september 04 - november 1, 2015
i see london - Ellinor Stenroos
This series is a visual diary of the artist’s time in England, while studying silversmithing, goldsmithing and jewellery design.
Ellinor attended Kent Institute of Art & Design between the years of 2002 and 2005 and quickly became familiar and accustomed to London, as well as the idea of a future professional career in the city.
This series is based around a physical and emotional map. The journeys that shaped the artist’s evolution and growth in England, but also the ones that didn’t take place -by moving to Canada and eventually calling Calgary home.
The pieces represent a creatively fulfilling, and artistically stimulating period in time, but also a melancholy from the artist's geographical relocation. The pieces speak of experiences gained, but also opportunities lost.
Every piece is connected by the myriad of underground lines and stations. Every journey began by submerging yourself into a beautifully designed system, under ground, getting lost in a crowd, yet propelled forward, in a complete darkness.
There is a vortex that grabs you, as the doors close and you accelerate to your next destination, almost pausing life for a short period of time. And suddenly you emerge again at a new destination, a new moment of opportunity, and life.
The mixed media pieces are stitched together by fabric, in an unconventional metalsmithing fashion, joining two opposite worlds and principles.
As a whole they become weaker as we add newer moments and memories to our conscious and subconscious mind.
This body of work represent short stories of interactions and moments in time, that could possibly be lost forever when the memories creating it, unravel and disintegrate.
It tells a story of passing of time, friendships and relationships come and gone, and life -the way we, at one point in time, remembered it.
i see france - Danielle Bartlette
Danielle Bartlette uses paint and mixed media to examine the complex relationships between place and memory. As she explores the cities she has travelled or lived—here Paris, Versailles, Bordeaux and other French locales—Bartlette plots her memories of a particular place, separating and recombining them into new formations. The materials she uses are chosen based on her sensory experiences with her environment, and the personal geographies that result explicate the selective role of the sensory environment in forming personal memory and subjective experience.
Bartlette’s encounter with France was chiefly architectural: walking its cities’ streets, contemplating its monuments, crossing its bridges, entering its buildings—places that relate to her own ancestry, full of both regular folk and aristocrats, the people who built and administered institutions like the Musée d’Orsay or the Louvre. As she did so, Bartlette used her camera to assemble a personal archive of French architectural accents and ornaments. As though in mimicry of the city’s street grid, Paris’s and other cities’ built structures elucidated their own labyrinthine vocabularies: textured marble, artful brickwork, ventilation grates, airport tarmac symbols, wrought-iron fences, patterned paving stones.
Each large painting in this series arises directly from one of these photos. And each comprises a layering of the architectural colours, textures and patterns of the city, sometimes augmented with textual elements, and then worked and reworked in acrylic, mixed media and accented with real gold leaf. Bartlette’s selection of materials is highly personal, designed to advance a feeling of connection with the places in her works. Drawing upon the rich legacy of more than two millennia of continual construction, this series is a powerful homage to the remarkable visual and textural aggregate that is urban France.
The bird through its fragility and beauty affirms our connection with the natural world. Allison Morgan examines our fascination and connection with the bird through a series of avian portraits.
It is symbolic of transformation, an omen of ill will, and a prophet of change.
friday may 8, 2015 | 6:00 pm
january 31 - march 01, 2015
there is something to be said about the impact of a finely crafted monochromatic photographic print. photographers Julian Ferreira and Steve Speer share photographs of Croatia and New York in an exhibit which highlights traditional methods of image creation, namely, silver gelatin and carbon printing.
opening reception: january 30 | 6:00 to 9:00 pm
Julian Ferreira did his formal training at Lincoln College of Art in England, he then moved to Calgary Canada where he worked as a commercial & movie stills photographer. Now as partner in The Camera Store, his time is divided between the store, his horse ranch & his family, while still working at his art.
Owning a camera store that carries everything photographic imaginable, he has used just about everything imaginable. However most of his personal art is still shot on the same vintage twin lens Rolleiflex film camera that he has been using for the past 35 years.
The images displayed are hand printed by the photographer in a traditional darkroom, making each one a unique piece, created on fiber based silver gelatin paper which is then archivally toned.
Urban Landscapes - New York City
Steve Speer travels to photograph. As a landscape photographer, the urban landscape holds a particular interest; especially in places like Europe where history runs deep and there is so much achitectural uniqueness. Says Steve; “The urban and rural landscapes of Croatia were photogenically remarkable and I found myself immersed in the textures of this beautiful country. I was particularly interested in the ‘old towns’ which were part of every city we visited. From the main streets which were polished to a mirror finish by foot traffic over milenia, to the rough textures of the outer walls, I found myself continually attracted to the ever-present light, line and textures.”
The images in this exhibition are the result a three week, six cities trip to Croatia in the summer of 2014 and are presented as black and white, carbon prints; created under the expert eye of Costas Costoulas of Resolve Photo.
I hope you enjoy viewing the photographs as much as I enjoyed creating them.
