All artworks by Dawn Saunders Dahl
Alberta Farm Women Project • 10 artworks
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Alberta Farm Women is an exhibit that will be shown at the Red Deer and District Museum in 2009 that[...]
Alberta Farm Women is an exhibit that will be shown at the Red Deer and District Museum in 2009 that will combine the documentary genres of photography, video and sound recording, and portraiture.
Agriculture is a vital industry to our province and rural women have been indispensable to its development. Alberta Farm Women commemorates and documents the present time by examining current rural culture, its presence in Alberta and the determination of its unique rural women. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. This exhibit shows the hardships and stresses that have become reflected in their hands, faces and language to show a sense of the immediate and the actual, of these women’s perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
These are not famous women, but women whose daily work and sacrifice have contributed to the well being of our lives. (Rogers, p.10) Without the dedication, hard work and the vision that farm women brought to their community and organizational work, many fundamental services to Albertans would not exist. From the first generation of homesteaders to today, farm women invested themselves in the betterment of the society in which they live pushing for reform, for resources and for reasonable decision making that put the welfare of the people first. (Langford, p.125) Through this project, traces of their work and lives have been documented, so that they do not disappear unnoted, creating an awareness of their role in the western prairie community. All Albertans, urban and rural, gain from the work of the few, are the beneficiaries and are in their debt. To these women of foresight and determination and action, we all owe a debt of gratitude and recognition. By unearthing these stories we are reminded of how easily the erasure of history can occur and of how important it is to document these pieces of Canadian history.
I have been compelled to record this critical moment in rural life, which has been slowly disappearing, to portray an extraordinary intimacy and rich reference to Alberta’s rural and agricultural history. New aspects of this work will be shown at The Red Deer Museum Exhibit and will be incorporated by discussing and documenting my conversations with the farming women of Camrose and Stettler. I see this project as an exploration, and the art work that would emerge as being born of a relationship of collaboration, rather than the traditional relationship of artist to subject. My research involves dialogues with these women inquiring how they feel about the change in their community and how they would like to see themselves portrayed in appearance, in place, and with the tools and objects they interact with each day. The creation and assembly of the artwork has been guided by these desires and perceptions, emphasizing the values and ideas expressed by these women about life, family, farming, Alberta and art. My aim is to capture the small gestures, quirks, glances and fleeting moments, which are reflective of their daily lives, commemorating and documenting the present time, capturing a snapshot after Alberta’s historic centennial year.
Langford, Nanci. Politics, Pitchforks and Pickle Jars. (1997) Detselig Enterprises. Calgary, Alberta. p.27 and 125.
Rogers, Susan. Alberta’s Unsung Heroines. (2005) Artiza Ltd. Edmonton, Alberta. p.10.
Agriculture is a vital industry to our province and rural women have been indispensable to its development. Alberta Farm Women commemorates and documents the present time by examining current rural culture, its presence in Alberta and the determination of its unique rural women. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. This exhibit shows the hardships and stresses that have become reflected in their hands, faces and language to show a sense of the immediate and the actual, of these women’s perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
These are not famous women, but women whose daily work and sacrifice have contributed to the well being of our lives. (Rogers, p.10) Without the dedication, hard work and the vision that farm women brought to their community and organizational work, many fundamental services to Albertans would not exist. From the first generation of homesteaders to today, farm women invested themselves in the betterment of the society in which they live pushing for reform, for resources and for reasonable decision making that put the welfare of the people first. (Langford, p.125) Through this project, traces of their work and lives have been documented, so that they do not disappear unnoted, creating an awareness of their role in the western prairie community. All Albertans, urban and rural, gain from the work of the few, are the beneficiaries and are in their debt. To these women of foresight and determination and action, we all owe a debt of gratitude and recognition. By unearthing these stories we are reminded of how easily the erasure of history can occur and of how important it is to document these pieces of Canadian history.
I have been compelled to record this critical moment in rural life, which has been slowly disappearing, to portray an extraordinary intimacy and rich reference to Alberta’s rural and agricultural history. New aspects of this work will be shown at The Red Deer Museum Exhibit and will be incorporated by discussing and documenting my conversations with the farming women of Camrose and Stettler. I see this project as an exploration, and the art work that would emerge as being born of a relationship of collaboration, rather than the traditional relationship of artist to subject. My research involves dialogues with these women inquiring how they feel about the change in their community and how they would like to see themselves portrayed in appearance, in place, and with the tools and objects they interact with each day. The creation and assembly of the artwork has been guided by these desires and perceptions, emphasizing the values and ideas expressed by these women about life, family, farming, Alberta and art. My aim is to capture the small gestures, quirks, glances and fleeting moments, which are reflective of their daily lives, commemorating and documenting the present time, capturing a snapshot after Alberta’s historic centennial year.
Langford, Nanci. Politics, Pitchforks and Pickle Jars. (1997) Detselig Enterprises. Calgary, Alberta. p.27 and 125.
Rogers, Susan. Alberta’s Unsung Heroines. (2005) Artiza Ltd. Edmonton, Alberta. p.10.
Portraits • 38 artworks
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Surreal Work • 10 artworks
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ARTIST STATEMENT
“We are all like babies and magpies – attracted to the glittery and bright eye candy[...]
ARTIST STATEMENT
“We are all like babies and magpies – attracted to the glittery and bright eye candy helps to keep us enraptured.” Jen Budney on Laurie Anderson
While MTV-711-fastfood-culture image bombardment may be the fastest, most marketable way to publish a message, fine art is an enticing and engaging method of communication. Our world has become so overloaded with imagery, which many of us are subjected to on a daily basis, it leaves us little time to assimilate and evaluate the information. My visual foundation, inspired by life in the real world, evokes moods and memories that reveal a playground of personal revelations. It is my wish that the viewer can relate to my paintings through their own childhood memories and dreams.
With the use of ‘sparkle paint’ and kitsch imagery I question the role of fine art in today’s society. Incorporating titles from morning cartoons and sitcoms, using specific colors and images, memories are captured from my collective TV childhood past. In my paintings strange juxtapositions are created between the environments and people, a place where these images draw upon dreams. These symbolic clues are a result of the cultivation of experiences – experiences that create an aura of mystery, challenge my imagination and captivate me. By mixing memory, fate and chance, I describe and create my own record of the passage of place and time. This act of piecing together mundane acts in familiar places may be disconcerting to the viewer, but they are ciphers to the content of the paintings. This work provides bountiful promises of fantasy and utopia alluding to the desires of freedom. It is here where there is freedom and joy exists with the rediscovery of a sense of play.
