada and life in the world seemed much different.

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The Trader 1973 Sculpture Sculpture honouring a prominent Edmonton pioneer.

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Bronze, Granite 100 St & 101A Ave This figurative bronze is an example of Commemorative Heroic Sculpture. The patron was Edmund H. McDougall who commissioned it in memory of his father, John A McDougall, and his mother, Louisa Jane. It follows the tenets of the monumental tradition. It is large in size,

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John Weaver

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Mills realized that he could never make sculpture the same way, and could never teach as he had before, either. Royden Mills served as President of The Edmonton Contemporary Artists Society; Board Member at the Art Gallery, Chair of Committees etc., and even a recent role as Curator. All these roles have helped him appreciate the relationships and the work that are involved in bringing art to an audience. Royden Mills – “I feel that we all have very different tastes and life experiences, but we also share many similar values in life. It is these shared feelings that I feel are the most important and defining elements of being human. With my sculpture, my teaching, with my life, I try to explore the limits of our human liberty. Our freedom to explore, to be surprised, and yet to share a familiarity, is the essence of what I am trying to do. I consider all that we do to be a kind of unplanned preparation to further explore freedom.” Once graduated in 1946, he taught sculpture http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset and figure drawing at the Layton School of Art s/media/art/6e0e7c38-5a6a- s/media/art/b9a8259f-98e5-4941- in Milwaukee until 1951, followed by a position 45ae-9694- b354- as a curator for the Montana Historical Society. a6206cc40916.JPG.1000x667_q 27ec113153b0.jpg.1000x667_q8 He worked at the Smithsonian Institute as a 85.jpg 5.jpg Natural History Sculptor for six formative years,

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The Convergence 1990 Sculpture A functional sculpture consisting of four steel spires and a waterfall.

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measuring 3 meters and placed on a pedestal of equal height. On the granite base of the sculpture are two sculpted bronze plaques educating the viewer about the historical figure, along with a frieze, emulating the appearance of a sarcophagus. The hero of the sculpture is Edmonton pioneer trader and political leader John A. McDougall, who became a successful business owner after he moved to Edmonton. With his partner, they opened McDougall and Secord in 1879, a fur trading business in competition with the Hudson’s Bay Company. He later served as mayor of Edmonton twice in 1897 and 1903, as well as a Member of the Legislative Assembly in 1909. Painted steel, concrete 100 Ave. and 117 St. The Convergence comprises four steel spires up to 6 meters tall, a 6.2 meter waterfall entitled The Braid, a bronze band of text drawn from the historical record, and hedgerows of native shrub planting. Taken together, the total work by artist Tony Bloom defines the eastern threshold of the Victoria Promenade, and is the featured sculptural element of the half-kilometer long park along Edmonton’s North Saskatchewan River Valley designed by Doug Carlyle, Carlyle + Associates. The design process began in 1989 and the piece was unveiled on August 12, 1990. The

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Tony Bloom http://www.tonybloom.ca/

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about which he said, the “scientists of the Smithsonian Institute have made me think of art as a way of life, a profession which should serve people, not as an ivory tower retreat of self fulfillment in which the artist himself and his identifying style is more important than the requirements of a job.” He moved to Edmonton, home to the largest collection of his artworks, in 1966 when he was hired by the Alberta Provincial Museum to sculpt numerous pieces for the opening of the new building in 1967. Eventually, he became a Canadian citizen and continued creating bronze sculpture from his home in Silver Creek, BC until he suffered a heart attack and died April 10, 2012. Tony Bloom has been working at his studio in http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Canmore, Alberta, Canada, producing s/media/art/65ca017f-6844-46dd- s/media/art/236e9ff5-1d3f-46d9- sculpture ranging from hand-held to 86ac- 923e- monumental in steel, bronze, copper, e6a11db2f747.jpg.1000x667_q8 5c6faef7bb4a.jpg.1000x667_q85. aluminum, concrete, clay, and other media 5.jpg jpg since 1970.

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Polar Bear 1992 Sculpture Carved soapstone sculpture.

