For the love of paper! Mark making! And critical inquiry! with Stacie Huculak

Amanda Leigh: Tell me a bit about this new work

Stacie Huculak: This show picks up where my last show Trinity, at the Snelgrove last year, left off.

AL: Can you give us some background about what Trinity was about?

SH: Trinity was my graduation show. I don’t actually have a BFA, I have a BA double major in Studio Art and Art History, and because of that I didn’t have a BFA show, so I just scheduled one through the Snelgrove and put up my own show, and got the whole gallery. I was like, “I do just as much work as everyone else, I should have a show too because I’m graduating.” So I booked that, then was like, “Shit I have to fill this entire gallery!” Which is really big. My show was in April, and I didn’t really know what I was doing for it until mid-January. I remember being in drawing class and this girl brought in her art to critique, and she was using grey-tone paper which I had never seen before. I had seen brown-tone and off-white and blah blah blah, which I had been using in the past, and I like that they were not crisp whites, but I never really felt like I connected with the paper. That sound so cheesy [laughs], and weird, [sarcastically] “I didn’t connect with the paper”.

AL: It can get confusing trying to make stuff when you arnt exactly sure what it is you want to make, and having a material come forward that can work with the direction you’re going can help push you forward, a kind of “ah ha!” moment.

SH: Exactly. The other paper was too warm toned, and I was using grey-scale and it just didn’t feel right on the material. Then I was using colour, but colour isn’t really something that I have always connected with either. So this girl brought in her piece on grey-tone paper and then I was like, “Where did you get that?! That is what I need. This is my life. Give me grey tone paper!” [laughs]. I went out and bought a roll, and threw it up on my studio, didn’t even really know what I was going to do with it, took references photos of myself and looked through them, and that’s where it all began. That was the first piece in my senior year that just felt right. In art school I always knew I was a drawing major, but I never felt like I was able to find my niche in it. I had done a lot of smaller graphite drawings because I’m from a small town, and that’s what you had: HB pencils and computer paper. In my second year Allyson Glenn made me go big or go home, which freaked me out, but I challenged myself and made two 7 foot drawings, and really liked it. I knew I wanted to do more big stuff after that, but then there was the problem of the paper, and I felt like all my materials were working against me. So when I did this piece (Beginnings, 2014) I was like, “Oh my god, this is my direction.”

Beginnings, 2014, charcoal and pastel on grey-toned paper

Beginnings, 2014, charcoal and pastel on grey-toned paper

AL: What were the specific things that were revealed to you, to make you realize it’s your direction?

SH: The cool-toned paper working with the grey-scale mediums. The fact that the pieces were very large and I could put my whole body into it. Not only was it a lot of mental and emotional energy, but a lot of physical energy as well. The feeling I got from it while doing it, but also when it was finished, and the feeling that came off of the piece, the mood, was what I wanted… and I didn’t really know that’s what I wanted until I found it.

AL: Was small work hindering anything specific? The physical interaction with the work is an essential part of the process? And you’re doing figure drawings, creating and maybe interacting with life sized figures.

SH: In terms of mark making, I was able to get a lot of different marks that I couldn’t have gotten with the piece being smaller. Certainly I’ve become a lot more vigorous, and I become covered in the medium. It’s almost like you’re really becoming part of the piece, and part of the process, and if you don’t want to get dirty then don’t bother doing it. Having the pieces larger, it’s really a lot more powerful and commanding, it’s taking up space and not allowing itself to be ignored.

AL: Why is that important?

SH: I think that a lot of my art has a lot of different aspects of femininity in it, and even being a female going through art school, you learn about men in Art History, and there wasn’t even that many males that I had class with, but they were constantly praised. It just seemed like those are the people who get the attention, and are taken more seriously no matter what their subject matter is, and as a female I will always be a “good female artist” or I make “female art”, and I mean that’s true because it is part of my identity, and shouldn’t be a negative point. Having my art make sure it isn’t ignored will make it be taken a little more seriously.

AL: Does that relate to the theme of what Trinity was?

SH: Trinity was a lot of things. It was comprised of three characters which names I call One, Two and Three. I had a written piece talking about them a little bit. I did a lot of reading while making the show, and they came together really instantaneously, I knew what they were but I needed to do a bit more searching before I could figure out what I was even trying to say. I researched within religion and mythology, and trinity is there, especially female trinity’s like the Muses and the Fates. Through history with anything trinity’s come up a lot, its something people gravitate toward. I learned that actually from a music teacher when I was 14 when I was trying to learn scales, and that was one thing that always stuck with me, because I didn’t really think it had a lot of relevance in my life but now it does in my art. There is lots of different elements and thematics within Trinity.

AL: There are three characters, what are they representing?

SH: Lots of different things. Part of it is… well I did this in my critiques and it drove Tim crazy… I don’t really say what it’s about. One thing I find that really important to the work that I’m making, because I put a lot of symbolism in it, and I don’t tell anyone what it’s about. I write things, but I write them very confusingly. Ultimately what I want, which did happen at Trinity, someone came up to me and said, “Wow this one piece really reminds me of this situation in my life and I really connect to it.” And the situation was a lot different from anything I had experienced, but it was still totally relevant to this person and it was great that they could connect to what I was making. That is what I want, for the viewer to make those connections with the pieces, and perhaps find comfort within that. If you don’t get it or connect with it, I don’t want to explain it to you. I feel that’s the easy way out. We have all these resources available, for everyone, especially with art students and we take 4+ years learning how to dissect art, and if you are in that and you look at something and say, “Well it must just be about this” and don’t give it some real thought, it’s not worth my time to explain it I guess.

AL: You’re forcing people into critical thinking, or at least connection.

SH: I don’t think that it’s super difficult to understand my work, probably not like 100% and where I’m coming from or anything like that, but even just particular symbols. With this piece in front of me, you can see a bunch of eyes, so it’s probably going to be about being watched, or vision… you’re not going to say that piece is about music [laughs]. I intentionally don’t really talk about what it’s about, and it drives some people nuts. I feel that when I go to art shows, a lot of the time there is a statement from the artist or the curator or whoever that maps out “this is exactly what my show is about”. And sometimes I do go “what?” I don’t get it, but I know that there’s that didactic it, so I’m gonna go look instead of taking time to figure out what it means to me. Other times I go to a show and it’s like, “Wow! This makes me feel this and this is my connection” and then I go and read what it’s about and I’m just like.. that is not what I was thinking. Then that takes away that connection, and I find myself not appreciating or loving the art as much as I could have if that mystery was still there. People just really want to be spoon fed.

