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• The Wrong Side of the Tracks

  The need to run away, to escape and be independent from others mixes with the desire for relationships, for sex, for friendship, for Lady Bird’s mother to talk...

• Creating a Baseline

  *Ted Stenson: Can you tell me about the very beginning of this project? How long ago did you start working on it?* Gillian McKercher: The formal start was...

• Creating a Baseline

  *TS: Was it hard to get rid of things because of the autobiographical aspect of the script?* GM: It’s a balance. The story is informed by personal experience, but...

• Creating a Baseline

  *TS: You’ve never done something on this scale before. What has it been like making these kind of decisions? And how are you figuring out what you need...

• Creating a Baseline

  *TS: What has surprised you about this process so far?* GM: Finding that people believe in my project and that people want to help me. I think there’s...

• Crossing Borders

  More fences flash by six years later—this time at Esker Foundation in Calgary, Alberta. Fences of different patterns, designs, and materials change and morph throughout Postcommodity’s four-channel projection, A...

• Crossing Borders

  The fence, the focus of A Very Long Line, is the symbol of constructed nationalism and a tool to shift transborder discourse. In an earlier related project discussing...

• Crossing Borders

  The fences in A Very Long Line run in horizontal lines, then in tightly staggered vertical lines; most ominous are the heavy metal forms crossed to create forbidding...

• Adam Waldron-Blain

  *Adam Waldron-Blain* is a famous artist in Edmonton. In recent years, his works have appeared in shows at Confederation Centre Art Gallery and the Art Gallery of Alberta, as...

• Nicole Kelly Westman

  *Nicole Kelly Westman* is a visual artist of Métis and Icelandic descent. She grew up in a supportive home with strong-willed parents—her mother, a considerate woman with inventive creativity, and...