Gateway to the Interior 1991 Drawing/print Abstract print

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Convergence embodies a convergence point for people, for water; for the city and nature; for earth and sky. Soapstone 1 Sir Winston Churchill Square A large stylized polar bear is represented in this soapstone sculpture, carved in the traditional method of Inuit custom. The bear’s massive bulk is emphasized by his seated posture, giving the sculpture a strong sense of materiality. The animal is native to the small community of Gjoa Haven on King William Island in the central Arctic where the artist grew up. Based on memory, the artist created the sculpture to document and share a way of life that he saw disappearing. The sculpture is imbued with anthropomorphic emotion, symbolized by the open mouth raised up toward the sky, suggesting the bear is crying out in despair.

lithograph 1 Sir Winston Churchill Square In Gateway to the Interior , the artist honours the memory of her mother, with whom she was very close. This lithograph was produced shortly after her death and depicts her comforting spirit, represented by the white form on the right of the image, reminiscient of an accordian-folded map to symbolize their geographical distance. On the left, a mass of tubes are stacked, ready to ship the

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Paul Qayutinnuaq http://www.stories-in-stone.com/

Lyndal Osborne http://www.lyndalosborne.com/

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Qayutinnuaq was born on the land near Gjoa http://edmontonpublicart.ca/asset Haven, a tiny hamlet on King William Island in s/media/art/c867d98a-ce60- the territory of Nunavut. He was only nine 43ce-a1d1- years old when he sold his first carving, and by f3b15ff43c69.jpg.1000x667_q85.j his early twenties he was receiving recognition pg from as far away as New York City. Working mainly with soapstone, Paul also uses natural raw materials such as wood, caribou antler and sinew for details such as snow-knives, spears and lures. The skill and resourcefulness that is necessary for survival in Canada’s High Arctic are shown in the painstaking detail of his Inuit hunting and fishing scenes. His admiration for Canadian wildlife is evident in his images of powerful polar bears, graceful birds, playful whales and seals. Lyndal Osborne was born in Newcastle, http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Australia. She studied at the National Art s/media/art/30cb4a20-7e61- s/media/art/22648363-89ba-4f09- School in Sydney and received her MFA from 4337-aed0- 9e3f- the University of Wisconsin, Madison, USA . 220cd4c8bf47.jpg.1000x667_q85 078dfa82c205.jpg.1000x667_q85 Since 1971, Osborne has been based in .jpg .jpg Edmonton, and is Professor Emeritus in Department of Art and Design, University of Alberta. Osborne has been exhibiting in

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Duets: Tiger 2002 Photography Digital print on fiberboard mounted on pine with a plywood backing and aspen frame.

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print to exhibitions around the world, a metaphor for the artist’s professional life in Canada far from her home of Australia. The print is a shadowy picture with subtle touches of colour. The overwhelming darkness communicates the deep- rooted, mournful emotions the artist experienced when her mother passed away. She says of the time, “I was immersed in the creation of a series of prints that were completely derailed as I dealt with the intensity of my feelings.”

Digital Print on fiberboard, Pine & Aspen Edmonton Police Service One in a series of three diptych photographic images of butterfly wings.

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Robert (Bob) Chelmick

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Canada and internationally since the early 1970s and has shown in over 360 exhibitions. She is represented in many private and public collections worldwide. Osborne’s sculptures and installations have developed an individual approach that utilizes found and recycled material that she alters through the application of color, manipulating their original shape, and/or by placing the objects in new contexts so they develop new metaphorical meaning. Her installation work speaks of the forces of transformation within nature, as well as commenting upon pressing issues relating to the environment. In her work Osborne has focused on an examination of the issues of genetically modified organisms and more recently on the crisis in the global oceans. Bob developed an international reputation as a http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset visual artist while maintaining a 25 year career s/media/art/aac40f6f-3fe0-48e2- s/media/art/bf3870e3-805d-47a3- as news anchor journalist and program host for b601- 8b9b- CBC television and radio. His news 3ebee0df6895.jpg.1000x667_q8 349170d06d6f.jpg.1000x667_q8 documentary work received a national award 5.jpg 5.jpg from the Radio and TV News Directors Association. As well as taking up duties as host of Alberta Morning beginning February 3rd and producing The Road Home for CKUA , Bob develops and produces projects for the CBC