AL: Are you making your art from personal thoughts and experiences?

SH: It’s definitely from a very personal spot. I’ve had people ask me “is this you? Is this not you?” and it is and it isn’t. I started drawing myself years ago because I was my most readily available model and I knew how I wanted the poses to be, so instead of trying to convey that to someone else I just did it. My art, starting with Trinity, started to become a lot more personal. Which I think can get a bad rap, because people can think that’s very narcissistic, and again people being uncomfortable with “feminine issues”, but all art is narcissistic, you’re not going to make something your not interested in, whether it be from personal experiences or because you travel to Italy and you thought the pizza was amazing and now you make pizza art [laughs]. You know what I mean? It’s silly to call one thing more narcissistic than something else, in terms of art. People make art for themselves, you are kidding yourself if you think you’re doing it for someone else. Art is the most raw and instantaneous form of gratification, whether you do visual art or music, you’re putting yourself there to make something, and whether it works or it doesn’t you put your energy into it. Even doing a commission, you still do it in your own style, and your own personal boundaries.

Wasps, 2014, charcoal and pastel on grey-toned paper

Wasps, 2014, charcoal and pastel on grey-toned paper

AL: Why are you having this new show?

SH: I am very much a procrastinator and introvert, and if I don’t have a good motivator like that I will just sit in a little corner all day. I mean art is a huge part of my life, and I need to make it, it does take a lot of energy and finding that energy and taking the time to sit back to know this is what I want to do and this is what I want to say… I really need to have that motivator to get going. It’s good to keep working and to show your art. SCYAP is a good place to be, and it’s central, and it’s funny to me how central it is but how unknown it is outside of the art world. I’ve told everyone I work with and have worked with in the past, so hopefully new people come check out shows there too. It’s good to have art in the community, and people are crying that the Mendel is going to be shut.

AL: But it’ a good opportunity for smaller and independent galleries to get more exposure.

SH: Exactly, and emerging artists who wouldn’t have had a show at the Mendel. So now people who use to frequent the Mendel openings will be more inclined to attend other gallery openings and experience something a little less formal. And since the Mendel is the big gallery, a lot of people are intimidated to go there if they don’t think they know a lot about art, or they don’t know people there. Art can be incredibly elitist.

AL: It was originally elitist for the most part; very few people could practice art until recently.

SH: It was elitist in the sense that only the rich and powerful could have access to having art made, but it shouldn’t be in the sense that only certain people can have access to be able to view art, so I think that having places that are more laid back like SCYAP is a really great opportunity for people who maybe arn’t formally educated, to go and still have a place to appreciate art and not be intimated or like they don’t belong.

AL: How are you feelings putting together this show, compared to the last show?

SH: I recently looked at photos of Trinity, and I hadn’t realized the degree I feel like I’ve improved with my drawing skills and art making, so I was really surprised and pleased by that. I will have some old work in this show, and I always planned to do that, it’s a transition .I’m kind of stressed out [laughs], because I have a lot of things that are not yet completed, but are in the process of being completed, but I work better under pressure and that’s how Trinity was too. I’m also a little apprehensive, because I asked a lot of people I’ve met in the past year from retail work to come. For the most part, my past work has viewed by family or friends within the art community, so it feels a little bit more of a raw exposure. I mean with my family, of course they’ve seen my art before, and you go to art school with year and take classes with people.

Escape, 2014, charcoal and pastel on grey-toned paper

Escape, 2014, charcoal and pastel on grey-toned paper

AL: And you get to see each other’s progressions in the classes

SH: Yeah exactly, and you’ve got late night painting sessions, and whatever, so everyone knows what you do. So there are a lot of people coming hopefully, that don’t know what I do. But… I’m sure everyone will have kind words whether they enjoy it or not [laughs].

AL: How are you going to circumvent the question when they ask you what it’s about?

SH: I usually just put a question back on them.

AL: “Excuse me my wine glasses is empty I must go fill it.”

SH: [laughs] Yes… avoidance is key. I did bring in a piece from Trinity into a class where we had a little group critique, and one person was actually, exactly spot on. I was like, “See, it can be interpreted without me having to say anything!” She didn’t know me, and we weren’t close or anything, and knew exactly what it was, and I was a little unnerved, but it was really great because it meant I did my job right.

AL: That meaning reaching the viewer without explanations is one of your definitions of success?

SH: That is definitely a definition of success. Then there are people who say stuff that is just so far off, and it’s hard because I almost wanna laugh.

AL: If you’re showing work in public in any capacity, it is the job of an artist to convey meaning to the viewers. I mean, if you’re making a painting of bright colours and butterflies to demonstrate how depressed you are, nobody is going to get that.

SH: I’ve definitely been in critiques when people have used a really strong colour, and you’ll think because something is a colour you get a feeling from it, and then the artist will say, “No I just used that colour because I really like that colour.” And it’s like, no! Even if you 100% don’t know what your exactly trying to say, you need to think ahead a little bit, how people are going to look at it and what they are going to get from it. There’s been times in critiques when people are almost offended because someone read their art wrong, but that’s the point of critiques, to make you think, “maybe I shouldn’t have painted that blue just because I love blue.”

AL: You have to kill your dreams sometimes in the creative process. You can have a really great palette or access to lots of materials, and then you have your ideas, and if these start to contradict each other you have to subtract something, but you can always keep it tucked under your hat. It’s a big struggle for a lot of people to accept that their favourite colour or material won’t work in a particular piece and they have to leave it out.

SH: If I went back in time and went to first year Stacie and showed her this stuff and was like, “This is the art you’re going to make, this is what you’re going to be passionate about.” I’d be like, “…you’re wrong. No way. That’s not going to happen.” [laughs].

image (3)

AL: I have a vague memory from your last show, and correct me if I’m wrong, because looking at the piece’s for the new show in front of me in your studio, I feel that the old pieces are ‘softer’.

SH: These new ones are a lot darker with charcoal. They are emotionally heavier. The old ones are definitely more lighter and brighter.

AL: The new work is also more abstract. Trinity was figure-heavy, and I mean there are still figures in these new works, but there are more elements and so much more going on besides the figure. Why do you feel it was necessary to explore more abstraction or alternative concepts?

