Robert Houle is a member of Sandy Bay First Nation, Manitoba. He currently lives and works in Toronto. The Anishnabe artist has played a significant role in retaining and defining First Nations identity and has drawn on Western art conventions to tackle lingering aspects of colonization and its postcolonial aftermath. Relying on the objectivity of modernity and the subjectivity of post-modernity Houle brings aboriginal history into his work through the interrogation of text and photographic documents from the dominant society.

Houle studied art history at the University of Manitoba, art education at McGill University and painting and drawing at the International Summer Academy of Fine Arts in Salzburg, Austria. Exhibiting since the early 1970’s, his most recent exhibition, the multi-media installation Paris/Ojibwa, premiered at the Canadian Cultural Centre in Paris and makes its North American debut at the Art Gallery of Peterborough in May 2011.

Among his many solo exhibitions are Lost Tribes, at Hood College, Maryland; Indians from A to Z and Sovereignty over Subjectivity at the Winnipeg Art Gallery; Kanata: Robert Houle’s Histories and Palisade, at the Carleton University Art Gallery, Ottawa; Anishnabe Walker Court, an intervention at the Art Gallery of Ontario, Toronto and Troubling Abstractions at the McLaughlin Art Gallery and the McMaster Museum of Art. The artist has also participated in several important international group exhibitions, including Innovations: New Expressions in Native American Painting at The Heard Museum, Phoenix; Traveling Theory, at the Jordan National Gallery, Amman, Jordan; Notions of Conflict, at the Stedelijk Museum, Amsterdam; Real Fictions: Four Canadian Artists, at the Museum of Contemporary Art, Sydney, Australia; Tout le temps/Every Time, at the Montreal Biennale 2000; Transitions: Contemporary Indian and Inuit Art at the Russian Museum of Ethnography, St. Petersburg, Russia and We Come in Peace...: Histories of the Americas, at the Musée d’art contemporain de Montréal.

Houle was curator of contemporary aboriginal art at the Canadian Museum of Civilization from 1977 to 1981 and has curated and co-curated groundbreaking exhibitions such as New Work by a New Generation, in connection with the World Assembly of First Nations at the Norman Mackenzie Art Gallery in Regina in 1982, and Land Spirit Power: First Nations at the National Gallery of Canada in Ottawa during the Columbus Quincentennial.

Houle has written many essays and monographs on major contemporary First Nations and Native American artists. He also taught native studies at the Ontario College of Art and Design in Toronto for fifteen years mentoring a new generation of artists and curators. Houle's considerable influence as an artist, curator, writer, educator and cultural theorist has led to his being awarded the Janet Braide Memorial Award for Excellence in Canadian Art History in 1993; the 2001 Toronto Arts Award for the Visual Arts; the Eiteljorg Fellowship in 2003; membership in the Royal Canadian Academy; distinguished Alumnus, University of Manitoba and the Canada Council International Residency Program for the Visual Arts in Paris. Additionally, Houle has served on various boards and advisory committees including those of The Art Gallery of Ontario, The Museum of Contemporary Canadian Art, The Aboriginal Curatorial Collective, A Space, The Power Plant and the Native Canadian Centre of Toronto.

Currently, he has returned to OCAD to lecture on indigenous abstraction in the faculty of art and is working on a group of portraits based on research done over the last three years in Paris. He has recently contributed an essay to the exhibition catalogue, The Colour of My Dreams: the Surrealist Revolution in Art, the largest exhibition of this movement ever to be presented in Canada at the Vancouver Art Gallery. He plans to publish a book based on his collected writings and thoughts on contemporary aboriginal art.

Robert Houle’s art installation, Paris/Ojibwa re-imagines a grand 1845 Parisian room in which two different cultures, Ojibwa and Parisian, make contact, evoking the lingering memory of the historical Maungwudaus and his (Mississauga) dance troupe performing for the Parisian court.

The artist first became aware of this enduring connection between cultures during a trip to Paris. He noted that exotic encounters with Native Americans impressed the 19th century Parisian imaginations of poets and painters, notably George Sand, Charles Baudelaire and Eugène Delacroix.

Robert writes that, “seeing the Delacroix sketch, Cinq etudes d’Indiens, (of the Ojibwa dancers) at the Louvre’s Pavillon de Flore, le department des arts graphiques was like traveling back in time to when Delacroix first drew it”.

