Time for another mistake

Les Chose Sont Contre Nous

2011-02-06T14:05:00.001-08:00

Images from Les Chose Sont Contre Nous at AKA Gallery
A collaboration between myself, Bruce Montcombroux and Jason Sheppard
To see more images click on akagallery

Surveying the Danger Field

2010-06-21T18:23:00.001-07:00

Images from Surveying the Danger Field at Galerie Push
From the top
Installation View
Untitled. (In collaboration with Wes Hatch) Base 122 cm diameter. Computer controlled drums, aluminum, various components. 2010
Untitled #1 (Danger Field). 76.2cm w x 55.8cm h. Charcoal and watercolour on paper. 2010.
Untitled #2 (Danger Field). 76.2cm w x 55.8cm h. Charcoal and watercolour on paper. 2010.
Untitled #3 (Danger Field). 76.2cm w x 55.8cm h. Charcoal and watercolour on paper. 2010.
Untitled #4 (Danger Field). 76.2cm w x 55.8cm h. Charcoal and watercolour on paper. 2010.
Untitled #5 (Danger Field). 76.2cm w x 55.8cm h. Charcoal and watercolour on paper. 2010.
Untitled #6 (Danger Field). 76.2cm w x 55.8cm h. Charcoal and watercolour on paper. 2010.
The Act. 40.6 cm w x 50.8 cm h. Archival ink jet on arches paper. 2010.

Artcity Festival 2009

2009-09-14T18:37:00.000-07:00

'smokn n public a comms breakdown so 2 spk'
30' w x 30'l x 40'. mixed materials, electronics, 2 fog machines.
A device that performs an interpretation of Led Zeppelin's 'Communication Breakdown', in the form of Morse code smoke signals.
For 'Articty' the work was located in 'Olympic Plaza', Calgary, Alberta.
Big thanks to Adam Brown and Wes Hatch for their assistance.

If and when the sun goes south, I'll see you two past Sunday; Tuesday.

2009-05-31T18:05:00.000-07:00

Images from If and when the sun goes south, I'll see you two past Sunday; Tuesday. at Galerie Werner Whitman
From the top. On the table:
Surface to Suface and Inbetween
8. 5" x 11". 26 xeroxed pages bound in a spiral.
Open ended edition.

Untitled. 218" x 18" 14". approx. 24 pencil crayons

Betterror. 10" x 26". Paper, mirrors.

Ring Bell and Bell Rung

2009-05-31T16:44:00.000-07:00

Ring Bell and Bell Rung
in the studio. Shown at Ziggurcat Gallery.
approx 36" diameter. Mixed media, motor.

Slightly Uncanny pt2

2009-02-27T12:25:00.001-08:00

Images from Slightly Uncanny at Galerie Push.
From the top:
The Nervous Hedonist. 221 h x 69 w x 25 d approx. Various materials, mechanical components. 2009
Don't Think Twice on Second Thought. 68.7 h x 86.4 l x 4.5 w. Gold Leaf on paper, Mirror, wood. 2008.
Ne Penser Á Une Arrière Pensée. 68.7 h x 86.4 l x 4.5 w. Gold Leaf on paper, plexi-glass, wood. 2009.
Kinda Sorta Slightly Uncanny. 86.4 h x 68.7 l x 4.5 w. Gold Leaf on paper, Mirror, wood. 2009.
Un Peu Genre Légèrment Surprenant. 86.4 h x 68.7 l x 4.5 w. Gold Leaf on paper, plexi-glass, wood. 2009.