SH: I think that being completely confined to the figure wasn’t expressing what I needed to anymore, and I’ve been really exploring mark making a lot more, and I’ve realized that texture is something I’m really interested in. Putting texture into a drawing where you’re only using paper and charcoal and chalk pastel, can be a lot more challenging than say oil paint. You need to really rely more on your values and mark making, even the energy you are making those marks with.

mark making

mark making detail, 2015

AL: And it translates; if you make marks that are measured and slow that’s how they will be read, and if you make marks that are fast your eye will travel over them fast. You can see this in your piece, it’s screaming at you. Well… I mean it IS screaming at you, but I mean the texture and mark making is really screaming at you too [laughs].

SH: It’s pretty scream heavy [laughs].

AL: How many pieces in this show do you have?

SH: I have four new drawings, and hoping to put four old drawings. I’m going to take everything to the gallery and see how it works together. I also have some textile works, which is something that nobody has really seen me do.


AL: Why textile work?

SH: It’s not something I realized I liked until recently, the tactility of it, being able to touch all parts of it. With drawings, its 2D and it’s very flat, so you create the illusion of these textures and raised surfaces, so you’re touching it with your eyes… oh that sounds pervy [laughs]. But with textiles you can physically touch it. It’s very methodical and meticulous, and can be incredibly boring at times, but is also very therapeutic in a way. All of my textile work is very small, and it does reign me in a little bit and make me focus a little more and think about smaller details. It’s a really good contrast in materials and size and the way my energy is being used, in contrast to my drawings. I do work full time, and coming home after work some days I don’t have the energy to draw, so having something smaller to work on like this is nice. It keeps me still being artistically active.

AL: Where does this piece belong in the show?

sculptural piece, 2015

sculptural piece, 2015

SH: There are moths in my show, and these are moths. People keep thinking their butterflies. But this specifically is for part of a drawing, so it’s not completely 2D. I always felt like I could push a drawing further, and planned to do this from the beginning of this drawing. It was hard to explain to people, but I just had this vision in my head to go with. So I’ve been working away on this, which has lots of different papers and textures. They are smaller and get quite large at the end. I want it to be a perspective thing, it looks like the moths are coming at you. I just really wanted this to take up a lot of space, and be as powerful as it can be with the skills I have right now.

AL: Do you think this is going to open you up to more three dimensional work in your drawings?

SH: I think so, I hope so. I remember last year and two years ago, I was doing a lot of mixed media drawing, I was using a lot of different papers and pasting on a lot, but it wasn’t really what I was searching for. Now I’m finding a little more of what I want in three dimensions, and I want them to become a little harder to call just a drawing.

AL: Is this your only piece with sculptural aspects?

SH: As of now, yes. And one of the drawings, I had it on my wall across from my bed, and I finished it, and that night I had the most terrifying nightmares about it, so when I woke up I looked at my floor and walked up to it and rolled it up, and put it away and deleted any photos I had of it. So I vaguely remember what it looks like [laughs], so I might unroll it and decide I want to do something with it. I mean I’d like to do more sculptural drawings.

AL: It’s a good bridge. This show is bridging off your last show, and this sculptural piece spurs a whole new series which could be your next show.

SH: Who knows where or when the next show will be, I always want to keep evolving. I took a lot of time off from my last show, I went travelling, and then I booked this show in November. But it was really in January  I put up a piece of paper and was like, “What am I doing? What do I want?” But then I made something and it clicked, and it was like, “Ok!” I’m hoping I’ll keep doing things and stuff, and ideas will happen [laughs].

AL: That’s really all you can hope for.

SH: [laughing] that’s how the science of the brain works?

AL: Yeah that’s how that science does that thing, with my hand and the art and the what not.

SH: Yeah that’s my art process, that’s how things happen [laughs]. There is also an opportunity at the reception to take home one of three pieces of mine, but they are smaller pieces. Home sized art. Three! Imagine that?!

Empath, 2015, charcoal and pastel on grey-toned paper

Empath, 2015, charcoal and pastel on grey-toned paper


The Art of Subtraction with Steph Krawchuk

Steph Krawchuk is a painter based out of Saskatoon, Saskatchewan. Her work is largely autobiographical and documentary, painting the people and spaces that surround her. This is evident from her past work of portraiture, still life, and cityscapes. Krawchuk has an upcoming show at Art Placement May 30th-June 25th 2015. Along with her building paintings, new work focusing on lines and abstraction will be available for viewing. Reception is Saturday May 30th at 2pm in the gallery at Art Placement. I had the the opportunity to do an interview with her in May of 2015. The transcript and some of her work is below.

Artist Website

Art Placement Show Information

Amanda Leigh: What is happening with your upcoming show?

Steph Krawchuk: It’s going to be about half buildings, and half abstract paintings.

AL: Why half and half?

SK: I think that when I knew I was having a show, I was doing buildings, it’s mostly what I do, and it’s a lot of lines and shapes and colour. Then during that process I just wanted to see what I could do with forgetting about subject matter and just making those elements. Some of them are on canvas, and some of them are on paper being framed.

AL: What was the drive to strip it down more, to ‘lines and shapes and colour’?

SK: I was curious about what I could do, I had never really done that before and I’ve been painting for over 10 years. I’ve always been interested, and generally speaking when I look at art or art history what I love is a lot of abstract expressionist sort of stuff, so it seemed natural to try this.

Steph Krawchuk,

Steph Krawchuk, “Follow II”,
2014, Oil on canvas,

AL: Are there specific artists or time period that are influencing this new work?

SK: When I was looking at abstract stuff, I definitely went to Willem de Kooning, he’s like a feast of information, his whole career is pretty awesome; Brice Marden is another artist who did a lot of line work, which seems kind of easy but is not; and Stuart Davis, who has actually been called one of the first pop artists even before Warhol, he was doing these abstract shapes which are so cool and colourful. Those are three people I’ve been looking at, but also: Rothko, Pollock.

AL: With these abstracts, are you doing them freehand or basing them off of still life or the forms of buildings?

SK: It’s just the bare canvas and seeing what happens. I start by putting down lines quickly and not really thinking about it. With the buildings and the portraits it’s all about adding and subtracting until you are sort of at peace with what’s there. With these[abstracts], it’s almost another level of that process, it was very frustrating. I couldn’t have done the larger ones on canvas without doing smaller ones on paper. I’m really grateful to Art Placement, the gallery that I’m showing with, because they had a drawing show and they were totally open to looking through these sketchbooks, and I did these maybe nine years ago, I’m not even sure. The gallery took them and they framed them, and that was very encouraging for me. I mean I didn’t think these were awesome, but it was a start. I’m just very pleased to see I can do an abstract painting on canvas, because a year ago I couldn’t.