The artist’s re-imagining of what may have happened in this encounter began in 2006 during his residency at La Cite des Arts in Paris. The resulting multi-media installation pays homage to the memory of the indigenous dance troupe, as well as a reflection on the crucial theme of the aesthetics of disappearance. The title of the work alludes to contact between Europeans and a group of Mississauga from Upper Canada guided by a remarkable man, George Henry, Maungwudaus (a Great Hero). Houle explains that his 16 foot square by 12 foot high set that installs replete with a sound component and futurist animation projection is “a cultural hybrid of theatricality and ethnicity”.

Robert Houle’s Paris/Ojibwa received support from the Canada Council and the Ontario Arts Council. A catalogue featuring essays by Nelcya Delanoë, Paris; Robert Houle and David McIntosh, Toronto and Barry Ace, Ottawa, will accompany the show. Artist Talk will be during Ode'min Giizis Festival Saturday, June 18, 2011 at Market Hall in downtown Peterborough, Ontario, Canada.

Paris / Ojibwa Publication Launch is Thursday, July 28, 2011, 7 pm to 9 pm
at the Art Gallery of Peterborough.
Learn More...

Read R.M. Vaughan's review of Robert Houle's Paris/Ojibwa in Globe Arts.

Read Leanne Simpson's review of Robert Houle's Paris/Ojibwa in Canadian Art.

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JULY 1 TO SEPT 4, 2011
CHRISTY HALDANE: THE WATERWAY PROJECT

Christy Haldane, The Waterway (2010), 15 X 5 X 4'3 inches,
glass, concrete, rock, steel, wood, found materials and plastic.
Photo credit: Brett McKnight

Meet Christy Haldane and the Waterway Project
at the Art Gallery of Peterborough
Wednesday August 10, 2011, from 10 - 11 am

The Art Gallery of Peterborough will host a media reception with artist Christy Haldane on Wednesday, August 10, 2011, from 10:00 am - 11:00 am.

The artist will discuss her upcoming exhibition of sculptures to be located along the Trent Severn Waterway in the summer of 2012.

Haldane will be working with master glass sculptor and Governor General Award Winner Kevin Lockau on this series of five site specific outdoor installations as part of The Waterway Project. The Waterway Project is an ongoing project that includes Haldane’s current work on view now through September 4, 2011 at the Art Gallery of Peterborough. These maquettes preview the larger installations planned for 2012 to be located along the Trent Severn Waterway.

Inspired by Peterborough’s natural and engineered environment, Christy Haldane (Peterborough) has developed a series of sculptures using recycled window glass and other common building material. Haldane’s glass and concrete mixed media sculptures and maquettes preview five outdoor installations that will be exhibited at locks along the Trent-Severn Canal in July and August of 2012.

Haldane’s body of work is situated at an intersection of art, craft and architecture. Concrete and steel echo the materials of the locks themselves, which come to represent control and containment of the environment, while the transparency, fluidity, and bluish hue of water are suggested in the glass. Monuments of human engineering, Haldane’s work simultaneously points to the ongoing erosion from the elements that the locks face, reflecting the passage of time and the subtle power of the water.

Haldane’s The Waterway Project has received funding from the Ontario Arts Council's Craft Projects program. The Ontario Arts Council is an agency of the Government of Ontario.

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MAY 14 TO JUNE 26, 2011
SHOLEM KRISHTALKA: EXCERPTS FROM THE LURKING DRAWINGS

Sholem Krishtalka, Excerpts from the Lurking Drawings
(50), 11 X 8.5 inches, watercolour and gold pen on paper. Photo credit: Sholem Krishtalka

Sholem Krishtalka is a painter and a writer. He is the Visual Art critic for Xtra Magazine, and is a contributor to C Magazine, CBC Arts Online, Canadian Art Magazine, Bookforum Online and Ryeberg.com, among others. His art has been shown in various galleries in Toronto, including Paul Petro Contemporary Art and Edward Day Gallery. Most recently he made his solo debut in New York City at Jack the Pelican Presents. His work is featured in Carte Blanche 2, the survey of Canadian painting, as well as in numerous international publications including ArtInvestor (Munich) and most recently Headmaster Magazine (USA).

• Read more...

  The artist explains that, “The wide usage of Facebook has borne a new vernacular meaning for the verb ‘to lurk’. In this new coinage, ‘to lurk someone’ is to troll through their Facebook photos, to investigate their visual history, in some sense to stalk them. With this work, I do precisely that: all of the drawings in this open-ended series (as of the writing of this statement, there are currently 150 drawings, with more planned) are made from my friends’ Facebook photos.”
  
  Generally speaking, Krishtalka’s work is a deconstruction (or perhaps more aptly, a reconstruction) of his life; it documents his relationships, mapping his life and community. In that sense, these drawings function equally as autobiography: friends (both intimate and extremely casual) and lovers are all represented here. While it may seem initially voyeuristic, Lurking is much more a document of the artist’s life than those he portrays.

