Archives for posts with tag: exhibition

Finn Slough Landscape


Gilbert, Arizona — 06 March – 21 April

LightSensitive 2018, an exhibition of traditional darkroom and alternative process photography, opens at Art Intersection on Saturday, 10 March (5 – 7pm). The selected works, according to juror scott b. davis, “…range from abstract images that defy our expectations of photography to others that affirm our belief in the medium’s inherent specificity.”

Two Lumen Prints from my Finn Slough Series will be on show in an exhibition of handcrafted prints by photographers working in the tradition of light sensitive creative processes. The organic nature of these prints made using materials gathered at Finn Slough reflect the quality of life in a tiny fishing community in Richmond, British Columbia, Canada where 30 residents live in wooden houses along a marshy riverbank. The indigenous and cultivated plant materials used to make the photograms reference a community that is inextricably connected to the environment and persistently adaptable to the encroaching built environment that challenges its existence.

These Lumen Print photograms are made by placing plant materials on black-and-white photo paper, which were exposed to both sunlight and the elements for 48 hours during a December snowstorm and then processed in fixer. The atmospheric conditions affecting these prints were especially unusual, resulting in distress to the light sensitive emulsion, which can be seen in the unique marks on the photosensitive surface.

Light Sensitive will show at Art Intersection, a gallery and workspace in Gilbert, Arizona, that promotes the intersection of photography with related art forms. The exhibition runs from 06 March thru 21 April (207 North Gilbert Road, Gilbert Arizona). Opening reception is Saturday, 10 March, 5 – 7 pm).


TRUTH AND BEAUTY Digital Gallery presents Illuminations, a selection of my recent lument prints. This exclusive, inaugural Online Exhibition aims to reach a broad international audience and enhance ongoing programming at the Vancouver gallery.

Illuminations, a series of Photograms, assembles impressions of materials placed on photosensitive paper using organic materials gathered from the beach, the forest, and the street. I record traces and shadows made by the various debris on sheet film. These handmade negatives are then digitized and transformed into an illumination of their original organic form.

Visit the DIGITAL GALLERY to enjoy this inaugural exhibition of Lumen Prints.

Pigment ink on cotton made from a handmade negative using a Lumen Print process

Eleven Sassamatt Collective photographs are in the Cityscapes Art Rental collection, five by Phyllis Schwartz and six by Edward Peck.  They will be on show in their September salon syle exhibition. The exhibition runs 08 – 30 September (Cityscapes, 355 Lonsdale, North Vancouver). Work on show is available for rent or sale. This is an excellent opportunity to buy more art.

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Announcing the opening of Clouds — a group exhibition

Opening Night Reception,  Thursday,  23 March (7 – 9 pm) at Cityscape Art Space in North Vancouver (235 Lonsdale) — featuring fifty-one artists interpreting clouds in a variety of media that range from beadwork to photography.

Among the many cloud musings is my spontaneous iPhone capture of sunburst lighting up clouds on Chesterman Beach/Tofino, one of those rare moments when the drama of light obscured colour to show the contrast between rain and surf.

Clouds will be on show  at Cityscapes Community Art Space through 22 April.

Chesterman Beach (iPhone image)


Cathy's Orchid

Cathy’s Orchid

A feast of lumen prints are showcased in the newly opened Salon at A Smith Gallery in Johnson City, Texas. Lumen, an exhibition showcasing this feast of alternative photography, includes Cathy’s Orchid, a digital print made from a handmade negative created by using a Lumen Print process. The exhibition dates are 11 March to 16 May. Two receptions will be held: 25 March and 30 April (4 – 7 pm). An exhibition catalogue available from Blurb is forthcoming.

Lumen prints are photograms made by a contact print process using organic materials that leave traces and shadows on photosensitive surfaces. These unique prints are made without a camera or darkroom enlarger. These materials transmit enzymes that interact with the surface of the paper, leaving X-ray like marks of both their shapes and interiors. Lumen prints on sheet film can be scanned and processed as digital prints. Artists experimenting with this process include Jerry Burchfield, Adam Fuss and the artists showing work in Lumen.



I’ve been gifted this review of my current series: Salton Sea Eco-Disaster — I cannot look away.