AL: What were your frustrations a year ago?

SK: It’s a different way of handling paint. It’s hard to describe. When I’m doing a building, I’ve been doing them for seven or eight years, so I have an idea of what I’m doing, where I’m going, what it might look like. The buildings also exist, they are downtown, and I know what they look like. These [points to abstract canvases] are completely made up, which maybe could be easier, but I don’t think that it actually is.

AL: Are you still trying to resolve these issues in your abstract practice, or have you become very comfortable?

SK: This is still really brand new. This show for me feels like the beginning. I think I want to start working on larger scale abstract paintings; it’s part of that process where I started doing smaller ones on paper, then moving onto bigger ones. With the differently handling of paint, it’s almost hard to tell when it’s starting to look “good” with abstract work, its tricky, it’s very bare.

Steph Krawchuk,

Steph Krawchuk, “Blues”,
2014, Oil on paper,

AL: Space plays a lot in your abstracts, compared to your building paintings that are full of the building itself, the street, the cars or trees.

SK: It takes some experience to get that space down. The original abstracts I did were very messy partly because of this, and I was kind of discouraged, but what for whatever reason I’ve talked to other artists who have said starting with paper is a more forgiving medium, and I’m not really sure why. So I started with paper and acrylic, which I think was a quicker and more forgiving process, rather than starting with oil. I then layered it with oil paint so I could have the finish that I’m used to. I feel like now I have a better grip on these paintings, but you still can’t be too confident, I’m still kind of slightly confused when I start. That [points to an abstract] took a while to do, and sometimes I still look at it and say “what the hell is that?”

AL: Depending on what type of mood you’re in?

SK: No I like it, and people that I’ve showed it to quite like it, but it’s very… different.

AL: Have you had any palette issues, with colour?

SK: Not exactly, but when you look at this [abstract painting with greys] it’s subdued in colour compared to a lot of stuff that I have done. I struggle with busyness. I’ve been wanting to refine my painting, which I think has happened in the past couple years. Sometimes my paintings are busy and colourful, but I’m also learning less is more.

Steph Krawchuk,

Steph Krawchuk, “Cambridge Court”
2015, Oil on canvas

AL: Why have you been so eager with bright colours?

SK: I’m attracted to it I guess, I think people are attracted to colours, it draws people in very quickly, but maybe people can be turned off by it too. I’ve always found colour to be a way of communicating, I don’t exactly know what, but maybe as a way for people to get engaged with my paintings. It’s very immediate, whether you like it or not it’s there, it makes you look at it.

AL: I think everyone, regardless of art training or background or anything like that, can talk about colour.

SK: Everybody has a relationship with colour. I think I kind of use that in a way. I once saw a Van Gogh painting in New York, and that’s when I feel I really learned about colour, because it was a portrait, and I really didn’t even like the painting to be honest, but the colour in the background was this lime green, and you were fixated on it. That sold me on the impact that colour can deliver. You don’t even have to like the painting.

AL: I think that speaks to space again, the painting was of the figure, but that background played such a large roll for you, larger than the “focus” the painting.

SK: I mean if you look at my portraits, it’s always a flat colour behind. It’s almost in all my paintings actually, people say that my buildings are almost portrait-like.

AL: Why are you so interested in painting Saskatoon, or cityscapes?

SK: I’m interested in documenting what’s around me. I don’t think too much about it, I don’t want to paint a picture from a photo of some other city I’m not living in. I live downtown, I walk around a lot downtown, I work downtown, and so it seems like an obvious subject matter. There is so much information in a scene; there are so many lines, there’s so much opportunity for me to paint.

AL: Are you interested in architecture?

SK: I’m interested yes. I love travelling and see different cities and buildings, and making paintings of it. What interests me the most, and maybe you can tell from these paintings, are buildings with character. Stuff like that is just waiting for me to do a painting of it. I could just take the scenes of Saskatoon for granted so I have to look a bit into… what I’m looking at. Through these paintings I feel like I’ve gotten to know so many little details that people probably don’t notice. I look around a lot, I kind of love that.

Steph Krawchuk,

Steph Krawchuk, “Parkview Facing the Street”,
2014, Oil on canvas,

AL: Do you find that people connect to you because of the city paintings?

SK: Sometimes I’m commissioned to do a painting, but there no doubt some people do like to see Saskatoon like this.

AL: In the buildings in real life, these facade colours are so neutral these small details almost disappear into each other. You’ve been able to achieve really picking and choosing your small detail to focus on, while kind of blocking everything else with colour.

SK: That’s exactly it it, I was thinking about a write up Lorenzo Dupuis, a painter I did a show with, and what he said is I don’t get overly detailed with these buildings, but like you said, what I’m interested in I highlight. I paint a door, a window, a sign, as a focus and that’s how I pare it down.

AL: Do these little details relate to your influences we talked about earlier?

SK: Before this show along with getting interested in these abstract painters which I’ve always cared about, but looking more at those three I mentioned in particular, I also briefly got interested in pop art, and that’s the point in art history I usually start to get disinterested. I realized though, that I like painting signs, and restaurants, and I just figured whatever. I sort of embraced that I maybe had some pop in me too.

AL: It’s not something that you have to dislike

SK: No no, but the pop artists were doing these almost meaningless paintings, almost with no emotion because they didn’t like the abstract painters and that their paintings were full of emotion.

AL: Are you using your paintings as a vehicle for emotion?

SK: Not really. When I’m painting it’s more about the process, about refining the painting, and the use of colour. I never really thought of colour as being a subject matter. You know, you go to school, they set up a still life, and we’re all thinking we need to reproduce this thing like it is, and you can do so much more. I think that’s why painting is so frustrating the first year, because what we think what we need to be painting is so limiting. I was taught to never use black lines, so a lot of my earlier work is really colourful… with no black lines. I am still using colour, but you can see the old work is a lot ‘louder’ with it.

AL: You’ve really taken colour and run with it, while being able to break some rules and add in black lines.

SK: Yeah, and maybe colour has been my first endeavour, and still is, but now I’m really interested in focusing on how much I enjoy and am interested in lines, and where that can go. Along with colour, lines are the process of these abstract paintings, and with lines come shapes.

Steph Krawchuk,

Steph Krawchuk, “Follow”,
2014, Oil on canvas

AL: In this new work it’s evident colour is playing less of an obvious role, when looking back at your contrast work, especially the red/green paintings.