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Hopping John 1993 Sculpture Welded steel sculpture that explores motion

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Welded Steel Borden Art Park Hopping John is an exuberant and positive exploration of motion. The sculpture defies gravity as it lightly touches the ground. As the viewer explores its structure, the organization of clusters of shape and form seem to move through space.

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Ken Macklin http://www.kenmacklin.com

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radio program Ideas (Hafiz and Bob, Ferlinghetti – The Last Bohemian, Roma vs. Amor, The Cathar Genocide). Bob has a long history as a speaker, seminars presenter and master of ceremonies. His presentations often involve multimedia visuals and words of wisdom from a diverse cultural spectrum. The impact of intuition on the creative process and the power of the photograph as a bridge between the worlds of art and science and of silence and activity are common themes. Ken Macklin is an Edmonton-born visual artist. http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Holding Education and Fine Arts Degrees from s/media/art/52cb5f49-24ff-407d- s/media/art/fed65320-2301-49a6- the University of Alberta, he has studied ba79- a8c5- extensively in workshops led by leading 5d481dd54daa.JPG.1000x667_q 62f73a3e0c93.JPG.1000x667_q sculptors such as Sir Anthony Caro and at St. 85.jpg 85.jpg Martin’s School of Art, London, UK. The recipient of numerous provincial, national, and international awards and grants, his work has been exhibited widely, and is held in many private collections. Ken Macklin writes: “To me, making art is a form of narrative that is at once both personal and universal. While I draw much of my inspiration from my own lived experience and the zeitgeist of the modern day, so too do I aim to embody in my work emotions and perspectives that change little

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A Point Becomes a Line 2012 Installation A large, bold, abstract representation of water.

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Latex paint on plaster; Polyurethane paint 10535 65 Street A Point Becomes a Line consists of a large, bold, on aluminum abstract representation of water that is repeated on the four interior walls of the pool area. Kulak chose a warm, rich palette that brings levity and energy the interior space and alludes to the

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Jeff Kulak http://www.jeffkulak.com/

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across time and space, and are part of shared human experience. What was relevant to the old masters of the past, to Michelangelo, to Goya, and to Rothko, is still relevant, and the essential artistic vocabulary of line, volume, form, and colour is a universal and a constant to me. Nature is another constant and a touch- stone of my work. I am inspired by the dense forests and landscape surrounding my home and studio in northern Alberta near the Alaska highway. Living in a landscape covered by snow for as much as half the year, I look to the tangled clusters of branches, the incredible light that gives such clarity, and to the magnificent colours of the sky and the four seasons. I enjoy mixing materials to make colourful and whimsical pieces that provoke positive emotions in viewers. My work, then, is a study in emotional contrasts, extemporaneous one moment, deliberate the next. It is subtle commentary on personal experience and grounded in the history of art.” Jeff Kulak is an Edmonton artist, graphic http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset designer and illustrator now based in Montreal. s/media/art/e01cea29-8016-4f8a- s/media/art/1b998b21-e99d- ad91- 4ed4-89e4- 2f5bf07d16a5.jpg.1000x667_q85 b0a6e73b4285.jpg.1000x667_q8 .jpg 5.jpg

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Green Tea Leaves in Chinese 1990 Painting One in a series of four still-life paintings. Cup, Japanese Chopstick and Rest, Anemones, Makasa Vase and Pearl