The Salton Sea Eco-Disaster – I cannot look away
One of the most provocative and insightful bodies of artwork in the Telling Stories: a visual art exhibition is a series of photographs by Phyllis Schwartz. Although a great deal of her work is more abstract in nature and rooted in the historical techniques of photographic image making, this series is a departure for her. The images are very monochromatic and stark as well as being rivetingly close to their subject matter.

What has caused this departure, especially when the work has been simmering since the winter of 2011? Having witnessed the ecological destruction on the shores of the Salton Sea, California’s largest body of water, the images were just too graphic and unworldly. How does a visual artist work with a set of images that seem implausible, yet at the same time so captivating? What are the implications of creating a series around these images that wander between a work of art, a statement of witnessing and a political commentary on our economically driven ecological disasters?



In the end one cannot really look away, as Phyllis Schwartz expresses in her subtitle, without becoming even more complicit than one already is creating these images. To look away is to do what is so often done, to pretend we are not part of the problem. We are collectively the authors of this series; even in Vancouver, the food grown in this area that flows 15,000 tons of phosphorus and nitrogen into this landlocked sea is the food we shop for on our grocery shelves. The cars we drive that are made in Mexico in the maquiladoras just across the border, emit a toxic stew mixed with sewage, and this flows down hill across the border into the Salton Sea. This artificial river is now the most toxic waterway in North America, we should not be looking away.

Schwartz’s images are simple yet draw in the viewer; they are micro-compositions of areas no larger than a dessert plate. Abstract in presentation and mostly black and white with hints of colour, one can not help but think of Edward Weston’s work and the intimacy he expressed with the objects he photographed. Yet the images are not as subtitle, and unlike Weston, the images are much less rooted in the post modern culture that favours irony while making allusions to knowledge. It also seems to lash out at the pseudo-modern world of around us where iPhones and social media often gives the impression that one is immersed when often one is overtaken or swallowed up.



As the viewer moves from one image to another, one begins to feel that something is amiss. What is the magnitude of the dead barnacles beach? Why are the fish mostly unconsumed by the other wild life in the area? Why have they not been cleaned up by local inhabitants? Having chosen to work at such an intimate range, the work hints at the extent of the problem without graphically showing the masses of dead fish that actually litter the shoreline. The artist here is reflecting our tendency to minimize and reduce things down so we do not see the scale of the problem. One cannot look away, but one does not want to see the scale, a scale might prove too challenging. The softness and almost abstract forms allow one to at momentarily escape before the mind lurches back to what is being presented. It moves the viewer to search out the subtext and the footnotes of this ecological metaphor of our current age.

Edward Peck (15 November 2015)

Edward Peck

On the Wall Series, photographed in Germany in 2015, will be part of the Telling Stories:a visual art exhibition opening on the 7th of November 2015. The exhibition will include photography, painting, sculpture, fibre art and other installations. It will feature the following nine artists: Alison Keenan, Phyllis Schwartz, Jim Friesen, Daphne Harwood, Sophi Liang, Colette Lisoway, Edward Peck, Debra Sloan and June Yun.

This is the BestB4 Collective’s latest exhibition, and it is graciously hosted by the Chinese Cultural Centre in their On-Tak Cheung Exhibition Gallery.

Opening: Saturday, November 7, 2015

Location: 555 Columbia Street

Regular Hours: 11:am – 5pm (Tue-Sat), Nov 7th – Dec 19

For Special Hours and Events see BestB4Collective’s Blog

For more information please go to the BestB4 Collective’s events page: )

A Brief Word About the Series

My artist practice has always been about teaching myself to see. While walking around Berlin and Hamburg, I noticed that…

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Telling Stories: a visual art exhibition, a new exhibition presented by the Chinese Cultural Centre of Greater Vancouver in collaboration with the BestB4 Collective, opens at the On-Tak Cheung Gallery at the Chinese Cultural Centre Museum on Saturday, 07 November, 2015 from 2 – 4pm.

This new  BestB4 Collective project is a collaboration with nine visual artists and community members; the gallery is transformed into a meeting place where photography, painting, ceramics, fibre and installations tell and evoke stories. Salton Sea Eco-Disaster — I Cannot Look Away, my Salton Sea photo-graphic story, will be on show in this exhibition.