Slightly Uncanny pt 1

2009-02-25T16:09:00.000-08:00

SLIGHTLY UNCANNY
Strange, detailed and approximate, three words that tend to summarize the work of Kyle Beal, Patrick Lundeen and Stacy Lundeen in Slightly Uncanny. Slightly; being employed because the work doesn’t fully adhere to the Freudian concept of the Uncanny; a concept which refers to a feeling of unease caused by a seeming disappearance of rational and reassuring explanations to phenomena occurring in everyday life. The work of the three artists is only Slightly uncanny; because it hovers on the borders of logic and irrationality, slightly; because it commits to neither wholly.
In the mind of Patrick Lundeen, where dreams and cinematographic experiences are blurred and usurp their respective definition and place, images that resemble ones found in popular culture emerge and are then materialized through the artist’s brush. Here, the brush limits the artist to a self inflicted painstaking process of making minute marks on monumental canvases, creating images that without irony or euphoria remind us of the ubiquity of popular images in everyday life and the inevitability of their daily sighting. In Spiderman #1, a pointillist-like application of paint culminates in the creation of a giant heroic icon with hypnotic eyes. In Lundeen’s short film Sin Will Find You Out, the sun sets on New York leaving space for fleeting apparitions that evoke sin and the desire for flesh, neon lights outline shadowy forms, leaving the spectator in the dark. A hand digs around in the dirt to discover a pornographic magazine, a Spiderman mask hidden inside. A flashlight then tracks Spiderman in his erratic nocturnal escapade throughout the city revealing a guilt punctuated by the stroke of midnight ringing from church bells. This virtuous hero from comic strips is tracked and caught red handed in his
strange and silent manoeuvres, the purpose of which are concealed behind an impenetrable mask. The impression of a certain gap emanates from Lundeen’s oeuvre. A gap between the image presented by the artist and that to which it corresponds in the viewers own imagination. Indeed, the image of a derelict Spiderman, acting the lead role in a dark and lewd film has nothing but a mask in common with the brave hero presented in popular films and comic strips. This gap found in this formally uncanny and eerie film, projects an aftertaste of imposture and identity usurpation on the figure of Spiderman thus sowing doubt about the authenticity of observed reality.
The ambiguous work of Kyle Beal follows a track similar to that of the troubling uncertainty elicited by the work of Patrick Lundeen. Pulling his inspiration from contemporary existence and the artist’s studio, Beal creates a clean slate approach to the logical and consensual rationalisations present in our society, throwing common sense into question. Leaving little out, Beal focuses on subjects as diverse and harmless as Freudian slips and the overheard conversations of strangers. In addition to resorting to modest materials such as paper and to ostentatious ones such as gold, Kyle Beal resorts to the potency of text as material in his work. In Don’t Think Twice on Second Thought, the artist makes use of a phrase to effect a short-circuiting of rational thinking while validating the foundations of Cartesian thought. In
his proclamation: ‘I think therefore I am’ the French philosopher Renée Descartes consecrated the act of doubt as the ultimate proof of existence. In realising works that invite doubt and reflection, Kyle Beal brings to light the existence of the spectator, evidence made even more obvious in the reflective surface of the glass used in his work. The raw materials used by Beal assume an undeniable importance. Don’t Think Twice on Second Thought puts a precious material into the service of a voluntarily approximate statement that crudely questions rational thinking. This is a departure from the delicate use of gold in statues and monuments where it once served to convey and celebrate lofty and consensual values and realities. The diversion of material and evidence of the viewer’s presence are also found in Nervous Hedonist, a skeleton made of flowers. Its serene appearance owes a lot to the plastic flowers of its making; indeed one often associates a skeleton with the decay of flesh; however the flowers used by Beal seem to operate as an antidote to this unease. In Nervous Hedonist, Beal creates a work of delightful shock, the skeleton vibrating in nervous twitches every ten minutes startles the viewer,
bringing to light his/her existence once again. Armed with an oeuvre that is voluntarily approximate and bold in its content, Kyle Beal plants doubt leaving the mind wide open to question common consensus.
Stacy Lundeen, like Patrick Lundeen works large; as he pulls the subject of his work from the enormous circle of consumption. His photographs place quotidian objects and household items in centre stage. These omnipresent items that scatter the visual landscape of our contemporary existence are seen diverted from their utilitarian trajectory. With this diversion comes the desire to divest these objects with a strong emotional potential, allowing them to incite reaction from an audience unaccustomed to their possibility for such imposing presence. In the dramatic and garish lighting that Lundeen dresses his objects; the artist brings to light the allegorical and metaphorical significations of these objects relative to society, morality, sexuality and dualistic philosophy. Through the expression of these universal themes, Lundeen claims to indulge in portraiture by tracing the invisible contours of his own personality. In Red and Blue Hand, two primary colours share the task of lighting the outreaching hand of a statue that seems to mimic the gesture of benediction. Blue and red are symbols of opposing political forces; they are seen globally as the chromatic emblems for ideologies and doctrines. In Blue and Red Hand the
two garish colours seem to compete over the right to light an object endowed with a strong religious connotation. This outstretched hand is clothed with an aura of authority and confident domination. It seems the artist is attempting to knight these common objects into material nobility, by bringing to the foreground their underlying magnificence. The Photographic work of Stacy Lundeen, with its multiple social and political connotations concurs with the artist’s stated objective of sharpening audience subjectivity, by inviting the viewer to look at his work through the prism of their own perception of social and political realities.
At once allegoric portraiture and converging point for diverse subjective interpretations, the work of Stacy Lundeen offers itself to the public by presenting a re-contextualisation of the monuments of everyday life. Stacy Lundeen’s work thus joins that of Kyle Beal and Patrick Lundeen in shedding an uncanny and oblique light on the objects taken for granted and the notion of everyday existence.
-Lotfi Gouigah