SK: I use to love the old red/green combo, it was a good one [laughs]. The German expressionist movement, in the 30s, learning about that just left a big impression on me. And we grow up knowing what about art? And then you take art history and you see that people made naive looking paintings, people made paintings that kind of looked like kids did them, but they were experienced painters, there is so much you can do. Seeing the German expressionists was really inspiring to me; they were slightly messier, and angrier, which these [points at abstracts] are not. I’m realizing I’m kind of a clean painter, I don’t really paint out of the lines, it’s kind of contained. In university I realized that I was an expressive painter, but I’m not an emotional painter. I think its up to the viewer if they connect some sort of emotion to it, its up to the audience.

AL: I think that’s what a lot of people like. Maybe it’s not ‘the job of an artist’, but the by product of an art work is that you’re making something apparent, you’re showing something in a new way that is everyday to a lot of people.

SK: I really want my work to get people who don’t even know they like art excited about art, someone who maybe wouldn’t necessarily go to a gallery, or know anything about art history, I don’t think that you need to. I think it’s possible to connect with these paintings. I don’t think they’re overly challenging to the viewer, and they weren’t easy to just make at all, but I think for the viewer my art is maybe more accessible. Four kids own my paintings [laughs]. For anybody to get excited about my work is cool.

AL: It’s really important to be exposed to different kinds of painting, or art, at a young age. If they see them, maybe they can make them.

SK: And it’s nice to own original art. They grow up around these paintings, so they grow up with the idea that they can have original paintings too.

Patricia Shiplett “Break On Through to the Other Side” at Snelgrove

Patricia Shiplett, or Patty, has a very nice installation-exhibition in the Gordon Snelgrove Gallery until the end of the week. This is a show that you need to spend some time in, absorbing and reflecting on what is going on. It’s place to meditate and reflect on your reality, mortality, what might lie beyond. It is a quiet journey about one’s existence. There’s a delicate balance that this exhibit walks; teetering between elements of psychedelia (through various uses of lights/lasers) while also grounding you and connecting you to memory and self reflection. There’s hints of phantom mysticism and I found myself searching for something deeper than average reality. Lights appear like spirits. Many of Patty’s projections have moments of beauty, that you want to grasp on to but they quickly fade away. Maybe it’s something to be said about the impermanence of life.
Everything someday will go away.
But were they ever there? What is the basis of our reality, is it really real.
One projector cycles through the lit words “are you really sure you really are”


The largest sculpture in the exhibition is in the center of the room as you walk in. A few bundles of branches that are wrapped in a way that feels like a funeral rite. Then surrounding these bundles are lit tubes containing sapling plants. Accompanying the ground sculpture is a wall projection that shifts between light clusters resembling cell division and Patty’s own archival footage of domestic scenes or something resembling old biology films. That’s the thing with this whole exhibition. There is a vague familiarity with a lot of elements but you are never completely sure. Which brings you back to that phrase ..are you really sure you really are? Back to the sculpture, Bring your own meaning to it, I felt like I was witnessing the life cycle. Old plant life, with new plant life, and the projection being the non-physical; memory and consciousness.


To the side of the entrance is a long sheet of plexiglass with thousands of spiked glass shards poking through, the whole thing is back-lit by a red LED. The lighting effect made a line with a large round shape above it. The circular shape is a good focal point but it’s nice to explore the peripheries of this piece seeing the light and shadow play as its shines through this complex surface. The shape of the red circle with the line made me think of a persons silhouette maybe a Buddha, but another person I spoke to saw a horizon with a sun.


On another wall is bands of color on a wall. When inspecting this more you realize that each band of color is actually a distorted video feed. There’s moments during these bands videos that their colors and pattern have a beautiful harmony together, but just as you realize it, it changes. You do this a lot with her exhibit. Finding a moment and it disappears. Makes you want to watch through it again to see that moment. Patty told me that they were streams of consciousness. Which makes sense, people’s lives are sometimes in tune with each others then they keep moving. Whatever it is, I like it.


Here we have cut portions of Emerson Poetry, plants, and a photo of a man and a skull.
A collection of thoughts, an example of life, light, and the physical body.
-I liked the reflection of the lights inside the box. Like phantoms of something existing somewhere else.


Here’s another projection. A figure appears and disappears into the background, fuzzed up, sometimes looking like a blob more than a human. Looks like a moving abstract painting. The figure in dark blue amid a blue background with the hint of a warm inviting light behind the figure. There’s something nice about it.


Beside that projection is a light box photo with a shifting laser pyramid. The light box photo is a person behind a screen with hands and chest close to the screen. It reminded me though of the face of a fetus in that strange development phase when fetus of humans, sharks, bats, dolphins all look the same,


My favorite film is on the north east wall. There’s two sections of this film that I really enjoyed. One moment there are globes of light traveling across with an ambiguous structure that might be double exposed. But eventually it clarifies to a bus seat and the reflections of the city traveling by.


At another point in the film is a beautiful wall of color that has slight variations and shifts throughout it, as it slowly moves into another color. It didn’t seem like a computer made color, because it feels like there is more substance and depth to it and knowing Patty’s tendency of collecting odd bits of interesting things she films over the last four years it was probably more.I asked Patty about it and she told me that she shot this scene into a pool of water that was under-lit.


Patty’s has a few of these slow pulsing lights that she calls portals. They fade and shift through different colors. Once again it had me staring into light trying to find the best color combinations but was also good to imagine nothing else existing but this globe of light. If it was a portal, would you enter?

Particia Shiplett’s show is really worth seeing. There’s a lot of interesting work that she brings the viewer into exploring with her. I mentioned a few things but there is a lot more. A big factor in the success of this exhibition is mood inside the gallery. With blacked out windows you don’t know what to expect. Entering in you see lights, lasers, strange sculptures and many projections but the music sets the tone. The exhibit is paired perfectly with a soundtrack composed by her son Alex Stooshinoff (aka Living Room).

The music is integral to gallery experience, Alex’s music slows you down, calms you, and grounds you. It’s beautifully rhythmic seemingly in tune with your breath that aids the gallery guest to begin the process of introspection that Patty’s work calls for. Like Patty’s practice of collecting film, Alex pairs his melodies with samples of sounds that he’s recorded through a pilgrimage in Spain. The soundtrack brings life, memory and comfort to what could sometimes be a strange exhibit.

While exploring death, this show also explores life, meaning of existence and memory.
If you want to take a quiet journey and explore something different than your usual gallery. I suggest you take in Patty’s show while you have the chance.