In the Winter of 2011, I made my second photo-exploration of the Salton Sea in Southern California to continue my study of the environmental impact of the local economy on the region and am now working toward a return to the area for a future photographic project. This eco-disaster is complex: as this salt lake dehydrates, the toxins from the Mexicali-Calexico food industry and computer industry contaminants concentrate, which in turn kills the fish, birds and plant life. As a result, the shore of the Salton Sea is ringed with layers of dead fish and birds; the stench of dead marine life hovers over a series of ghost towns built with the intention of a recreational paradise in the desert.

My work in this area has only begun. It is simultaneously seductively surreal and an outrage. I use the photographic process as an investigative tool. The process of photography reveals detail and texture. I seek universals, digging beneath the surface for invisible truth, open to the optical unconscious revealed by my camera. In my quest for the poetic, my photography addresses the nature of permanence and impermanence by asking, “What remains?”

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More about the Best B4 Collective 
More community events


Papergirl Vancouver
One of my favourite events. It’s about sharing. It’s about gifting. It’s like sending out a message in a bottle. This year my work is being distributed Mexico, Bristol, Hannover and Vancouver.

All of the artwork submitted to Papergirl Vancouver will be lovingly placed on display at the Roundhouse Community Centre for a week before riders head out on their bikes to spread art throughout the city.

Join the celebration of another year of art and altruism on Monday, August 24th at 6pm at the Roundhouse Community Centre!

Papergirl Vancouver 2015 Offerings


Two of my vintage analogue Lumen Prints have been selected for auction at ArtBeat Vancouver. Works by fifty up-coming and established local artists have been curated by Lynn Ruscheinsky and will be auctioned at ArtBeat 2015 this Saturday, 25 July at the Belkin Residence (7349 Blenheim Street), 4 – 10 pm.  Event details and ticket purchase details can be found at ArtBeat/Events.

Both Lumen Prints from the Spanish Banks Series were previously exhibited at the in the Emily Carr Awards Exhibition at the Winsor Gallery. These works are early explorations of the Lumen Print process using materials gathered from the seashore.

ArtBeat 2015 is a fund raising event for the expansion of Esther’s Place, a safe house for women fleeing domestic violence, as well as Little Footprints/Big Steps, a charity founded to aid rescuing children from situations of abuse, slavery, homelessness or severe neglect. More details can be found at ArtBeat/The Cause. 

Spanish Banks Impressions 13 (Lumen Print on fibre, unique photogram)

Spanish Banks Impressions 13 (Lumen Print on fibre, unique photogram)

Fan Coral (Lumen Print on Fibre, unique photogram)

Fan Coral (Lumen Print on Fibre, unique photogram)

Screenshot 2015

Screenshot 2015

Mobile phones have become a notebook of sorts; they store images and fragmented memories, keep a phone call and text log, store data, track appointments and whole lot more. For a photographer, the fully loaded mobile phone is the notebook I’ve been waiting for. I can use it standing up, lying back or hunkering down without awkwardly searching for something to write with when the visual thought is in front or behind me, just about to disappear as the train is leaving the station. With a little planning, I have access to tools to work on stored images and maybe even prepare them for publication. I’m not much of a speech to text person, but I can dictate thoughts that take the shape of words or keep those words as a soundtrack. This is not to say that it replaces the coil bound artist notebook that is central to my artist practice; I have three crates of artist notebooks, and there’s no sign that that habit of visual journaling will be replaced by my mobile phone. But finally, there’s a notebook for photographers.

From time to time, I sing the praises of Aline Smithson, creator, editor and publisher of Lenscratch, photographer, writer and teacher. I read her blog daily, and it fuels my artist practice on many levels. I appreciate her seasonal calls for submissions to her theme-based blog exhibitions and look forward to visual content and editing/curating, offering a reading of these juxtaposed images that adds up to way more than the sum of the parts. A recent LENSCRATCH blog featured five pages of cellphone photography and included one of my cellphone photographs. Set among other cellphone photographs, I read my work in a new way.

Scrolling through LENSCRATCH 2015 Cellphone Exhibition, this blog emerged, and writing about my own work is always more laboured than this one. It was an inspirational series of images that illustrates how versatile the cellphone and cellphone camera can be. I am one of many who believe that technology and the economics of the cellphone camera have democratized photography, making cellphone photography a genre in its own right. While I began celebrating the notebooking opportunities of the cellphone, I end with a statement about the potential of the cellphone to make photography both immediate and contemplative, complex and spontaneous. View my Screenshot in isolation in this blog, but also view it in the context of the Lenscratch 2015 Cellphone Exhibition. 

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