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1960s-era of the architecture. Kulak created the artwork using a water-based process called paper marbling: ink was floated on the surface of still water, forming concentric rings; paper was placed on the water’s surface to absorb the ink pattern. Kulak then digitally manipulated the image to create the final artwork. Oil on masonite 1 Sir Winston Churchill Square These four still life paintings are painted to scale making them relatively small in size. They call for close observation, so the viewer can experience them on an intimate level, akin to the focus and attention the artist has paid to each grouping. Each painting is composed of natural and manmade objects viewed from overhead. The influence of living amidst asian culture can be perceived in the artist’s work, as seen in the types of objects and their carefully considered arangement. The paintings are an ordered blend of rocks, shells, familiar childhood flowers and fruit native to the artist’s home on Salt Spring Island, and objects like Chinese cups, Japanese vases, rice paper boxes and chopsticks. The study of meticulously placed objects in a collection gives heightened importance to each item and its relationship to the others, “exploit[ing] the tensions and rhythms suggested in their relations to each other and to the boundaries of

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Sharon Simonds-Chia

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These paintings are an affirmation of her http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset continued delight and enthusiasm for the s/media/art/cf05174e-b17c-430e- s/media/art/633e3be7-12f9-43da- challenge offered in painting still life; combining 870b- a005- man-made objects with rocks , shells, flowers, dca180957caf.jpg.1000x667_q85 4074e3b60a5e.jpg.1000x667_q8 and fruit; exploring the beauty of their shapes .jpg 5.jpg and colour; positioning them in an intimate arrangement to exploit the tensions and rhythms suggested in their relations to each other and to the boundaries of each composition.

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Callingwood Sidewalk Poetry 2014 Installation Twenty-eight poems written by community residents of all ages are etched into the pathway by the Callingwood Park Pavilion

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each composition”, according to the artist.

etched & painted concrete 173 street & 76 avenue Not everyone is a published poet. Yet, there are thousands, maybe millions of remarkable poems written by children, seniors and others that lie hidden in the drawers and basements of our city. In this art installation, Agnieszka Matejko went out into the Callingwood and broader Edmonton community and through posters, community league websites and school workshops (conducted by poet Jannie Edwards) collected poetry from both residents and established poets. The result is this installation: a tribute to the talents and gifts within us all. The artist sincerely thanks all the poets who submitted poetry, the many teachers who collected poems and allowed workshops to take place in their classes and to Jannie Edwards whose poetic talent greatly contributed to this project. The poets featured in the installation are: Reza Mohammed Ahmadi Sahar Nizar Ali Stephanie Attwell Shanelle Beltran Breanna Manchur- Birch Cassi Budd Alexandra Carlson Andriy M.T. Cherwick Clarise Cleofe Lan Dang Laura Dennis Evan Dion Rachelle Espiritu Tenessa Fraser Kaylin Gallinger S.E. Ingraham Mercedes Larocque Sue Leighton Aquielle McKay Marco Melfi Jeremy Midwinter Harrold Paderan Abbey Pagée Jai Hyun Park

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Agnieszka Matejko (Lead Artist)

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Talus Dome 2012 Sculpture Nearly 1,000 hand crafted stainless steel spheres that together assume the shape of an abstracted pile or talus slope.

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Alanna Quintero Sierra Roberts Dominik Royko Shirley A. Serviss Stainless steel Quesnell Bridge/Whitemud Drive Composed of nearly 1,000 hand crafted stainless steel spheres that together assume the shape of an abstracted pile or mound, Talus Dome reflects the sky, the weather and the river of cars that pass by it. Talus Dome is both a sculpture in the landscape and a mirror to the landscape. Before the Quesnell bridge was constructed, talus forms of earth occurred naturally along the river valley. The artwork reminds us of the landscape that has been altered by the bridge, a rigid, controlled construction that meets our need to traverse the obstacle of the river. It refers to the coexistence of the man-made and the natural. The spheres were fabricated by hand, either spun or hydro-formed depending on the particular size. Each sphere then went through a grinding and polishing process to achieve the mirror finish. The marine grade 316L mirror polished stainless steel used is among the highest-grade stainless steel available for architectural scaled applications. It will remain ageless through the cycle of seasons and over many years. At the same time, the surface of Talus Dome will take on different colors with the changing seasons and hours of the day. Its visual quality is not static, and therefore creates a

