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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...
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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...
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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...
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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...
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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...
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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...
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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...
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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...
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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...
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Editor's Note: Re-Ornamentation
Kapwani Kiwanga, in her 2-channel sound installation 500 ft at Esker Foundation—part of her exhibition A wall is just a wall (and nothing more at all)—gives a 12-minute oral history of institutional...