Art today is becoming more and more perfect and in control. I am interested in revealing how traditional drawing and painting do not seem as in control as other mediums. Media heavily influences the way we perceive our surroundings and the people around us. Does the media shape our concept of the world so much that it envelopes our existing surroundings and becomes our new reality?
I was born under the astrological sign of Gemini (twins) - the sign of communication and of having “two minds.” My fascination with the supernatural and the unknown, mixed with my childhood memories heavily influences my art work. These worlds have collided in my practice by mixing dreams with chance, reality with illusions, humor with innocence and tradition with popular culture. My art making processes stem from an intense formal education and an appreciation of traditional drawing and painting practices as well as performance and installation works.
By renewing traditional drawing, compositional and color theories and mixing them with pop iconography, I transform these realities with my daydreams. Using drawing as my main anchor, a hypothesis of possible developments is represented; ideas of speculation and identification establish a relationship within a possible reality. Memory is an internal process within my personal reality which encompasses elements of depiction and expression. The origin of my work is revealed through visual experiences from the past which are held in my memory. Through this recollection of familiar objects, people, places I am influenced by what I perceive. I am moving towards recognition, a re-counter with the formal unities which first took my attention and were lodged in my memory.
Through drawing, I recall visual experiences distanced from the past. We are visual people and communicate through expression, gesture and perceive emotion through color and line. My intent is to continue to merge all aspects of my work and find an answer to what my reality is.
“We are all like babies and magpies – attracted to the glittery and bright eye candy helps to keep us enraptured.” Jen Budney on Laurie Anderson
While MTV-711-fastfood-culture image bombardment may be the fastest, most marketable way to publish a message, fine art is an enticing and engaging method of communication. Our world has become so overloaded with imagery, which many of us are subjected to on a daily basis, it leaves us little time to assimilate and evaluate the information. My visual foundation, inspired by life in the real world, evokes moods and memories that reveal a playground of personal revelations. It is my wish that the viewer can relate to my paintings through their own childhood memories and dreams.
With the use of ‘sparkle paint’ and kitsch imagery I question the role of fine art in today’s society. Incorporating titles from morning cartoons and sitcoms, using specific colors and images, memories are captured from my collective TV childhood past. In my paintings strange juxtapositions are created between the environments and people, a place where these images draw upon dreams. These symbolic clues are a result of the cultivation of experiences – experiences that create an aura of mystery, challenge my imagination and captivate me. By mixing memory, fate and chance, I describe and create my own record of the passage of place and time. This act of piecing together mundane acts in familiar places may be disconcerting to the viewer, but they are ciphers to the content of the paintings. This work provides bountiful promises of fantasy and utopia alluding to the desires of freedom. It is here where there is freedom and joy exists with the rediscovery of a sense of play.
Art today is becoming more and more perfect and in control. I am interested in revealing how traditional drawing and painting do not seem as in control as other mediums. Media heavily influences the way we perceive our surroundings and the people around us. Does the media shape our concept of the world so much that it envelopes our existing surroundings and becomes our new reality?
I was born under the astrological sign of Gemini (twins) - the sign of communication and of having “two minds.” My fascination with the supernatural and the unknown, mixed with my childhood memories heavily influences my art work. These worlds have collided in my practice by mixing dreams with chance, reality with illusions, humor with innocence and tradition with popular culture. My art making processes stem from an intense formal education and an appreciation of traditional drawing and painting practices as well as performance and installation works.
By renewing traditional drawing, compositional and color theories and mixing them with pop iconography, I transform these realities with my daydreams. Using drawing as my main anchor, a hypothesis of possible developments is represented; ideas of speculation and identification establish a relationship within a possible reality. Memory is an internal process within my personal reality which encompasses elements of depiction and expression. The origin of my work is revealed through visual experiences from the past which are held in my memory. Through this recollection of familiar objects, people, places I am influenced by what I perceive. I am moving towards recognition, a re-counter with the formal unities which first took my attention and were lodged in my memory.
Through drawing, I recall visual experiences distanced from the past. We are visual people and communicate through expression, gesture and perceive emotion through color and line. My intent is to continue to merge all aspects of my work and find an answer to what my reality is.
Sparkle paintings • 12 artworks
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Dog Portraits • 11 artworks
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Murals and Installations • 13 artworks
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Nudes • 13 artworks
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Ceramic Work • 19 artworks
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Bats in the Belfry • 27 artworks
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CURATORIAL STATEMENT FOR BATS IN THE BELFRY
Why do fine artists do what they do when new methods of[...]
CURATORIAL STATEMENT FOR BATS IN THE BELFRY
Why do fine artists do what they do when new methods of art making, such as web work and animated shorts, are more accessible to the general public? Has fine art become so far removed from our lives that it is unintelligible? Are we only preaching to the choir? Is it only other artists that seek meaning in traditional-media based works? Is art, if not dead, at least silent?
The visual world is driven by digital and moving media and our attention span has followed this trend. We are subjected to a rapid barrage of images on a daily basis, leaving us little time to assimilate and evaluate the information, and critical, independent thinking often falls by the wayside. Does fine art have to be a quick fix bombarded by media, colors and motions for a message to get through? While MTV-711-fastfoodculture-bombarded images may be the fastest, most marketable way to publish a message, fine art is an engaging method. More importantly, it not only informs, but communicates. Fine art in any medium demands an engaged response, fostering a dialogue and leading the viewer to his or her own conclusion, and necessarily, some form of understanding.
Bats in Belfry represents a broad range of artists that are linked together by their ‘painterly’ approaches, especially in regards to the influence traditional fine art making skills has had on each artist. This recognition can be seen with their use of color, light, line and composition; all of which emphasize their creativity and ideas. By exhibiting works in oil or clay along side electronically based pieces, we prove that each are as artistically legitimate as the other and that the two don’t have to be mutually exclusive. Creating this exhibition shows that while the medium might be the message, it doesn’t have to restrict it. As curators, we believe that this exhibit will revive an interest in fine art within the art community as a viable method of communication; be it as a means of resistance, a catalyst for change, an exclamation of belonging, or a personal message.
Bats in the Belfry proves that despite rumours of paintings’ demise there are still young artists intrigued and attracted to all forms of art making. Fine art, regardless of medium, is used as a means for communication, whether it is a socio-political statement or the sheer joy of process, and confirms once again that for as long as humans engage in art-making, fine art will have something to say to those with the eyes to hear it.
March 31, 2004
Dawn Saunders Dahl
Curator
Why do fine artists do what they do when new methods of art making, such as web work and animated shorts, are more accessible to the general public? Has fine art become so far removed from our lives that it is unintelligible? Are we only preaching to the choir? Is it only other artists that seek meaning in traditional-media based works? Is art, if not dead, at least silent?