Movement and Growth with Laura Hosaluk

Laura Hosaluk is an artist residing in Saskatoon, Saskatchewan. She works mainly in but is not limited to; ceramics, painting, installation, wood, and bronze. Laura is a wonderfully bright and dynamic individual in and outside of the studio. I had the opportunity for a studio visit and to interview her in April 2015. Further biographical information about Laura and her work can be found on her website.

dolls and wood work

                                         dolls and wood work

doll limbs

                  more doll limb playfulness

Amanda Leigh: What are some ideas you’re playing with right now?

Laura Hosaluk: Something I want to utilize is the pin board. I’ve used it in past installations.

AL: What other pieces have you used the pin board with?

LH: There was a piece I sent to Toronto it was a wall cabinet, it was a floating cabinet it was made into 6 rooms, and it was lit. It was beautiful from afar because the light was shining through these little cabinets, so that would pique your curiosity, and then they were all individual rooms from my childhood. My father holds onto everything, all our drawings from when we were kids, I transferred them into the bedroom walls, and they had these little spyholes you could look through. And that was for my first show, called Purge, where I started to use the doll as a body, like a vehicle with a message. I would use poetry transferred onto fabric… you use fabric like muslin and print onto it, like little stripes. I wish I could find that doll… where would he be… oh, I burnt it! I might have. I purged it.

AL: Do you often destroy your old work?

LH: Hmmm… I could destroy more. Yeah there comes a time when I’ll just burn it.

AL: You said you were a collector and that you come from a family of collectors, so why do you burn the things you make instead of holding onto those? What does that do for you?

LH: It’s cathartic. It’s interesting because I’ve been running with the doll theme for quite some time, and I’m ready to start moving in a new direction. That’s why with these pieces here [points to current doll work] I want to have a quick show, flush it all out, and move onto something new. So I just recently burnt this old work, that was made up of more fabrics, and filled them all with dryer lint. It was a real process; every time I did the laundry, I had to collect the lint. Why I did that is because my Grandmother gave me all these old blankets, and when I laundered them they were disintegrating because they were so old, so they would throw this fat dryer lint and you could see that it layered like red/blue/grey, and that to me was exciting. In my mind I was like “I could produce so much dryer lint to fill up these dolls”, so I just kept laundering them.

AL: And then you burnt dolls with dryer lint? It’s a very flammable substance.

LH: Yeah. There was only two left, from that show, and they were just in the corner sitting, they weren’t really going anywhere… I didn’t sell them. They were from really dark periods actually, from the past, and I think that was really important that I let that go. I want to start creating art from another place that resides in me, because a lot of it comes from my imagination as a maker, that’s why I love my artistic process because its so much fun, and its ridiculous. It’s definitely self-directed and self-taught, and also having teachers that are self-taught and intuitive, you learn you just really need to trust opening up to that creative process. I want to start moving toward more playful and beautiful things.

Keystone 1 - 26 x 26 Acrylic on Panel found objects

Keystone 1 – 26 x 26 Acrylic on Panel found objects

Keystone 2 - 26 x 26 Acrylic on Panel found objects

Keystone 2 – 26 x 26 Acrylic on Panel found objects

AL: You’ve been working with the doll for a long time, and it’s a body for expression. Do you feel you need to move away from it because the doll can only hold certain themes and not expand in the direction you want to go, or is there another reason?

LH: What I’ve enjoyed most about the doll was getting back to working with my hands. For a long time I was painting and really identified as a painter. Doll opened up for me a wider vehicle of how I can portray messages through different mediums. It started with hand building and sewing fabrics, stuffing them with lint, then transferring this idea to furniture. So they were boxes originally that mounted on the wall, and at that time I was doing bronze casting. What I really got curious about was how can I transfer this idea of doll into clay? Then I started pushing clay into latex molds I made to get that relief of the mask, and then I wanted to go further, so how can I create a slip cast? Now with doll I’ve refined my technical abilities, so I want to make my own objects to cast. I want to cast objects from my imagination.

AL: Do you have any idea what these imaginations are going to entail, or is that still on the drawing board?

LH: I wanna flush this stuff[doll] out first before I get too far. I’ve gone back to wood turning. Wood turning isn’t my strength but I would like to revisit that and that’s what I’ll be doing here shortly. Wood bending is new to me. My father has been showing me how to wood bend.


wood turning sculptures

wood turning sculptures

laura pouring wax into moulds

laura pouring wax into moulds

LH: I’m doing some work for my father. I poured some casts yesterday… I was going to pull some molds. These [wood turned objects] will then be realized in bronze. So they start with a wood sculpture, my Dads carving, and with these latex molds you pour your wax, and those will be cast in Pent, Saskatchewan. Our friend Joe has a foundry over there.

I remember always knowing I wanted to be an artist as a child, but my rational was like “oh your father’s an artist so you have to choose something else”. And just how… irrational that is.

AL: Why did you think you could have only one artist in the family?

LH: I don’t know, it came through so clear. My father always told me, “Whatever you do in life Laura, you’ve gotta love.” And so I was like, “I’m gonna be an artist,” then it was like, “oh but he’s doing that.” Maybe it’s because when you’re a child, what’s immediately around you is all you know, so you want to know more. So maybe I thought, “Do something different.” Which began this serious pursuit of what do I love. It always came back to working with my hands. I did hair dressing right out of high school for four years, which reinforced I wasn’t doing what I loved. I started tattooing, did an apprenticeship for a year, but after that I ended up working in a gallery representing other peoples art… and that’s when it was really clear I was unhappy. Sitting there, representing other peoples work when it was my work I wanted to be focusing on. I ended up back in Saskatchewan in 2007… I ended up back home, and began painting. I painted some really beautiful work, and I remember thinking “This is it, this is what I have to do.” I met a really good teacher at that time, Paul Crepeau, who was working with my father. He was working on stop animation and I became his assistant, I was moving all these little chairs for a chair show. 2007 was the year I started to take my practice more seriously. I’m excited about painting again, and drawing.

Here let me show you this drawing… I was sitting in a board meeting and making little lines… little lines little lines little lines. And here [points to large drawing board], I haven’t worked that big yet. I guess as a maker I’ve always made smaller, more intimate pieces.

large line drawing

large line drawing

AL: Why do you think you’re working big? Are you trying to push yourself out of your usual realm?

LH: I think it will be a great challenge to transfer these ideas on a larger scale. I have this one idea to build a large braid. I’ve been really interested in land art, planting grass and letting that grass grow and manipulating it then just leaving it on the land. So a 20 foot long braid, four feet or five feet wide. I think it would be beautiful to leave it in the land, and let the elements and the earth to take care of it.