SLIGHTLY UNCANNY
Étrangeté, minutie et approximation, trois mots qui résument, à peu près, l’exposition Slightly Uncanny regroupant Kyle Beal, Patrick Lundeen et Stacy Lundeen. Slightly (légèrement) parce que les œuvres présentées n’adhérent pas tout-à-fait à ce que l’on entend par le concept freudien d’Uncanny ou « d’inquiétante étrangeté » et qui désigne un sentiment de malaise troublant occasionné par la disparition d’explications rationnelles et rassurantes à des phénomènes du quotidien.
Dans l’esprit de Patrick Lundeen, où rêves et expériences cinématographiques se confondent et usurpent leurs places respectives, des images frôlant la ressemblance à des images populaires surgissent pour se voir ensuite matérialisées sous le pinceau de l’artiste, ce dernier se bornant à reproduire précautionneusement et sur des toiles monumentales, ces images qui, sans ironie ni euphorie, rappellent l’inéluctable observation quotidienne d’images issues de la culture populaire. C’est le cas de Spiderman #1, œuvre dans laquelle une application pointilleuse de la peinture crée une gigantesque icône du héro aux yeux hypnotisants. Dans le court-métrage, Sin Will Find You Out, le soleil se couche sur New York pour laisser place à de fugaces apparitions évoquant le pêcher et la tentation de la chair, alors que des lumières floues esquissent des formes inconnues, laissant le spectateur dans le noir. Une lampe de poche sonde l’obscurité. Une main creuse le sol pour découvrir un magazine de charme où se cache un masque de Spiderman. Le faisceau lumineux semble ensuite traquer Spiderman dans ses manœuvres nocturnes ponctuées par les douze coups de minuit du clocher d’une église. Le héro vertueux des bandes dessinées se voit ainsi prendre en flagrant délit dans des manœuvres étranges et silencieuses et dont les desseins se dissimulent derrière la toile d’un masque infranchissable. Il se dégage des œuvres de Lundeen, l’impression d’un certain décalage entre l’image que nous présente l’artiste et celle à laquelle elle correspond dans notre imaginaire. L’image d’un Spiderman en déréliction,
arpentant la trame d’un film ténébreux et lubrique n’a qu’un masque en commun avec le brave héros que nous ont présenté films et bandes dessinées populaires. Ce décalage que représente ce film à la facture inquiétante, donne à la figure de Spiderman, un arrière gout d’imposture, d’usurpation d’identité et sème le doute quant à l’authenticité de la réalité observée
L’œuvre de Kyle Beal, avec l’ambiguïté qu’elle véhicule, emprunte des chemins parallèles à ceux sur lesquels navigue la troublante incertitude suscitée par les œuvres de Patrick Lundeen. Puisant son inspiration dans l’existence contemporaine et l’atelier de l’artiste, Beal fait table rase des rationalisations consensuelles présentes dans notre société ; ce faisant, il remet tout en question tout en ne mettant rien de côté, puisqu’il se penche sur des choses aussi diverses et anodines que les lapsus et les conversations d’autrui. En plus de recourir à des matériaux, tantôt modestes comme le papier, tantôt ostentatoire comme l’or ; Kyle Beal fait de l’écrit un matériau à la solde des œuvres qu’il produit. Ainsi dans Don’t think twice on Second Thought, l’artiste se sert d’une phrase pour réussir l’exploit de courtcircuiter la pensée rationnelle tout en validant les fondations de la pensée cartésienne. En effet, en énonçant « Je pense, donc je suis », le philosophe français René Descartes a consacré l’acte de douter comme preuve ultime de l’existence. Ainsi, en réalisant des œuvres qui invitent au doute et à la réflexion Beal met en lumière l’existence du spectateur, une mise en évidence rendue d’autant plus apparente qu’elle se reflète concrètement par l’usage du verre, un matériau réfléchissant. La matière première utilisée par Beal revêt par ailleurs, une importance non négligeable, en effet Don’t think twice