The visual world is driven by digital and moving media and our attention span has followed this trend. We are subjected to a rapid barrage of images on a daily basis, leaving us little time to assimilate and evaluate the information, and critical, independent thinking often falls by the wayside. Does fine art have to be a quick fix bombarded by media, colors and motions for a message to get through? While MTV-711-fastfoodculture-bombarded images may be the fastest, most marketable way to publish a message, fine art is an engaging method. More importantly, it not only informs, but communicates. Fine art in any medium demands an engaged response, fostering a dialogue and leading the viewer to his or her own conclusion, and necessarily, some form of understanding.
Bats in Belfry represents a broad range of artists that are linked together by their ‘painterly’ approaches, especially in regards to the influence traditional fine art making skills has had on each artist. This recognition can be seen with their use of color, light, line and composition; all of which emphasize their creativity and ideas. By exhibiting works in oil or clay along side electronically based pieces, we prove that each are as artistically legitimate as the other and that the two don’t have to be mutually exclusive. Creating this exhibition shows that while the medium might be the message, it doesn’t have to restrict it. As curators, we believe that this exhibit will revive an interest in fine art within the art community as a viable method of communication; be it as a means of resistance, a catalyst for change, an exclamation of belonging, or a personal message.
Bats in the Belfry proves that despite rumours of paintings’ demise there are still young artists intrigued and attracted to all forms of art making. Fine art, regardless of medium, is used as a means for communication, whether it is a socio-political statement or the sheer joy of process, and confirms once again that for as long as humans engage in art-making, fine art will have something to say to those with the eyes to hear it.
March 31, 2004
Dawn Saunders Dahl
Curator
An Indelible Era • 42 artworks
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An Indelible Era - 25 Influential Years
From sculpture to painting, drawing to video, installation[...]
An Indelible Era - 25 Influential Years
From sculpture to painting, drawing to video, installation to pots; a myriad of aesthetic
approaches, and techniques are featured in “Indelible Era.” The thirty diverse artists featured in this exhibition are tied together by a common thread. As aspiring artists our career journeys began at Red Deer College where we were mentored by instructors, Charles Wissinger and Joseph Reeder.
Chuck and Joe’s teaching style combined a fierce passion and pragmatism which included a deep belief in their students. As role models they inspired us to pursue the potential of our dreams and gave us the tools to do so. We were encouraged to take risks, face challenges, work hard, embrace the unexpected, and believe in the value of our art and ourselves. Chuck and Joe brought the rich history of Alberta and Canada alive by encouraging us to use it as a beacon to light our individual paths into the world of contemporary art. They taught us to not be seduced by the flavor of the day but to embrace our heritage, to learn from the past while boldly launching into the future. “An Indelible Era” exhibits the culmination of their efforts as committed instructors and mentors.
Wissinger and Reeder’s gift to us stretched far beyond traditional classroom interaction. They committed endless hours guiding us through the Art Biz Maze that conventional student/teacher interaction does not touch on. Wissinger and Reeder went to extraordinary lengths to plug students into real world experiences. To this end they maintained a strong relationship with “The Works Festival” from it’s inception in 1986. Their avid support of The Works became a gateway and learning tool, which led to various opportunities for many of us. All of the artists featured in this exhibit have shared in the RDC/The Works collaboration as employees, project apprentices and/or exhibitors. While opening the doors into the professional art world, the RDC/The Works collaboration left an “Indelible” mark on Alberta Art History by producing a number of the festivals premier events.
Wissinger and Reeder’s tireless efforts assured that the artists exhibited here were armed with the tools that each individual would need to leave his or her indelible mark on Alberta, and the world beyond. We have excelled in our careers by fervently pursuing our dreams and passionately continuing to create art. What is truly indelible here is a communal spirit that is passed from generation to generation. This exhibition provides an opportunity to share this spirit with our fellow Albertans, and thank Chuck and Joseph for their passing the flame to us. They have truly left their Indelible Mark on each of us.
Dawn Saunders Dahl
March 10, 2005
From sculpture to painting, drawing to video, installation to pots; a myriad of aesthetic
approaches, and techniques are featured in “Indelible Era.” The thirty diverse artists featured in this exhibition are tied together by a common thread. As aspiring artists our career journeys began at Red Deer College where we were mentored by instructors, Charles Wissinger and Joseph Reeder.
Chuck and Joe’s teaching style combined a fierce passion and pragmatism which included a deep belief in their students. As role models they inspired us to pursue the potential of our dreams and gave us the tools to do so. We were encouraged to take risks, face challenges, work hard, embrace the unexpected, and believe in the value of our art and ourselves. Chuck and Joe brought the rich history of Alberta and Canada alive by encouraging us to use it as a beacon to light our individual paths into the world of contemporary art. They taught us to not be seduced by the flavor of the day but to embrace our heritage, to learn from the past while boldly launching into the future. “An Indelible Era” exhibits the culmination of their efforts as committed instructors and mentors.
Wissinger and Reeder’s gift to us stretched far beyond traditional classroom interaction. They committed endless hours guiding us through the Art Biz Maze that conventional student/teacher interaction does not touch on. Wissinger and Reeder went to extraordinary lengths to plug students into real world experiences. To this end they maintained a strong relationship with “The Works Festival” from it’s inception in 1986. Their avid support of The Works became a gateway and learning tool, which led to various opportunities for many of us. All of the artists featured in this exhibit have shared in the RDC/The Works collaboration as employees, project apprentices and/or exhibitors. While opening the doors into the professional art world, the RDC/The Works collaboration left an “Indelible” mark on Alberta Art History by producing a number of the festivals premier events.
Wissinger and Reeder’s tireless efforts assured that the artists exhibited here were armed with the tools that each individual would need to leave his or her indelible mark on Alberta, and the world beyond. We have excelled in our careers by fervently pursuing our dreams and passionately continuing to create art. What is truly indelible here is a communal spirit that is passed from generation to generation. This exhibition provides an opportunity to share this spirit with our fellow Albertans, and thank Chuck and Joseph for their passing the flame to us. They have truly left their Indelible Mark on each of us.
Dawn Saunders Dahl
March 10, 2005
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Biography
I was born in Edmonton, Alberta and resided there for six years. My family and I then moved to Camrose, Alberta onto a small acreage and then onto a milk farm outside of Stettler, Alberta Living in the country in such a large, quiet space and working hard on a farm has affected my outlook towards life and my personal work ethic.