AL: You said you like working with your hands, but these larger projects seem like they will produce more bodily movements. Have your smaller pieces hindered the ability to have a wider scope of movements, a sort of interaction with the piece if you will?

LH: It’s a more kinetic approach to the work, relation to the material and environment. The small pieces are almost so internal, so intimate, there’s so much going into it, so it’s complex, almost overwhelming. Whereas the braid is larger but more simple, with beautiful moving lines and a certain technique.

AL: It seems with the smaller work it has very much been a reflection of yourself, and sometimes a darker part of your past. With these bigger works, maybe part of that physical movement is part of the process, which translates a kind of beauty, and the process ties into the end result your trying to achieve.

LH: It’s also a very basic material. It’s nice to have space and lots of materials to work with, but the grass is simpler. I still have an interest in doing more bronze casting though, my own molds, making my own objects, and found objects. I can’t see myself moving away completely from found objects.

AL: What’s so appealing about working with found objects?

LH: Oh… the history I believe. Their have their own unique history which conjures up playfulness in my imagination. It creates a dialogue from me to my environment. I love engaging with the world this way. Like these beveled frames with shell art in my Grandmother made, I’ll probably hold onto them. I’ve been really curious about these lenses I got from value village, I’ve been collecting these.

Grandmothers shell art

Grandmothers shell art

found lenses

found lenses

AL: Maybe your not exactly looking for an idea, but is that what found objects provide? They might provide a sudden starting point?

LH: Yes, they provide something that piques my curiosity.

AL: Do you realize an idea right when you start collecting? Or do you feel that the collecting is important and go with it till something surfaces?

LH: Being self-directed and intuitive as a maker, I trust that my inner knowing is onto something so then the collection and the gathering comes, and from that I become more informed about the process and how it will reveal itself. Definitely part of how I work is an intuitive approach. Right away I want to make this [the lens] into an abdomen, which goes back into the dolls and the wall box… so is that maybe an intelligence of my own body, of my own self? It’s telling of me; do I need to go back into something of my own body, or my own being?

AL: Yeah, are you “just creating things” or is your unconscious trying to tell yourself something?

LH: Yeah, that’s kind of the connection to the land art. How can I be separate from this? It’s coming from me, it’s through me, and it’s an extension of me. So if I create from that place of beauty, that’s going to transfer into the work, and that will influence the world. I like what you said about the land art: its very physical. I think it’s really important we take care of ourselves, that we’re taking care of our body by moving it, feeding it well, taking care of ourselves mentally, and that’s what appealing about the larger work, it’s another way of feeling balanced and whole.

AL: And that’s the balancing, moving to larger pieces. The past pieces of yours are smaller and are full of mentality, but the larger pieces move towards the unexplored realm of physicality.

LH: And it requires a refined technique to work with the land; to make the grid, grow the grass, to secure the grass, manipulate it… and I can’t do it alone.

AL: Look out everyone, Laura needs you for grass braiding.

LH: Yeah [laughs] I’ve already started hunting.

AL: It can be very hard to do some projects alone, knowing people and having that support is an important asset.

LH: My exposure to the EMMA conference has been quite formative for me as a maker. It’s a gathering of 100 artists who come together, from a global community, who make works in a collaborative way. A lot of the times my making is very private, and isolated. So working on this larger piece of land art is good for getting involved with other makers.


dotted rocks with backings

                      dotted rocks with backings

rocks in wax

                                      rocks in wax

LH: This is something I’ve been doing a lot of: painting rocks. I meant to make earrings but I just kept going, they look really nice mounted in wax. This began with a daily walk, and looking for the perfect round rock for an earring. I get kind of manic in some of my processes, so I collected like thousands of round rocks, and smoothed them on a lapidary wheel, and started fastening little backings onto them, and then they led to a little series of mounted rocks and framed.

AL: This is very meditative.

LH: Yes, it is, I loved that. A lot of repetition. When I first started playing with dots on the rocks, we were at a little mini collaborative stonehouse on the Old Man River in Alberta, and I said, “I could do this forever.” And my Dad’s like, “No you couldn’t! You couldn’t survive off of dotting rocks for the rest of your life!” But it was just the meditative quality of it, how fulfilling it is to have that connection to the object, and to just be content. I have my purpose here, just to dot rocks! From here I can visualize a whole beach with dot rocks shoreline, but from here I need many hands, a hundred people.

This idea of doing residencies are really appealing to me; I would like to continue to foster my practice with people who want to work cooperatively and collectively, and to do some really beautiful projects that bring joy into this world.

dotted rocks on wood, framed

dotted rocks on wood, framed


Laura is curating pieces for a collaborative art project for Burning Man 2015. Here is the information to get involved.

Burning man Sask-Playa info

Robert Taite’s Interior Latex Eggshell at AKA Gallery

April-2015 1775

Something a bit different happened this weekend, there was a closing reception talk for Robert Taite’s Interior Latex Eggshell at AKA Gallery that was led by Levi Nicholat (of Art Placement Gallery). I was excited about the premise of inviting another gallery in the community to respond to a show at AKA. Especially someone from Art Placement Gallery, that has a rich tradition of Canadian Abstraction and Minimalism. Though I ended up feeling a bit disappointed with the talk, it was a great way to revisit Interior Latex Eggshell while engaging with members of the art community. I hope that something like this happens again.

While there was some critical discussion of Robert Taite’s installation, I really enjoyed it.

With Interior Latex Eggshell, Robert Taite seems to be having fun playing a bit of an antagonist. First of all, he’s turning minimalism on it’s head. Most minimalism is lacking personality, composed of shapes in the frame. Robert Taites work breathes some life into the genre by breaking from the frame and creating sculptural paintings that play with material, balance and color. He’s made custom geometric canvases and replacing the painted object with an actual painted object. These objects are organic blobs, goops and turds made of wood that rest and hang by balance and gravity on his canvas frames. The wooden blobs are shaped in a dynamic way that might suggest a life to them but the way they rest seems like someone has pressed pause, nostalgic of an 80’s Nintendo Game

I love Robert Taites use of colour. While a lot of minimalism is a conversation with bold colours, Taite chose to use muted tones of interior latex mis-tints. Using boring mundane home interior colours, the gallery looks a bit odd. Is it a hybrid of homestaging and gallery installation? There’s a prosaic dullness to it with the exception to the colored globs and framed highlights.