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MAY 14 TO JUNE 26, 2011
AGP ART INSTRUCTORS SERIES : JOHN CLIMENHAGE AND SHANNON TAYLOR

John Climenhage , Ivy Lea Bridge, Late January (2011)
12 X 16 inches, oil on panel. Photo Credit: John Climenhage

The Art Gallery of Peterborough is delighted to present the second in our series of AGP Art Instructors shows. This exhibition features the work of two of the gallery’s art educators: John Climenhage and Shannon Taylor.

John Climenhage has been painting ‘en plein air’ for over twenty years, while in his words “struggling with various postmodern approaches to the development of abstract spaces based on contemporary philosophy and quantum physics in the studio”.

For Climenhage the landscape retains a vital immediacy, made evident in his suite of oil paintings on view at the AGP, which show the Otonabee River from the Inverlea Bridge (near his home) down to the Art Gallery of Peterborough. Capturing the environmental transitions that take place over the winter months through to the spring, Climenhage’s oils record the sequence of ice formation, its break up and continuation onto Lake Ontario, the St Lawrence River, and the Atlantic Ocean. As a result, the artist’s work underscores our immediate contingent connection to our watery geography and by implication our connection to the larger world event, of which we are both observer and participant.

Shannon Taylor, Hydrant by Bridge (2010) 24 X 24 inches, mixed media on wood . Photo credit: Shannon Tayor

Shannon Taylor graduated from The Nova Scotia College of Art and Design with a major in media arts in 2002. Now an active member of the arts community here in Peterborough, she is best known for her mural work, which can be found on Hunter Street in downtown Peterborough, beside Karma’s Cafe, at the back of black honey desserts & coffeehouse, in My Left Breast at the Peterborough Clinic and at the Children’s Aid Society in Bancroft, Ontario.

Taylor’s recent work is comprised of imaginary scenes created using a process she developed involving drawing and photographic image transfer. This work deals with reality as a constructed narrative by combining "real’ photographic images to create scenes that do not actually exist outside of the work itself, a form the artist terms ‘deceptive realism’.

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MARCH 11 – MAY 8, 2011

ROWENA DYKINS: RIPARIAN

Rowena Dykins, Toronto Island Series #3 (2010)
52" X 52" acrylic on canvas, courtesy of the artist, photo credit: Mark Craighead

Opening Receptions Friday March 11, 2011, 7 pm - 9 pm

Known for mapping the abstract, Rowena Dykins studied fine art in England, at Concordia University and at the Montreal Museum of Fine Arts. A member of several artists groups based in Durham Region and Peterborough area, Dykins’ work has been exhibited regularly in both solo and group contexts. Throughout her career the artist has been engaged in the act of making of paintings and large installations.

The show comprises a selection of new abstract studies and large bold canvases that explore the power of colour, the activation of surface and a kind of grace that is sometimes found at the edges of logic and concrete thought.

The artist’s approach is both additive and subtractive. To make her paintings, she applies fields of Cadmium Red, Alizarin Crimson, Ultramarine Blue, Cobalt Blue, Prussian Blue Cadmium Yellow, Dioxazine Violet, Cyan, and Black, over painting, scraping, smoothing and layering texture. In Dykins’ hands colour and gesture become suggestive of an environment in flux.

Dykins chooses the ecological term, ‘riparian’, as her exhibition title. Riparian is an scientific term used to describe a zone or area found in nature which functions, as an interface between land and water to illuminate a kind of 'spiritual transmutation' made possible through the contemplation of 'the beautiful' or ‘the sublime’ found both in nature and in art.

In some instances her abstracted landscape views take the form of aerial images, which alternatively reflect topographical mapping of real geography and the possibilities of serenity and promise, while also suggesting the potential for self-definition and spiritual growth. Symbolically Dykins’ riparian landscapes exemplify a natural phenomenon that may be understood as representative of the environmental sublime.

Several transcendentalists, such as Ralph Waldo Emerson, believed the key to determining the sublime rests in interpretations of light and colour in nature. Dykins takes Emerson’s belief and translates it into expressive fields of colour, texture and paint.

