Join us on Saturday March 20 at 2pm CT for a virtual artist talk with April Dean. This artist talk is presented in conjunction with Dean’s solo exhibition, Futures Barren/Futures Abundant, which is in the gallery from March 12 – April 16, 2021.
Please review our COVID-19 procedures in full here.
ASL interpretation is available by request for Deaf attendees. Requests must be submitted by 5pm on Wednesday March 17 to firstname.lastname@example.org.
The virtual artist talk will be delivered via Zoom. To access this event, join the Zoom meeting at 2pm CT on March 20 by clicking on this link: https://zoom.us/j/91741113797 or by using this meeting ID: 917 4111 3797.
Zoom’s automatic closed captioning function will be enabled during the presentation. You do not need to download Zoom ahead of time, but you may do so at https://zoom.us.
This event will be recorded. Please turn off your video when joining the Zoom meeting if you prefer not to be recorded.
The artist talk is free to attend and open to the public.
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April Dean is a visual artist living in Treaty 6 territory, in Amiskwaciwâskahikan (Edmonton, Alberta, Canada). Her work has been exhibited across Canada and Internationally in a number of group exhibitions. She is an arts & culture administrator, community advocate, sometimes writer, and often a teacher. With formal training in photographic technology and printmaking, her work is constructed of lens-based and language fragments. In 2012 she was granted a Master of Fine Arts Degree in Fine & Media Art from NSCAD University in Halifax, Nova Scotia. She is the Executive Director of the Society of Northern Alberta Print-Artists (SNAP), a non-profit & artist-run centre.
Late-stage capitalism has us trapped in our role as consumer and in fierce and almost constant competition for what is sold to us as limited resources and a threat of scarcity. Looking for ways to resist this narrative, affirm my belief that we are living in a time of abundance, and that there is, in fact, “enough,” I turned my attention to the houseplant as a locus, symbol, and metaphor to work through these ideas. In my art practice and my life outside the studio the houseplant has continued to foster a sense of growing care and value for relationships that exist beyond language. It has also been a constant reminder of the extractive and deeply problematic colonial worldview where ”nature” is something to be owned rather than cared for. Gazing out the window upon a manicured lawn, carefully organized garden or urban park, I’ve been trained all my life to understand the outside, the other side of the window pane, as a separate system and not as one I am inextricably a part of. Can the work of trying to unlearn and relearn better systems of coexistence be accomplished through work in the studio? What does the context of art making have to do with reimaging an abundant future? Does printmaking and all the community mindedness inherent to its practice offer lessons in how to move forward? The works offered in Futures Barren / Futures Abundant feel fragmented and layered much like these questions, as they keep coming together and then drifting apart, resisting any sense of solid ground but rather forming more questions, and framing more views of possible futures.