on Second Though est constituée d’or, de verre et de papier. Cette œuvre met un matériau précieux au service d’une exécution volontairement approximative et grossière d’un texte qui assiège la pensée raisonnée. On est loin de la délicatesse au service de laquelle l’or a été utilisé par le passé pour mettre en valeur statues et monuments célébrants réalités et valeurs consensuelles. Ce détournement des matériaux et cette mise en lumière de la présence du spectateur se retrouve également dans Nervous Hedonist, un squelette construit de fleurs. Son allure sereine doit beaucoup à l’usage des fleurs en plastique qui l’ornent, en effet on associe souvent squelette et putréfaction, mais les fleurs utilisées par l’artiste semblent servir d’antidote à cette impression. Avec Nervous Hedonist, Beal nous réserve des surprises puisque le squelette vibre soudainement, toutes les dix minutes et pendant dix seconde sortant de son inertie et faisant sursauter le spectateur et lui rappelant ainsi à nouveau son existence. Armé d’une œuvre volontairement approximative et désinvolte dans son propos, Kyle Beal sème le doute en faisant s’écarquiller l’esprit.
Stacy Lundeen, comme Patrick Lundeen voit grand, puisqu’il puise les matériaux de ses œuvres dans le gigantesque cercle de la consommation ; ses photographies mettent en effet en scène des objets du quotidien et des articles ménagers. Ces objets omniprésents, qui parsèment le paysage visuel de notre existence contemporaine se voient détournés par l’artiste de leur trajectoire utilitaire. Avec ce détournement s’accompagne, sous le regard de l’objectif de Lundeen, l’intention d’imprégner ces objets d’un potentiel émotionnel considérable, leur permettant de susciter chez le public de vives réactions. Au moyen de l’éclairage criard dont Lundeen habille ces objets l’artiste met en lumière des significations allégoriques ou métaphoriques ayant trait à des enjeux de société, à la morale, à la sexualité et au principe manichéen. À travers l’expression de ces thèmes universels, Lundeen dit s’adonner à l’autoportrait en traçant ainsi les contours invisibles de sa personnalité. Dans Blue and Red Hand, deux couleurs primaires se partagent l’éclairage de la main d’une statue. La main tendue semble l’être en signe de bénédiction. Le bleu et le rouge sont deux couleurs au symbolisme politique considérable. Leur usage comme emblème chromatique d’idéologies et doctrines politiques est très rependu à travers le monde. Dans Blue and Red Hand ces deux couleurs criardes semblent se disputer l’éclairage d’un sujet aux allures religieuses. Cette main tendue est aussi celle de l’autorité, elle domine. Lundeen semble ainsi vouloir anoblir ces objets anodins, les magnifier en soulignant chez eux une superbe latente. Le résultat photographique de Lundeen, emprunt de connotations sociopolitiques, concorde donc avec un objectif avoué d’aiguiser la subjectivité du public, lequel puise dans sa propre perception des réalités sociales pour attribuer une signification aux œuvres de l’artiste.
À la fois autoportrait allégorique et lieu de convergence d’interprétations subjectives diverses, l’œuvre de Stacy Lundeen s’offre à son public à travers une re-contextualisation des monuments du quotidien. Elle rejoint ainsi celles de Patrick Lundeen et de Kyle Beal qui offrent un éclairage décalé sur la réalité quotidienne que ce soit au moyen d’une facture ténébreuse ou par la luminosité radieuse de l’Or et du verre.
-Lotfi Gouigah