I attended Red Deer College from 1993-1996, where two instructors immensely influenced what I created and how I thought about art. Anna Loseva was my painting instructor, a Russian who had an intense technical background that specialized in Old Master painting and drawing techniques. Charles Wissinger was my ceramic instructor, who brought his own values and views into the class of what art and life meant to him
After Red Deer College I entered the Alberta College of Art and Design in Calgary. I received my Bachelor of Fine Art degree from the painting program in 1998. In 1999 I continued my education at ACAD and received my Bachelor of Fine Art degree in ceramics. After graduation I was the gallery co-ordinator for Untitled Art Society, an artist run co-operative in Calgary. Today I continue to organize various group shows within other venues in Calgary and Edmonton.
I attended CAMAC Center D’Art, an artist residency program one hour south of Paris, France. For two months I had the opportunity to continue to create work, visit contemporary galleries and artist run centers in France and London, England. I exhibited Mnemonics in France and upon my return to Canada I exhibited Mnemonics again at The Works Festival in Edmonton, Alberta.
Alberta Farm Women will be presented at the Red Deer Museum in July of 2009.
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- Groups: Contemporary Canadian Artists
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Last modification date : Apr 8, 2013
(Member since 2002)
Image views: 68,358
Artworks by Dawn Saunders Dahl added to favorite collections: 9
Latest News
All the latest news from contemporary artist Dawn Saunders Dahl
Added Dec 10, 2008
Alberta Farm Women
Saturday
25
July
2009
Monday
7
September
2009
Added Dec 10, 2008
Press release
ALL images are property of DAWN SAUNDERS DAHL and are NOT to be used, copied or reproduced in anyway without expressed / written permission of the artist.
"Farm Women of Alberta"
July 25 - September 27, 2009
Opening Reception will be on July 26, 2009 Meet the Artist Coffee Party
Red Deer and District Museum
4525-47A Avenue Red Deer, Alberta
Inspired by Alberta’s Centennial celebrations, I will embark on a journey to record and research the lives of unrecognized rural women from Alberta’s present agricultural milieu in order to produce a body of mixed media art work combining the documentary genres of photography, sound recording, and portraiture. This project will be exhibited in the fall of 2007 in two central Alberta communities, Camrose and Botha (Stettler)and at the Red Deer and District Museum in 2009.
Agriculture has been a vital industry to our province and I have recognized that rural women have been indispensable to its development. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. As the province of Alberta was formed one hundred years ago, women were in the fields, breaking land and making homes. I grew up in the farming communities of Camrose and Stettler, surrounded by strong women, where this strong work ethic has continued to be an essential, but forgotten, force on the farm. It is my aim to examine the idea of rural life, its myths and truths, as well as enhance awareness about its slow disappearance. There are many perceptions about rural life being an idyllic, peaceful lifestyle, which is true in some aspects and occurs to a certain degree. I seek to portray different views of farm life, including imagery in the unfolding narratives as told by these women. These images will reflect the hardships and stresses that have become reflected in their hands, faces and language to emulate a sense of the immediate and the actual, of these womens’ perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
This project will reflect a sense of the immediate and the actual, of their perceptions and realities, and of life unfolding as it really is. The portraits will be of the small gestures, quirks, glances and fleeting moments are reflective of their daily lives. In these portraits these women will be dressed in jeans, sweatshirts and trucker hats, with their precious tools from the farm, such as milk pails, garden hoes, work gloves and pitch forks. Through these portraits and interviews, these women will be celebrated for their contributions to the rich agricultural tradition and history of this province. By collaborating with these women and asking them how they would like to see themselves portrayed, the work will emphasize their ideas and values about life, family, farming, Alberta and art. In essence, this project will be snapshots of women who lead busy lives, paying homage to their strengths and the rich legacy they have left for their children and community.
"Farm Women of Alberta"
July 25 - September 27, 2009
Opening Reception will be on July 26, 2009 Meet the Artist Coffee Party
Red Deer and District Museum
4525-47A Avenue Red Deer, Alberta
Inspired by Alberta’s Centennial celebrations, I will embark on a journey to record and research the lives of unrecognized rural women from Alberta’s present agricultural milieu in order to produce a body of mixed media art work combining the documentary genres of photography, sound recording, and portraiture. This project will be exhibited in the fall of 2007 in two central Alberta communities, Camrose and Botha (Stettler)and at the Red Deer and District Museum in 2009.
Agriculture has been a vital industry to our province and I have recognized that rural women have been indispensable to its development. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. As the province of Alberta was formed one hundred years ago, women were in the fields, breaking land and making homes. I grew up in the farming communities of Camrose and Stettler, surrounded by strong women, where this strong work ethic has continued to be an essential, but forgotten, force on the farm. It is my aim to examine the idea of rural life, its myths and truths, as well as enhance awareness about its slow disappearance. There are many perceptions about rural life being an idyllic, peaceful lifestyle, which is true in some aspects and occurs to a certain degree. I seek to portray different views of farm life, including imagery in the unfolding narratives as told by these women. These images will reflect the hardships and stresses that have become reflected in their hands, faces and language to emulate a sense of the immediate and the actual, of these womens’ perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
This project will reflect a sense of the immediate and the actual, of their perceptions and realities, and of life unfolding as it really is. The portraits will be of the small gestures, quirks, glances and fleeting moments are reflective of their daily lives. In these portraits these women will be dressed in jeans, sweatshirts and trucker hats, with their precious tools from the farm, such as milk pails, garden hoes, work gloves and pitch forks. Through these portraits and interviews, these women will be celebrated for their contributions to the rich agricultural tradition and history of this province. By collaborating with these women and asking them how they would like to see themselves portrayed, the work will emphasize their ideas and values about life, family, farming, Alberta and art. In essence, this project will be snapshots of women who lead busy lives, paying homage to their strengths and the rich legacy they have left for their children and community.
Added Apr 22, 2007
Press release
"Farm Women Of Alberta"
November 1 - 30, 2007
Opening Recepetion
6:00 - 8:00 pm November 8, 2007
The Chuck MacLean Arts Centre
4806-52 Street
Camrose, Alberta
780.672.9949
"Farm Women of Alberta"
July 25 - September 27, 2009
Opening Reception will be on July 26, 2009 Meet the Artist Coffee Party
Red Deer and District Museum
4525-47A Avenue Red Deer, Alberta
Inspired by Alberta’s Centennial celebrations, I will embark on a journey to record and research the lives of unrecognized rural women from Alberta’s present agricultural milieu in order to produce a body of mixed media art work combining the documentary genres of photography, sound recording, and portraiture. This project will be exhibited in the fall of 2007 in two central Alberta communities, Camrose and Botha (Stettler)and at the Red Deer and District Museum in 2009.