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Ball Nogues Studio http://www.ball-nogues.com/

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Benjamin Ball and Gaston Nogues explore the http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset nexus of art, architecture, and industrial s/media/art/6bb0a3a8-97d9- s/media/art/7190021b-e5bb- design. Their work has been exhibited at major 4592-b063- 4176-8876- institutions throughout the world, including the 8209afba9b4e.jpg.1000x667_q8 f6348ab5ff19.jpg.1000x667_q85.j Museum of Contemporary Art, Los Angeles; 5.jpg pg the Museum of Modern Art, New York; the Guggenheim Museum; PS1; the Los Angeles County Museum of Art; arc en rêve centre d’architecture + Musée d’Art Contemporain de Bordeaux; the Venice Biennale, the Hong Kong | Shenzhen Biennale; and the Beijing Biennale. They have received numerous honors including three American Institute of Architects Design Awards, United States Artists Target Fellowships and a grant from the Graham Foundation for Advanced Studies in the Fine Arts. In 2007, the Studio was the winner of the Museum of Modern Arts PS1 Young Architects Program Competition. Recently, their work became part of the permanent collection of MoMA. In 2011 they were one of the Architectural League of New York’s Emerging Voices. The partners have taught in the graduate architecture programs at the Southern California Institute of Architecture;the

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Mountain Scene, No. 4 1990 Mixed Media Fibre-art landscape artwork depicting a mountain scene.

Lunchbreak 1983 Sculpture Aluminum sculpture of a workman on his lunch break.

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balance between its permanence, and its changeable appearance that suggests the mutability of nature. The sculpture is located at a major junction of the city’s river valley trail system, and is accessible to a wide range of people – walkers, runners, bikers, skiers, inline skaters. While visible from the road, the best way to experience Talus Dome is from the adjacent trail. Fabric Applique with Stitching 1 Sir Winston Churchill Square This landscape is an ambitious piece of fibre art in which the artist “draws” using thread and “paints” using layers of fabric appliqué to build up colours and values. The artist uses subtle, unsaturated colour blocks, contrasted by dark trees silhouetted against the background. This piece shows the influence of Canadian artists Emily Carr and Tom Thompson, as well as other artists belonging to the group of seven – specifically Frederick H. Varley and A.Y Jackson. By creating a relatively large artwork, she challenges the tradition of the landscape genre by representing a nature scene though craft instead of paint. A feminist reading of this artwork would draw attention to the fact that craft is typically seen as women’s work and not commonly accepted as a fine art practice. Cast Aluminum, Painted Aluminum NW Corner of Churchill Square This highly detailed aluminum sculpture portrays a figure with a thermos, a lunch pail and a cigar in

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Jennifer Bushman

John Seward Johnson http://www.sewardjohnson.com/

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University of California, Los Angeles, and the University of Southern California. Their work has appeared in a variety of publications worldwide including the New York Times, the Los Angeles Times, the Guardian, Architectural Record, Artforum, Icon, Log, Architectural Digest, and Sculpture.

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John Seward Johnson Jr. was born in 1930 in http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset New York, and is the heir to the famous s/media/art/8c589d04-23f6-44cb- s/media/art/3205d067-24dc-

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Vital Formation 1988 Drawing/print Abstract drypoint etching print.

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his hand. At a glance, he is often mistaken for a real person relaxing on a bench. To create a sculpture with such verisimilitude, the artist made casts of clothed mannequins. Seward’s choice to place the sculpture at eye level marks a shift from the commemorative heroic sculptures popular in Edmonton at the time. He has eliminated the pedestal and made his subject a common working class man, in this case a carpenter on his lunchbreak. The sculpture could be interpreted to promote egalitarianism and show the equality of all people independent of class. Etching and Drypoint 1 Sir Winston Churchill Square Vital Formation is a fine art print produced at a print workshop residency (Kätelhön) in Wamel, Moehnesee, Germany in 1988. It is printed from 6 copper plates and is a combination of line etching, aquatint, drypoint and mezzotint techniques printed on Hannemuhle German etching paper. An image of deep illusory space in the background is interrupted by an overlapping image, referencing the surface of the print and creating a shallow pictorial space. Using layers of gestural marks the artist renders forms in chiaroscuro (balanced contrast between light and dark areas) to achieve strongly-lit, coarsely textured surfaces. The high contrast adds interest and dynamism, where a limited colour palette of