Painting: Thick and Thin

2008-10-13T15:41:00.000-07:00

Exhibition Views of Painting Thick and Thin
bottom image: A Well Crafted Throwaway Line.
Canvas, polyester, fabric dye. 2008. 50"h x 18" w x 109" l (approx)

Charcoal Drawings

2008-10-13T15:18:00.000-07:00

Untitled Series of Drawings.
All works are charcoal on paper. 28" h x 22"w. 2008

C.V.

2008-10-08T19:22:00.000-07:00

C.V.

Education
2002-2004 MFA (Visual Arts). University of Victoria. Victoria, B.C.
1997-2001 Fine Arts Diploma (Drawing Major). Alberta College of Art and Design, Calgary, AB.

Selected Solo Exhibitions and Projects
2010 Curator Out Thinking In Circles in Circles Thinking Out. Galerie Push. Montreal, QC
2010 smokn n public a comms brkdwn so 2 spk. Articule Projects Space. Montreal, QC
2010 Surveying the Danger Field. Galerie Push. Montreal, QC.
2009 Ring Bell and Bell Rung. Ziggurcat Gallery. Montreal, QC.
2006 Standing Up for Nothing. Latitude 53 Projex Room. Edmonton, AB.
2004 First We Communicate. Visual Arts Gallery. University of Victoria, Victoria, B.C.
2002 Under Cover of Clouds/ We Look Better at Night. Ministry of Casual Living. Victoria, B.C.
2000 Charisma Bypass. Stride Gallery +15 window. Calgary , AB.
2000 Farewell Something Something. Marion Nicoll Gallery. Calgary, AB.

Selected Group Exhibitions

2011 Les Chose Sont Contre Nous. AKA Gallery. Saskatoon, SK
2010 November Salon. Katharine Mullerin Contemporary Art Projects. Toronto, ON
2009 Artcity: Festival of Art Design and Architecture. Various public locations throughout the city. Calgary, AB.
2009 If and when the sun goes south, I'll see you two past Sunday; Tuesday. Willie Brisco, Curator. Galerie Werner Whitman. Montreal, QC.
2009 Slightly Uncanny. Galerie Push. Montreal, QC.
2008 Painting: Thick and Thin. Wil Murray, Curator. Illingworth Kerr/ Glenbow Museum, in conjunction with Sled Island Festival. Calgary AB.
2007 Artists Proof (Setting Small Fires). Victoria School of Art. Victoria, B.C.
2007 ditdhaditdit. Truck Gallery. Calgary AB.
2005 Black Hole Project. Florean Museum. Marmuses, Romania
2004 Gallery Artists. Hollinger Collins Art Contemporain. Montreal, QC
2003 30X30+30. Contemporary Art Gallery. Vancouver, B.C. (Commissioned work for 30th anniversary auction)
2003 AAA. Temporary Gallery. Victoria B.C. (Publication)
2001 Format w/ Proper References. Marion Nicoll Gallery. Calgary, AB.
2001 ACAD Graduates Exhibition. Illingworth Kerr Gallery. Calgary, AB.