Agriculture has been a vital industry to our province and I have recognized that rural women have been indispensable to its development. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. As the province of Alberta was formed one hundred years ago, women were in the fields, breaking land and making homes. I grew up in the farming communities of Camrose and Stettler, surrounded by strong women, where this strong work ethic has continued to be an essential, but forgotten, force on the farm. It is my aim to examine the idea of rural life, its myths and truths, as well as enhance awareness about its slow disappearance. There are many perceptions about rural life being an idyllic, peaceful lifestyle, which is true in some aspects and occurs to a certain degree. I seek to portray different views of farm life, including imagery in the unfolding narratives as told by these women. These images will reflect the hardships and stresses that have become reflected in their hands, faces and language to emulate a sense of the immediate and the actual, of these womens’ perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
This project will reflect a sense of the immediate and the actual, of their perceptions and realities, and of life unfolding as it really is. The portraits will be of the small gestures, quirks, glances and fleeting moments are reflective of their daily lives. In these portraits these women will be dressed in jeans, sweatshirts and trucker hats, with their precious tools from the farm, such as milk pails, garden hoes, work gloves and pitch forks. Through these portraits and interviews, these women will be celebrated for their contributions to the rich agricultural tradition and history of this province. By collaborating with these women and asking them how they would like to see themselves portrayed, the work will emphasize their ideas and values about life, family, farming, Alberta and art. In essence, this project will be snapshots of women who lead busy lives, paying homage to their strengths and the rich legacy they have left for their children and community.
November 1 - 30, 2007
Opening Recepetion
6:00 - 8:00 pm November 8, 2007
The Chuck MacLean Arts Centre
4806-52 Street
Camrose, Alberta
780.672.9949
"Farm Women of Alberta"
July 25 - September 27, 2009
Opening Reception will be on July 26, 2009 Meet the Artist Coffee Party
Red Deer and District Museum
4525-47A Avenue Red Deer, Alberta
Inspired by Alberta’s Centennial celebrations, I will embark on a journey to record and research the lives of unrecognized rural women from Alberta’s present agricultural milieu in order to produce a body of mixed media art work combining the documentary genres of photography, sound recording, and portraiture. This project will be exhibited in the fall of 2007 in two central Alberta communities, Camrose and Botha (Stettler)and at the Red Deer and District Museum in 2009.
Agriculture has been a vital industry to our province and I have recognized that rural women have been indispensable to its development. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. As the province of Alberta was formed one hundred years ago, women were in the fields, breaking land and making homes. I grew up in the farming communities of Camrose and Stettler, surrounded by strong women, where this strong work ethic has continued to be an essential, but forgotten, force on the farm. It is my aim to examine the idea of rural life, its myths and truths, as well as enhance awareness about its slow disappearance. There are many perceptions about rural life being an idyllic, peaceful lifestyle, which is true in some aspects and occurs to a certain degree. I seek to portray different views of farm life, including imagery in the unfolding narratives as told by these women. These images will reflect the hardships and stresses that have become reflected in their hands, faces and language to emulate a sense of the immediate and the actual, of these womens’ perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
This project will reflect a sense of the immediate and the actual, of their perceptions and realities, and of life unfolding as it really is. The portraits will be of the small gestures, quirks, glances and fleeting moments are reflective of their daily lives. In these portraits these women will be dressed in jeans, sweatshirts and trucker hats, with their precious tools from the farm, such as milk pails, garden hoes, work gloves and pitch forks. Through these portraits and interviews, these women will be celebrated for their contributions to the rich agricultural tradition and history of this province. By collaborating with these women and asking them how they would like to see themselves portrayed, the work will emphasize their ideas and values about life, family, farming, Alberta and art. In essence, this project will be snapshots of women who lead busy lives, paying homage to their strengths and the rich legacy they have left for their children and community.
Added Jul 21, 2006
The Canadian Portrait
4525-47A Avenue
Saturday
29
July
2006
Sunday
24
September
2006
The Canadian Portrait: a Juried Exhibit from the Canadian Institute of Portrait Artists Donors Gallery
The Canadian Institute of Portrait Artists (CIPA) was created in 1999 by Vancouver artist, Daniel Izzard and his wife Pilar. They have grown from 13 local artists to nearly 100 members across the country. They strive to create an environment of fellowship and mutual support for artists, critics and individuals interested in portraiture.
This year's submission judge will be Mr. John Hall, RCA
John Hall was trained in art at the Alberta College of Art, Calgary and the Instituto Allende, Mexico in the 1960s. Since completing his studies in 1966, he has lived and worked in Calgary, Alberta; Delaware, Ohio; New York; San Miguel de Allende, Mexico and, most recently, Kelowna, British Columbia. Hall has held teaching positions in art at Ohio Wesleyan University, the Alberta College of Art and Design, the University of Calgary (where he recently retired from a full professorship in painting and drawing) and the Okanagan University College. Currently he holds a professorship emeritus at the University of Calgary. He now lives and works in Kelowna, British Columbia.
John Hall was elected to membership in the Royal Canadian Academy of Arts in 1975. John Hall is represented in many public collections including: the Art Gallery of Nova Scotia, the National Gallery of Canada, the Art Gallery of Ontario, the Montreal Museum of Fine Arts, the Winnipeg Art Gallery, Glenbow Museum, Edmonton Art Gallery, the Art Gallery of Hamilton, Mendel Art Gallery, Kitchener/Waterloo Art Gallery, the Confederation Art Gallery & Museum and the Mackenzie Art Gallery.
John Hall is also represented in many private and corporate collections.
Added Jul 21, 2006
Farm Women of Alberta
Botha Hall
Wednesday
1
August
2007
Tuesday
7
August
2007
Inspired by Alberta’s Centennial celebrations, I will embark on a journey to record and research the lives of unrecognized rural women from Alberta’s present agricultural milieu in order to produce a body of mixed media art work combining the documentary genres of photography, sound recording, and portraiture. This project will be exhibited in the fall of 2007 in two central Alberta communities, Camrose and Stettler and at the Red Deer and District Museum in 2009.
Agriculture has been a vital industry to our province and I have recognized that rural women have been indispensable to its development. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. As the province of Alberta was formed one hundred years ago, women were in the fields, breaking land and making homes. I grew up in the farming communities of Camrose and Stettler, surrounded by strong women, where this strong work ethic has continued to be an essential, but forgotten, force on the farm. It is my aim to examine the idea of rural life, its myths and truths, as well as enhance awareness about its slow disappearance. There are many perceptions about rural life being an idyllic, peaceful lifestyle, which is true in some aspects and occurs to a certain degree. I seek to portray different views of farm life, including imagery in the unfolding narratives as told by these women. These images will reflect the hardships and stresses that have become reflected in their hands, faces and language to emulate a sense of the immediate and the actual, of these womens’ perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
This project will reflect a sense of the immediate and the actual, of their perceptions and realities, and of life unfolding as it really is. The portraits will be of the small gestures, quirks, glances and fleeting moments are reflective of their daily lives. In these portraits these women will be dressed in jeans, sweatshirts and trucker hats, with their precious tools from the farm, such as milk pails, garden hoes, work gloves and pitch forks. Through these portraits and interviews, these women will be celebrated for their contributions to the rich agricultural tradition and history of this province. By collaborating with these women and asking them how they would like to see themselves portrayed, the work will emphasize their ideas and values about life, family, farming, Alberta and art. In essence, this project will be snapshots of women who lead busy lives, paying homage to their strengths and the rich legacy they have left for their children and community.