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Liz Ingram

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Johnson & Johnson Pharmaceuticals s/media/art/8c589d04-23f6-44cb- s/media/art/3205d067-24dc- company. He also owns and operates the b109- 4d99-86dc- Johnson Atelier bronze foundry, where he has 27b334a89e14.jpg.1000x667_q8 361922b880e8.jpg.1000x667_q8 fabricated sculpture for other artists since 5.jpg 5.jpg 1979. He is best known for his sculptures of ordinary people in contemporary life situations, celebrating the simplest human acts and attitudes. More than 250 of Johnson’s life-size cast bronze figures have been featured in private collections and museums around the world.

In 2008 Ingram was the recipient of the Gordin http://edmontonpublicart.ca/asset J. Kaplan Award for Research Excellence at s/media/art/b6e2abaf-7c01-4955- the University of Alberta, in 2009 she was 9871- elected into the Royal Society of Canada for b0ebcb57bf41.jpg.1000x667_q85 her contributions to Canadian culture, and she .jpg was the University Cup winner for 2011 (the University’s highest academic honour). She has completed a number of large permanent public art commissions including installations at the Edmonton International Airport and the Southern Jubilee Auditorium in Calgary.

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00001

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John Janzen Nature Centre 2011 Mural Mural installation depicting John Janzen, the namesake of the nature centre.

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monochromatic yellow offers a contemplative space for the viewer. The imagery portrayed in Vital Formation is evocative of organic forms and geological structures. The artwork explores ideas of interior versus exterior space, which can be interpreted as a metaphor for the mind and the human body. Acrylic on Canvas 7000 143 Street The artwork depicts the namesake of The Nature Centre, former City of Edmonton Parks and Recreation Superintendent, John Janzen. The design for the artwork began by arranging the basic symbols of the portrait, flora, fauna, and water, breaking them down into graphic shapes, colours, and patterns. The composition has been divided into three parts, each measuring 1.8 m by 1.2 m. The overall composition takes you through the picture on a meandering path similar to the flow of a river around a bend. The painting began with a basic linear pattern on a blue background to depict waves in the water. This basic pattern is also reminiscent of writing on paper. As a policy maker, one of John Janzen’s first steps in contributing to the creation of parkland in Edmonton’s river valley would have been through communicating these intentions in words and on paper. Urban planning, even in the case of urban natural areas, requires some degree of using

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Genevieve Simms http://genevievesimms.ca/

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Genevieve Simms is an illustrator living in http://edmontonpublicart.ca/asset Edmonton. Shape, colour, and a figure’s s/media/art/d2bc1738-f104-4f9b- relationship to its environment are some of her 8e40- current areas of interest and investigation. fd1c3fba2650.jpg.1000x667_q85. Significant sources of inspiration include jpg graphics and images that serve an informative purpose. Though most of her illustration work is in the editorial realm, poster design might be her one true illustration love. Painting has become an extension of the poster design process where colour is layered in large flat areas according to a basic design and then subdivided and layered beyond what would be possible with printmaking, and more specifically, silk-screening.

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grids, pattern, and order. Grid-like patterns have been repeated throughout the composition. Patterns are something shared by cities and nature, and are used here to show transitions and harmony between the two. As quickly as grids are created in the composition, they are allowed to be interrupted. This sort of relationship is necessary to create areas that are wild and areas that are tame, paying tribute to the careful balance of maintaining natural areas within a city that can be enjoyed by all residents. The extraordinary flora and fauna in the composition are derived from very ordinary and common counterparts reminding us to be amazed by the valuable resource we have in Edmonton’s natural areas.

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