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 Back  Vignettes | Alberta | September – October 2014

By Robin Laurence

ULRICH PANZER: PENUMBRAE Christine Klassen Gallery, Calgary, Sep 6-Oct 18 Working in pastel on Mylar film, Ulrich Panzer creates glowing orbs of vibrant colour and throbbing light. Inspired by the sounds of musical chords and observations of the natural world, including the hues found in seashells and certain minerals, these abstract works transcend their sources, taking on the meditative quality of a mandala. A German artist based in Canada, Panzer has travelled widely while researching his interests in the healing qualities of colour, sound and architectural form.

AMY MALBEUF: KAYAS-AGO Art Gallery of Alberta, Edmonton, Sep 6-Nov 16 An interdisciplinary artist from Rich Lake, Alberta, Amy Malbeuf has created a large-scale, mixed-media installation whose title is Cree/Michif slang for “a long time ago.” (Michif is the language of the Métis of Canada and the U.S.) Among the laboriously hand-crafted elements here are caribou-tufted words and phrases on illuminated panels, in a range of fragmented texts in Cree, English and Michif. These, says the artist, are “powerful, humorous, sad, banal, profane and inspirational,” like the diverse voices and perspectives of indigenous peoples.

JIE YANG: BUBBLE INVASION Alberta Craft Council Gallery, Edmonton, Sep 13-Oct 18 This exhibition of glass art plays with ideas of functionality and the visual effects of transparent forms within forms. Including a bell jar with an internal handle, a fish bowl combined with a terrarium, and a bud vase that is also an oil lamp, these works by Beijing-born, Toronto-based artist Jie Yang engage us with their sleek designs, dual intentions and optical illusions. Jie collaborates with her glass-blowing studio partner, Paul van den Bijgarrt.

ASHLEIGH BARTLETT: PINWHEEL Paul Kuhn Gallery, Calgary, Sep 13-Oct 4 Calgary-based artist Ashleigh Bartlett brings unexpected elements to her abstract paintings, including a fondness for cartoon characters, synthetic colours and plastic-looking surfaces. She also brings extravagant humour to the process of converting her pop-culture references to non-objective art works. The result of her abstracting process, she says, “is a painting disguised from its source: it takes on a costume, a masked identity… [becoming] an overstated abstraction.”

WHERE ARE THE CHILDREN? HEALING THE LEGACY OF RESIDENTIAL SCHOOLS Glenbow, Calgary, Oct 18-Jan 4 This educational exhibition examines Aboriginal experiences, immediate impacts and long-term consequences – personal, social, cultural and political – of Canada’s residential school system. Employing historic photographs, maps, classroom textbooks and government papers collected from public and church archives, the show seeks to reveal a shameful period in Canadian history while at the same time opening the way to understanding and healing. Presented by the Legacy of Hope Foundation, in partnership with the Atlantic Policy Congress.

Ulrich Panzer
Ulrich Panzer

Amy Malbeuf
Amy Malbeuf

Jie Yang
Jie Yang

Ashleigh Bartlett
Ashleigh Bartlett

Where Are The Children?
Where Are The Children?

 Sun, Sep 7, 2014