Added Jul 21, 2006
Farm Women Of Alberta
Chuck MacLean Arts Centre
Sunday
12
August
2007
Wednesday
29
August
2007
Inspired by Alberta’s Centennial celebrations, I will embark on a journey to record and research the lives of unrecognized rural women from Alberta’s present agricultural milieu in order to produce a body of mixed media art work combining the documentary genres of photography, sound recording, and portraiture. This project will be exhibited in the fall of 2007 in two central Alberta communities, Camrose and Stettler and at the Red Deer and District Museum in 2009.
Agriculture has been a vital industry to our province and I have recognized that rural women have been indispensable to its development. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. As the province of Alberta was formed one hundred years ago, women were in the fields, breaking land and making homes. I grew up in the farming communities of Camrose and Stettler, surrounded by strong women, where this strong work ethic has continued to be an essential, but forgotten, force on the farm. It is my aim to examine the idea of rural life, its myths and truths, as well as enhance awareness about its slow disappearance. There are many perceptions about rural life being an idyllic, peaceful lifestyle, which is true in some aspects and occurs to a certain degree. I seek to portray different views of farm life, including imagery in the unfolding narratives as told by these women. These images will reflect the hardships and stresses that have become reflected in their hands, faces and language to emulate a sense of the immediate and the actual, of these womens’ perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
This project will reflect a sense of the immediate and the actual, of their perceptions and realities, and of life unfolding as it really is. The portraits will be of the small gestures, quirks, glances and fleeting moments are reflective of their daily lives. In these portraits these women will be dressed in jeans, sweatshirts and trucker hats, with their precious tools from the farm, such as milk pails, garden hoes, work gloves and pitch forks. Through these portraits and interviews, these women will be celebrated for their contributions to the rich agricultural tradition and history of this province. By collaborating with these women and asking them how they would like to see themselves portrayed, the work will emphasize their ideas and values about life, family, farming, Alberta and art. In essence, this project will be snapshots of women who lead busy lives, paying homage to their strengths and the rich legacy they have left for their children and community.
Added Jun 19, 2006
Press release
The Canadian Portrait - a Juried Exhibition from the Canadian Institute of Portrait Artists
July 29 to September 24, 2006
Opening Reception July 30, 2006
4525-47A Avenue Red Deer, Alberta
The Canadian Institute of Portrait Artists (CIPA) was created in 199 by Vancouver artist, Daniel Izzard and his wife Pilar. They have grown from 13 local artists to nearly 100 members across the country. They strive to create an environment of fellowship and mutual support for artists, critics and individuals interested in portraiture.
"Farm Women Of Alberta"
August 1 - 7, 2007
Opening Recpetion August 1, 2007
Botha, Alberta
Botha Community Hall
"Farm Women of Alberta"
September 12- September 29,2007
Opening Recpetion September 16, 2007
The Chuck MacLean Arts Centre
Camrose, Alberta
"Farm Women of Alberta"
July 25 - September 27, 2009
Opening Reception will be on July 26, 2009 Meet the Artist Coffee Party
Red Deer and District Museum
4525-47A Avenue Red Deer, Alberta
Inspired by Alberta’s Centennial celebrations, I will embark on a journey to record and research the lives of unrecognized rural women from Alberta’s present agricultural milieu in order to produce a body of mixed media art work combining the documentary genres of photography, sound recording, and portraiture. This project will be exhibited in the fall of 2007 in two central Alberta communities, Camrose and Botha (Stettler)and at the Red Deer and District Museum in 2009.
Agriculture has been a vital industry to our province and I have recognized that rural women have been indispensable to its development. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. As the province of Alberta was formed one hundred years ago, women were in the fields, breaking land and making homes. I grew up in the farming communities of Camrose and Stettler, surrounded by strong women, where this strong work ethic has continued to be an essential, but forgotten, force on the farm. It is my aim to examine the idea of rural life, its myths and truths, as well as enhance awareness about its slow disappearance. There are many perceptions about rural life being an idyllic, peaceful lifestyle, which is true in some aspects and occurs to a certain degree. I seek to portray different views of farm life, including imagery in the unfolding narratives as told by these women. These images will reflect the hardships and stresses that have become reflected in their hands, faces and language to emulate a sense of the immediate and the actual, of these womens’ perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
This project will reflect a sense of the immediate and the actual, of their perceptions and realities, and of life unfolding as it really is. The portraits will be of the small gestures, quirks, glances and fleeting moments are reflective of their daily lives. In these portraits these women will be dressed in jeans, sweatshirts and trucker hats, with their precious tools from the farm, such as milk pails, garden hoes, work gloves and pitch forks. Through these portraits and interviews, these women will be celebrated for their contributions to the rich agricultural tradition and history of this province. By collaborating with these women and asking them how they would like to see themselves portrayed, the work will emphasize their ideas and values about life, family, farming, Alberta and art. In essence, this project will be snapshots of women who lead busy lives, paying homage to their strengths and the rich legacy they have left for their children and community.
July 29 to September 24, 2006
Opening Reception July 30, 2006
4525-47A Avenue Red Deer, Alberta
The Canadian Institute of Portrait Artists (CIPA) was created in 199 by Vancouver artist, Daniel Izzard and his wife Pilar. They have grown from 13 local artists to nearly 100 members across the country. They strive to create an environment of fellowship and mutual support for artists, critics and individuals interested in portraiture.
"Farm Women Of Alberta"
August 1 - 7, 2007
Opening Recpetion August 1, 2007
Botha, Alberta
Botha Community Hall
"Farm Women of Alberta"
September 12- September 29,2007
Opening Recpetion September 16, 2007
The Chuck MacLean Arts Centre
Camrose, Alberta
"Farm Women of Alberta"
July 25 - September 27, 2009
Opening Reception will be on July 26, 2009 Meet the Artist Coffee Party
Red Deer and District Museum
4525-47A Avenue Red Deer, Alberta
Inspired by Alberta’s Centennial celebrations, I will embark on a journey to record and research the lives of unrecognized rural women from Alberta’s present agricultural milieu in order to produce a body of mixed media art work combining the documentary genres of photography, sound recording, and portraiture. This project will be exhibited in the fall of 2007 in two central Alberta communities, Camrose and Botha (Stettler)and at the Red Deer and District Museum in 2009.