Awards & Grants
2010 Partial Grant, Vermont Studio Center.
2004 Alberta Foundation for the Arts, Production grant.
2003 Graduate Teaching Fellowship, University of Victoria.
2002 Graduate Teaching Fellowship, University of Victoria.

Residencies
2010 Vermont Studio Center

Courses & Seminars
2001 A Thousand Words Exactly: A Practical Workshop on Writing for the Visual Arts for Publication. Hosted by The New Gallery/ David Garneau. Calgary AB.

Periodicals
Opheim, Ashley. Instinctual Intellects. The Link. November 30 2010. Vol 31 #16. P.12
DeWolfe, Stacey. Cricular Thinking. Mirror. December 2 2010. Vol 26 #25. P.42
Black, Anthea. Experiments Writ Large. FFWD. Febuary 1 2007. Vol 12 #8
Willard, Christopher. Surviving Information Anxiety. Calgary Herald. January 31. P. D5
Bouchard, Gilbert. Artist's twisted sense of humour on display. Edmonton Journal.
August 6 2006. P. B2

Work Experience
2003 Session Appointment. Art 100 Foundation. University of Victoria. Victoria B.C.
2004 Teaching Assistant, ART 380 (Curatorial Directions) Professor: Luanne Martineau
University of Victoria, Victoria, B.C.
2003 Studio Assistant. Robert Wise. Victoria B.C.
2003 Studio/ Research Assistant. Lucy Pullen. Victoria, B.C.
2002-2003 Technician, Visual Arts Building Workshop. University of Victoria. Victoria B.C.

Two Photographs

2008-10-08T15:54:00.000-07:00

Above: Action Painting. C-print, 2007, 40"x 40"
Bottom: The Distressed Poet. C-print, 2007, 40" x 40"

ditdahditdit

2008-10-05T20:38:00.000-07:00

Exhibition view of my work in 'ditdahditdit' at Truck Gallery, Calgary Alberta. 2007
http://www.truck.ca/Archives/ditdahditdit.html

Exhibition review:
http://www.ffwdweekly.com/Issues/2007/0201/art.htm

Standing Up for Nothing

2008-10-05T20:30:00.000-07:00

Exhibition views from 'Standing Up for Nothing', at Latitude 53 in Edmonton Alberta. 2006

2008-10-05T20:19:00.000-07:00

Works from the top:
Given Space and Time, c-print. 36" x 24" 2004.
Lightheaded, c-print. 24" x 16", 2005
Word Jumble, inkjet print, 36" x 24", 2005
Marginal Drawing, inkjet print, 36" x 24", 2005

Artist's Statement and C.V.

2008-10-05T20:18:00.000-07:00

ARTISTS STATEMENT

Briefly the interests of my practice are comprised principally of three general areas:

The space between the terms 'Amateur' and 'Professional'. An amateur is someone who is not a professional and thus, largely can be discounted from serious talk or research in a given area of interest. However, a dedicated Amateur can provide novel insights, or intuitive solutions unavailable to the Professional.
'Putting on a brave face', 'feigned surprise', 'acting innocent', 'crocodile tears', 'false bluster', 'acting funny', 'playing the part of...', and so on. I am interested in how we behave, that is the 'genuine' and the 'affected', an expanse that we all occupy to varying degrees, almost constantly; and frequently quasi consciously.
Comedy. How 'funny' is constructed, but also the larger or social function of 'Comedy'. Comedy often acts as a prism through which these other interests are investigated.

These interests are researched and realized through a variety of media, principally drawing and sculpture. More recently electronics and digitally controlled objects have come to play a larger role within my material investigations, buttressing and complimenting the previously mentioned media.

C.V.