Dedicated to my friend, Doug Goddard – 1955 to 2015
Urban / Rural Landscapes – Croatia
september 20 - november 02, 2014
TBD explores proc·ess - a series of actions or steps taken in order to achieve a particular end.
over the coarse of the exhibit, preview the inspiration and evolution of the work – breakthrough moments, borrowed elements, crucial revisions, and bold decisions.
opening reception friday september 19 | 6:00 pm
closing reception sunday november 02 | 1:00 - 5:00 pm
I see London, I see France is dominated by a gigantic, comic book-style women’s undergarment, outlined in thick white lines, accented by a small white bow slightly below where the navel would be. The undergarment appears to hover in the air atop a background of painted yellows, oranges and gold leaf, its waistline horizon-straight. But its lower section curves and dips, sketching the outline of a pubis. The anatomy, here, is understated, sketched with a single line, yet it is at the same time self-consciously prominent, the focus of the painting—a witty contradiction. Where one might expect to see thighs is a pair of texts derived from schoolyard verse: “I see London” and “I see France,” the text coloured in the black, red and yellow hues may suggest the German flag. The body, like Europe itself in many ways, becomes a crossing-point for romance, politics and general naughtiness or prurience.
august 01 - september 14, 2014
Painter Danielle Bartlette traveled to Amsterdam to meet a Dutch man she’d known since her teens and reconnected with a year earlier in Paris. She found herself bound up in a relationship coloured by passion, vulnerability, broken hope and love. The Amsterdam Series: Touch Me! / Raak Mij Aan! presents Bartlette’s reactions and responses to this period in her life: fourteen large-scale paintings that examine moments, emotions and discoveries in a visual diary. It is a many-faceted investigation, in acrylic, ink, conté, glitter and gold leaf, of romance and the urban milieu, and how the two can activate one another. It is also a strategic embrace, on the part of the artist, of her own painterly subjectivity.
To represent this period of her life, Bartlette employs artistic strategies that she has developed over past works, notably her The Oyster Bar: Beyond Tourist series, based on her experiences living in Edinburgh, Scotland, and her Brandon Series, which drew from her memories of growing up in Brandon, Manitoba. For each painting in The Amsterdam Series, Bartlette begins with a multi-layered, intensively worked under-painting, drawing from her memories to recapture the visual vocabularies and moods of the locations or objects featured in the work. In some paintings, the colours and textures, emotional and symbolic, invoke Amsterdam’s rich urban colour palette: flowers, boats, windmills, signs and event posters. Bartlette’s use of gold leaf, in particular, references the play of light as it reflects off the water of the city’s canals. The result is an illusion of depth, with blocky gold shapes—sometimes suggestive of architecture or cartography—floating on top.
Bartlette then switches to a palette of solid colours, adding iconic visual and textual elements in a style reminiscent of comic books. This overlay of images and texts augments the more poetical background under-painting with a narrative component: boats and canals, room interiors, clothing, human anatomy and actual characters. These symbolic images also make reference to Bartlette’s memories of her lover. Each resulting painting functions like a page in a diary, relating a subjective narrative of moments and impressions, with the diarist-artist’s emotional trajectory revealed between the lines, as it were, activated by aesthetic cues.
friday august 8, 2014 | 6:00 pm
artist will be in attendance
sunday september 14, 2014 | 1:00 - 5:00 pm
artist will be in attendance
best of Calgary
DaDe ART & DESIGN LAB was voted one of Calgary's top 3 galleries by FFWD weekly's readers in 2014 Best of Calgary reader's poll.
congratulations to no. 1: Glenbow & no. 2: Esker Foundation no. 3 DaDe ART & DESIGN ( #ingoodcomapny )
DaDe rewind showcases a selection of the artists who helped us get here.
june 14 - july 27, 2014
The concept of memory is a continual exploration for me, both in my work and day-to-day life. As I watch with awe when my children encounter new experiences it evokes thoughts of the past and I reflect on my own childhood. Why do we remember certain experiences and not others? How does our perception of a particular memory change over time? Do our memories compile into a singular complex thought pattern which gives context to who we are or does each event stand alone?
Memory, experience and play are embedded in my work. Small single glass components are fused together connecting each one, creating harmony while maintaining the uniqueness of each component; through this technique layers and patterns are created, allowing space and color to play a role in the context of memory. Space between the individual sections embodies time and gaps in memory. The frames of color highlight the vividness of memory and the complexity of the pattern symbolizes the memory itself and how cherished it has become.
My creations incorporate my playful nature. The integrated color choices and patterns along with the forms I create are intended to suggest youth. Simplistic forms and shapes are also an important theme in my current series bringing us back to our earliest memories.
My family largely inspires my work. I strive to capture significant moments in our lives that I wish to hold onto. What is frozen through glass is a moment in time, articulated eternally, locked in place and never repeated. Glass is delicate but able to withstand change through heat, wear and erosion. It is a fully dimensional snapshot into life and the interconnected nature of humanity depicted in something so hard yet so fragile.
by Allison Morgan
The Decayer Series explores ideas of guise, secret and fate. In each painting, the subject is transformed by an alteration to its body or shares the picture with objects of implied narratives. A layered reading begins to suggest the capacity of symbolism to reveal new truths. A Decayer is something that consumes the other; through the destruction of one, another emerges. The viewer is enticed to decipher meaning through the lens of his or her own history.