Agriculture has been a vital industry to our province and I have recognized that rural women have been indispensable to its development. These women met opportunity with passion and faced their challenges with initiative and the unwavering desire to build something better for their families and community. As the province of Alberta was formed one hundred years ago, women were in the fields, breaking land and making homes. I grew up in the farming communities of Camrose and Stettler, surrounded by strong women, where this strong work ethic has continued to be an essential, but forgotten, force on the farm. It is my aim to examine the idea of rural life, its myths and truths, as well as enhance awareness about its slow disappearance. There are many perceptions about rural life being an idyllic, peaceful lifestyle, which is true in some aspects and occurs to a certain degree. I seek to portray different views of farm life, including imagery in the unfolding narratives as told by these women. These images will reflect the hardships and stresses that have become reflected in their hands, faces and language to emulate a sense of the immediate and the actual, of these womens’ perceptions and realities, and of life unfolding as it really is. By focusing my practice on these role models, and acknowledging their influence on my own experience, I strive to create an awareness of their courage and strength.
This project will reflect a sense of the immediate and the actual, of their perceptions and realities, and of life unfolding as it really is. The portraits will be of the small gestures, quirks, glances and fleeting moments are reflective of their daily lives. In these portraits these women will be dressed in jeans, sweatshirts and trucker hats, with their precious tools from the farm, such as milk pails, garden hoes, work gloves and pitch forks. Through these portraits and interviews, these women will be celebrated for their contributions to the rich agricultural tradition and history of this province. By collaborating with these women and asking them how they would like to see themselves portrayed, the work will emphasize their ideas and values about life, family, farming, Alberta and art. In essence, this project will be snapshots of women who lead busy lives, paying homage to their strengths and the rich legacy they have left for their children and community.
Added May 4, 2002
Expos Collective (Listing)
Added May 4, 2002
Anne
The Paintings of Anne and Kelly will be shown in the Canadian Portrait: a Juried Exhibit from the Canadian Institute of Portrait Artists Donors Gallery at the Red Deer and District Museum. The exhibit will be held from July 29 to September 24.
4525-47a Avenue, Red Deer, Alberta, Canada
Added May 4, 2002
Expos Solo (Listing)
DAWN SAUNDERS DAHL, B.F.A.
CURRICULUM VITAE
Education
Alberta College of Art and Design. Calgary, AB. 1996 - 1999
Bachelor of Fine Art Degree Ceramics 1999
Bachelor of Fine Art Degree Painting 1998
Minor in Art History and English
Red Deer College. Red Deer, AB.
Art and Design Diploma 1993 - 1996
Selected Group Exhibitions
Alberta Farm Women Red Deer and District Arts Museum Red Deer, AB. 2009
Alberta Farm Women Chuck MacLean Arts Centre Camrose, AB. 2007
Alberta Farm Women Botha Hall, Stettler, AB. 2007
The Canadian Portrait Red Deer and District Museum, Red Deer, AB. 2006
Gun Powder on Tigers Teeth Arts Hab. Edmonton, AB. 2005
An Indelible Era The Works Festival. Edmonton, AB.2005
Untitled Flesh Triangle Gallery. Untitled Art Society Calgary, AB. 2004
10thAnniversary Untitled Art Society Calgary, AB.2004
Art City Untitled Art Society. Calgary, AB. 2004
Art Park Meredith Rd, Calgary, AB.2003
Art City Untitled Art Society. Calgary, AB. 2003
Art City Art Walk event. Untitled Art Society. Calgary, AB. 2002
In The Mud lII Juried by Garry Williams. Untitled Art Society. Calgary, AB. 2002
Art City Art Walk. Untitled Art Society. Calgary, AB. 2001
Journey Untitled members exhibition. The Works Festival. Edmonton, AB. 2001
Art Park Emerald Café, Calgary, AB. 2001
In The Mud l Juried by Greg Payce. Untitled Art Society. Calgary, AB. 2002
No.3 Eau Claire Market. Untitled members’ exhibition. Calgary, AB. 2001
Showtime Jubilee Auditorium. Untitled members’ exhibition. Calgary, AB. 2001
Open Windows Untitled members show. Devonian Art Gardens. Calgary, AB. 2001
Art Park Emerald Café, Calgary, AB. 2000
Art Walk Untitled members exhibition. Calgary, AB. 2000
Self Portraits Centre Gallery. Calgary, AB. 2000
Solo Exhibitions
TN’T Television, Nipples and Truth Spur Gallery. Combine. Calgary, AB. 2003
Mnemonics The Works Festival. Edmonton, AB. 2002
Mnemonics CAMAC. Marnay-sur-Seine, France. 2002
New Works Untitled +15 Window Space. Calgary, AB. 2000
Monkey’s on the Ladder Lebensraum Gallery. ACAD. Calgary, AB. 1998
Human Essence Marion Nichol Gallery. ACAD. Calgary, AB. 1997
Residencies, Conferences and Courses
Artist residency program. CAMAC, Marnay-sur-Seine, France. 2002
1000 Miles Apart. Annual ceramic conference. Regina, SASK. 2000
NCECA Annual ceramic conference. Columbus, Ohio. 1999
1000 Miles Apart. Annual ceramic conference. Medicine Hat, AB. 1998
Summer Artists in Residency Program. Red Deer College, Red Deer, AB. 1997
1000 Miles Apart. Annual ceramic conference. Red Deer, AB. 1997
Summer Artists in Residency Program. Red Deer College, Red Deer, AB. 1996
1000 Miles Apart. Annual ceramic conference. Regina, SASK. 1996
Summer Artists in Residency Program. Red Deer College, Red Deer, AB. 1995
Collections
“Portrait” Oil on canvas. Collection of Tara McAdam. Calgary, AB. 2005
“Gord” Oil on canvas. Collection of Dolores Maisonneuve. London, UK. 2005
“Self Portrait” Oil on canvas. Collection of Kathryn Dodds. Chicago, Illinois. 2004
“Untitled” Oil on canvas. Collection of Sullivan Alba. Calgary, AB. 2003
“Untitled” Oil on canvas. Collection of Robin Harnish. Calgary, Alberta. 2003
“Untitled” Oil on canvas. Collection of Erik Jacobson. Calgary, Alberta. 2003
“Virgin Anne" Mixed on canvas. Collection of Dolores Maisonnueve. London, UK. 2003
“Self Portrait" Alberta Foundation for the Arts. Edmonton, AB. 2002
“Self Portrait” Oil on canvas. Collection of Kathryn Dodds. Chicago, Illinois. 2002
Four murals City Roast Coffee. Red Deer, Alberta. 2002
“Grandkids” Collection of Robert and Karen Brown. Calgary, Alberta. 2002
“Fall Children" Collection of Stephen and Lisa Gilmour. Calgary, Alberta. 2002
“Self Portrait.” Oil on canvas. Collection of Kathryn Dodds. Chicago, Illinois. 2001
“Refugee” Oil on canvas. Collection of Kathryn Dodds. Chicago, Illinois. 2001
“Tyler Gamey” Oil on canvas. Collection of Nancy and Ron Gamey. London, UK. 1998
“Tyler Gamey” Conte on paper. Collection of Nancy and Ron Gamey. London, UK. 1998
Events and Exhibitions Curated and Coordinated
Curator “An Indelible Era” The Works Art Festival. Edmonton, AB. 2005
Curator “Bats in the Belfry” The Works Art Festival. Edmonton, AB. 2004
Event Coordinator “New Abstractions” Maggie Cole exhibit. Calgary, AB. 2004
Gallery Coordinator Untitled Art Society. Calgary, AB. 2000-2003
Event Coordinator “Artistic Aid” Bankers Hall. UAS and Jewish Family Services. Calgary, AB. 2002