EDUCATION

Masters of Fine Arts, Visual Art. University of Victoria, Victoria, BC. 2004

Diploma in Fine Arts Alberta College of Art and Design, Calgary, AB. 2001

SOLO EXHIBITIONS AND PROJECTS

smokn n publc a comms breakdwn so 2 spk. Articule (special projects). Montréal, QC. 2010
Surveying the Danger Field. Galerie Push. Montréal, QC. 2010
Standing Up for Nothing Latitude 53 (Projex Room). Edmonton, AB. 2006
First We Communicate. (Thesis Exhibition) University of Victoria. Victoria, BC. 2004
Under Cover of Clouds/ We Look Better at Night. Ministry of Casual Living. Victoria,BC. 2002

SELECTED GROUP EXHIBITIONS

(Forthcoming ) Art Souterrian. Montréal, QC. 2012
Les Choses Sont Contre Nous (w/ Bruce Montcombroux and Jason Sheppard). AKA. Saskatoon, SK. (Publication). 2011
Issue #2 Color & Color. U.S.A (Exhibition in book form). 2010
November Salon. Katharine Mullherin Contemporary Art Projects. Toronto, ON. 2010
smokn n publc a comms brkdwn so 2 spk Artcity. Calgary, AB. 2009
Slightly Uncanny. Megan Bradley, Curator. Galerie PUSH. Montréal, QC. 2009
Painting: Thick and Thin. Wil Murray, Curator. Illingworth Kerr Gallery/ Glenbow Museum, in conjunction with Sled Island 08. Calgary AB. 2008
Artists Proof (Setting Small Fires). d. bradley Muir, Curator. Slide Room Gallery. Victoria School of Art. Victoria, BC. 2007

ditdahditdit. Truck Gallery. Calgary, AB. 2007
Please Everyone SOIL Art Gallery. Seattle, Washington, USA. 2004
30x30+30 Contemporary Art Gallery. Vancouver, BC (Commissioned work). 2003
AAA (Temporary Gallery Site). Victoria, BC. 2003
Format w/ Proper References (w/ Andrew Brown) Marion Nicoll Gallery. Calgary, AB. 2001
ACAD Graduates Show Illingworth Kerr Gallery. Calgary, AB. 2001

RESIDENCIES

Vermont Studio Center. Johnson, Vermont, U.S.A. 2010

CURATORIAL EXPERIANCE

Out Thinking In Circles, In Circles Thinking Out. Galerie Push. Montréal, QC. 2010
3 for 3 ½ Temporary Apartment Gallery. Montréal, QC.2008

AWARDS AND GRANTS

Vermont Studio Center, partial grant. 2010

Alberta Foundation for the Arts, production grant. 2004

Graduate Teaching Fellowship, University of Victoria. 2003

Graduate Teaching Fellowship, University of Victoria. 2002

PERIODICALS

Canning, Stephanie. Artist's Talk Review, Les Chose Sont Contre Nous. BlackFlash. February 1,2011. http://www.blackflash.ca/artisttalk_leschosessontcontrenous

Robinson, Lissa. Bruce Montcombroux, Kyle Beal and Jason Sheppard, LES CHOSE SONT CONTRE NOUS, Jan 14- Mar 4,2011 AKA Gallery, Saskatoon. Galleries West http://www.gallerieswest.ca/Departments/ExhibitionReviews/6-108231.html

Armstong, Micheal A. http://mtlmilieu.blogspot.com/2011/02/out-thinking-in-circles-in-circles.html

Opheim, Ashley. Instinctual Intellects. The Link. November 30 2010. Vol 31 #16. P. 12 http://thelinknewspaper.ca/article/776

DeWolfe, Stacey. Circular Thinking. Mirror. December 2 2010. Vol 26 # 25. P. 42

Bevans, Julie. Oh my god! It's art! FFWD. September 10 2009. Vol 14 #40. P. 31

Black, Anthea. Experiments Writ Large. FFWD. February 1 2007. Vol. 12 #8

Willard, Christopher. Surviving information anxiety. Calgary Herald. January 31 2007. P D5

Bouchard, Gilbert. Artists twisted sense of humour on display. Edmonton Journal. August 6, 2006. P. B2