April-2015 1372

While the gallery does feel like there is a medicated pause, there is some elements of life that Taite has included in his installation. The gallery flows like a oval with focal points holding down each end. At the main entrance there’s a feature wall where numerous sculpture-paintings are hung salon style then at the other end there’s an area that contains sound coming from art crate shipping containers. The sound is close to inaudible, especially when there’s other people in the gallery. But it does bring some life into the gallery. It sounds like some rhythmic white noise but I guess there is a story behind the content which escaped me. Connecting the two ends Taite uses a series of long and short rectangular canvases that follow a zig-zagging path along the interior of the gallery negotiating corners, windows, door frames, fire exit signs etc.

April-2015 1771

^the only object in the gallery without a flawless paint job: art crates emitting noise
–*see the rectangular canvas road following through

April-2015 1774April-2015 1773
^Robert Taite playing with framing and the standard squared pictorial frame

Interior Latex Eggshell ‘s run at AKA gallery is over, but make sure to keep an eye out for Robert Taite’s work in the future.




Untitled (New Visions): Maggie Groat and Barbara Hobot at AKA Gallery

The last installment of my Three Gallery Shows You Need to See in YXE is Untitled (New Visions) by Maggie Groat and Barbara Hobot, curated by Tarin Hughes.
(* if you want to see it in person you need to act fast, it’s last day is Feb 28th!)

I really like this show but it’s kind of hard to talk about. A mystique. Groat’s and Hobot’s work weave together throughout the gallery in a quiet dialogue with each other. While observing this show I get the feeling of a quiet mysticism. The mood in the gallery feels stark, peaceful and profound. The silence is heavy. The gallery is made up of a collection of objects and artworks that all contain feeling / memory or imagination / association. Quite an interesting thing to let your mind loosen a bit and let these objects (in some cases artifacts) speak to you as they are speaking to each other. Maggie Groat functions like an artist shaman as she collects and organizes objects and collages that carry spiritual weight and memory while pulling to the references to natural and supernatural world. Barbara Hobot creates beautiful objects that appear like found oddities from the natural world. Lots of her work looks likes tree bark, but peculiarly curved, plastic and hand painted. By mixing Groat’s found objects and Hobot’s made objects the exhibition as a whole shifts between real and imaginary as the viewer grasps faint traces of distant memories and associations.

Curator Tarin Hughes explains that the show was inspired by Elaine Scarry’s Imaginary Flowers: Perceptual Mimesis (Particularly Delphinium) where she states that the presence of a flower triggers dreams, ghosts of recognition, and memories. Tarin delivered with this show as the presence of the objects carry meaning and associations in reality, memory and your imagination. Engaging with this show is almost like chasing the curious feeling of deja vu.











There’s a closing talk by curator Tarin Hughes Saturday at 2pm. Try and check this show out if you have the chance!

IN THE MAKING at College Art Galleries, U of S Campus

In this next segment of 3 Gallery Shows You Need to See in YXE we are looking at In the Making at the College Art Galleries.

In my opinion, the College Art Galleries (located in the ground floor and 1st floor of the Admin Building on the U of S campus) have repeatedly and secretly been the best gallery shows in Saskatoon. Strangely, the College Galleries are often overlooked by the general public. If you appreciate art, In the Making needs to be seen.

Organized by Alberta College of Art + Design as an alumni show, the curator Diana Sherlock took a different approach. Rather than a broad survey of ACAD alumni, Sherlock looked at artists that have practices where their craft is merging with digital media/ technology. As an artist, I think about this all the time: is what I’m doing completely outdated? Should I be using technology to assist my process and/or be tied to the product? Does using technology (over completely handmade/ analogue) affect the worth of art? All of this is completely relevant and pretty interesting. Despite these art philosophy questions I ask myself, there are some really beautiful and intriguing work to check out.

Upon entering the lower gallery you are greeted with Dean Drever’s “Pass the Hat” which is a stack of laser cut papers to resemble a totem. To my recollection of Diana Sherlock’s curator talk, Dean Drever first made the totem out of wood, 3D photographed it and entered that data into the program that laser cut thousands of individual pieces of paper that were stacked to create this piece.


Along the wall on a shelf you’ll see a 10 piece china set Handle Series by Jenna Stanton. These were created by a 3D printed cast with the lips / edging hand finished. These porcelain vessels look perfectly made by a combination of machine and human hand.


Perhaps the most visually captivating sculpture is Brendan McGillicuddy’s Overtone. McGillicuddy designed this work using computer modelling software with the intent of using CNC machinery to mechanically produce it, but found that the machine couldn’t make it to his finishing standards. So he hand milled it, which is pretty amazing (I also like the custom made base that it rests on)


There’s a small room in the back of the gallery with a blue lit globe of liquid, Here in this room is a bit of fun. The dark room with the blue light gives a cool ambient mood and you’ll soon discover that the globe reacts to sound. Every sound made in the room is echoed in the globe by bubbles in the liquid. While I was viewing it, there were small children having a blast clapping, talking fast and yodelling to the globe. One creative boy laid under the globe and stared straight into it explaining that he felt like he was being abducted by aliens! Make sure you break typical gallery conduct and have some fun interactions with this piece.


I was captivated with a picture that appeared to look like a modern minimalist painting on a super glossy finish. The edges of the white lines in the work were intriguing to me. No wonder, it wasn’t a painting but photo.


^Ward Bastian was a glass blower that used photography to document his work. He fell for the images he made and began to create special glass works for the purpose of his photography practice. What you see here is Highlights 02 which is light reflecting off of black glass in a black room. Pretty cool stuff.

Many of the works in this show beg you to ask, “is the process more important than the product?”
For most of these works the products are amazing and by learning about the process they gain additional worth. There are some in this exhibition that are process driven.

For instance, the work of Hyang Cho. Hyang Cho listened to audio English translated version of Franz Kafka’s The Trial. And what a trial! While listening to the audio-book she attempted to transcribe it word for word on a giant scroll of Stonehenge paper until she ran out of room (over 6 times!). Hyang Cho tested herself in a performance aspect to become machine-like herself. Though maddening to think about attempting a task like this, there’s something interesting looking at her work compared to the original German version of the book. Does this serve as a document of her recollection of the book and how much is lost from the original version through translating, listening, transcribing.

It’s difficult to see this from the picture, but the writing is interesting. She kept straight and neat but lots of it is illegible and a form of shorthand. It’s also super long.

I’ve only gone through a few of my favorites. There are still 2/3 of the exhibition worth discovering for yourself.
Up until April 11th, In the Making is a show that you can’t miss!