Coordinator “In The Mud III” Gary Williams - Curator. UAS. Calgary, AB. 2002
Coordinator Organized travel scholarship fund - UAS. Calgary, AB. 2002
Coordinator “In the Mud II” Dianne Sullivan - Curator. UAS. 2001
1000 Miles Apart Ceramic conference at ACAD. Calgary, AB.
Coordinator “Journey.” UAS members’ exhibit. The Works Festival. Edmonton, AB. 2001
Event Coordinator “Something Bohemian.” Open House. Calgary, AB. 2001
Curator “Inn2Art.” Kensington Riverside Inn. Calgary, AB. 2001
Coordinator “In The Mud ’ – Juried by Greg Payce. UAS. Calgary, AB. 2000
Coordinator “Introspection.” The Works Festival. Edmonton, AB. 1996
Coordinator “Exhibition and Sale.” Red Deer Art Gallery. Red Deer, AB. 1996
Coordinator “Recent Work by Red Deer College Students” Art Walk. 1996
Added May 4, 2002
Article
I was born in Edmonton, Alberta and resided there for six years. My family and I then moved to Camrose, Alberta onto a small acreage and then onto a milk farm outside of Stettler, Alberta Living in the country in such a large, quiet space and working hard on a farm has affected my outlook towards life and my personal work ethic.
I attended Red Deer College from 1993-1996, where two instructors immensely influenced what I created and how I thought about art. Anna Loseva was my painting instructor, a Russian who had an intense technical background that specialized in Old Master painting and drawing techniques. Charles Wissinger was my ceramic instructor, who brought his own values and views into the class of what art and life meant to him
After Red Deer College I entered the Alberta College of Art and Design in Calgary. I received my Bachelor of Fine Art degree from the painting program in 1998. In 1999 I continued my education at ACAD and received my Bachelor of Fine Art degree in ceramics. After graduation I was the gallery co-ordinator for Untitled Art Society, an artist run co-operative in Calgary. Today I continue to organize various group shows within other venues in Calgary and Edmonton.
I attended CAMAC Center D’Art, an artist residency program one hour south of Paris, France. For two months I had the opportunity to continue to create work, visit contemporary galleries and artist run centers in France and London, England. I exhibited Mnemonics in France and upon my return to Canada I exhibited Mnemonics again at The Works Festival in Edmonton, Alberta.
Alberta Farm Women will be presented at the Red Deer Museum in July of 2009.
Added May 4, 2002
Article
Artist Statement
“We are all like babies and magpies – attracted to the glittery and bright eye candy helps to keep us enraptured.” Jen Budney on Laurie Anderson
While MTV-711-fastfood-culture image bombardment may be the fastest, most marketable way to publish a message, fine art is an enticing and engaging method of communication. Our world has become so overloaded with imagery, which many of us are subjected to on a daily basis, it leaves us little time to assimilate and evaluate the information. My visual foundation, inspired by life in the real world, evokes moods and memories that reveal a playground of personal revelations. It is my wish that the viewer can relate to my paintings through their own memories and dreams.
Added May 4, 2002
Article
Awards and Honors
Recipient - Alberta Creative Development Initiative Canada Council/Alberta Foundation for the Arts 2008
Recipient - Edmonton Arts Council for Alberta Farm Women 2007
Recipient - Alberta Foundation for the Arts Project Grant for Alberta Farm Women 2007
Recipient - travel scholarship - artist residency program. UAS. Calgary, AB. 2002
Recipient - Cloudline Environmental Foundation grant - CAMAC. Cochrane, AB. 2002
Alberta Foundation for the Arts grant-to attend ACAD’s painting program. Calgary, AB. 1997
Received grant to attend Artists in Residency. Red Deer College. Red Deer, AB. 1997
Alberta Foundation for the Arts grant – to attend Red Deer College. Red Deer, AB. 1996
Received grant to attend Artists in Residency. Red Deer College, Red Deer, AB. 1996
Norma E. McNamara Award. Red Deer College. Red Deer, AB. 1995
Student Achiever. Kite Foundation. Red Deer College, Red Deer, AB. 1995
Received grant to attend Artists in Residency. Red Deer College. Red Deer, AB. 1995
Reviews and comments
Hi, I finally got the chance to see your work, good job!!!!!!
Interesting work!
HI there Dawn. Just checked out your website. Looks good.
Yes, I was looking in to having a piece done for me for my home. Something nice with lots of colour, maybe squares? or triangles? But is should be a bunch of shapes maybe even a dodecahedron. please email me with some information. Thank you
The sparkle paintings make me sparkle on the inside. I would love to own three of them of the same size. Your body of work is impressive. Let me know whenever you are showing your work.
I like your paintings. I wish I could do art.
Yes, I would like to thank you for the painting you made for me. It is everything I dreamed it would be and more. I can't believe how fantastic it is and how quickly you can accomplish such great work. Thank you again.
you do sifton proud
Hey Dawn - it's great to see your work on line. I will be sure to check it out for new stuff from time to time. Makes me pretty happy to have that bowl of yours - Maybe I'll be able to brag abot my early Dawn Saunders Dahl some day. Erin
Very nice self portraits in the clay.
Great pieces. Keep it up.
HI DAWNJANICE SENT ME YOUR LINK GOOD LUCK WITHIT FRANK
LE FIGURE UMANE E I RITRATTI SONO LA TUA VERA PLIMENTI
You amaze me!!! Get ahold of me, I need a personalized painting of some cats!!!
sorry I am from Canada!!! ha ha ha
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