Please join the AGP for an Artist Talk with Rowena Dykins on Sunday May 1, from 3 pm to 5 pm.
RIPARIAN will be celebrated in a full colour catalogue to be launched on May 26, 2011
--- Carla Garnet, Dec/2010


School education programs support these exhibitions. Learn more…

MARCH 11 – MAY 8, 2011

MICKY RENDERS: FINDING JOY

Micky Renders, Blue, Orange, Green, Red, Oils, 2011, images courtesy of the artist

Ottawa raised and Peterborough based Micky Renders studied art and science at a number of prestigious Ontario universities. The practicing artist holds a degree in biology from the University of Geulph, Ontario and currently teaches visual arts and digital photography at Thomas A. Stewart Secondary School, in Peterborough.

Known for her exquisite, almost photographic, oil depictions of colour rich ecological locations Renders’s new body of work, lyrically titled, FINDING JOY, extends the artist’s exploration of colour’s potential.

FINDING JOY comprises a suite of twenty-four colour field oil paintings in which the artist employs a set of photo/digital devices such as: the extreme close-up, the frame, photographic blur and photo/digital palette as formal troupes to achieve sensational chromatic affect. Photography is evident as an influence in Renders’s work, as an end in and of itself, and as a language, which allows her painting practice to move from representation into abstraction.

In FINDING JOY the artist evokes the photographic frame – a device that acts to structure the viewer’s field of vision, while adapting the photographic lens ability to blend, blur and court the threshold aspect of colour: colour strong enough to provoke in the viewer the double act of looking and seeing.

In order to achieve these outstanding results, the artist applies many layers of transparent paint mixed with liquid glaze to ever refine her tonal paintings, which then rely on a variation of contrasting hues (warm through cool) to activate a set of visual vibrations.

The artist writes:
Colour has the power to evoke psychological, physiological and symbolic effects: colour as light, colour as emotion, colour as temperature…energy…atmosphere…space. Colour embodies the fullness of existence.

Here, the frames become an extension of the work. More often then not, Renders’s coats them with another value of the same colour, allowing each work to resonate with its own subtle variations of tone and visual impact. Accordingly, each piece may be taken in as an individual field of pure chroma or may be seen as a linear procession of square singularly vibrating coloured panels.

Working wet into wet, the subtle transitions Renders achieves changes the focus of her artworks away from formal mark making towards atmospheric colour – so that the essential perception of the work is one of space. Hence, her colourfields or spaces have the potential to be perceived as both very deep, and simultaneouly as very shallow, because the glazed paintings enclosed in Renders’s series, FINIDING JOY function much like pools – pools that imply the possibility for reflection and deep space at once.
            Carla Garnet/February 2011 .

Home by Eric, 2011.

MARCH 11 – MAY 8, 2011
TRAVELING ROOTS

Traveling Roots is an exhibition of painting, pastel and collage works on paper produced during Family Workshops, offered to the New Canadians Centre by the Art Gallery of Peterborough’s education program in 2011.

This exhibition was organized as a compliment to and an extension of, the AGP’s special exhibit of the: 2010 year of the British Home Child Memorial Quilt, which will be on view in the gallery in April 2011.

The New Canadians Centre Peterborough (NCC) is a non-profit charitable organization dedicated to supporting immigrants, refugees and other newcomers in Peterborough and the surrounding areas. The NCC mandate is to provide support services to newcomers and to increase awareness of newcomers’ contributions to Peterborough and the community. Over 300 clients each year representing 115 different countries of origin are served each year by NCC. Founded in 1987, NCC draws from a large catchment area from the Lakeshore to North of Peterborough, from Lindsay to Norwood. NCC is governed by a volunteer Board of Directors drawn from the community. NCC is funded by the Citizenship and Immigration Canada, United Way of Peterborough and District, the City of Peterborough and individual and group donations.

The Art Gallery of Peterborough is committed to opening the Art experience to new audiences. The AGP is proud to partner with the New Canadians Centre to offer Family Workshops to facilitate integrating newcomers into our shared communities.

Learn more about the New Canadians Centre

2010 Year of the British Home Child Memorial Quilt

On special exhibition at the AGP during the month of April 2011

JANUARY 14 TO MARCH 6, 2011

MICHAEL CAINES: WILD/TAME

Michael Caines, "Associative Disorder" oil, casein and flashe on panel, 72 x 36 in.
courtesy of: Katharine Mulherin - Contemporary Art Projects

Wild/Tame is an exhibition of disturbing yet beautifully drawn and painted contemporary POP/Surrealist works on panel, canvas and paper by Michael Caines.

The Toronto/New York City based artist, holds a MFA from Parsons the New School of Design in New York, NY, and number of artist residencies, including: the Santa Fe Art Institute in Santa Fe, NM, the Millay Colony in Austerlitz, NY, and the Jentel and Bemis Center in Omaha, NB. Among other awards, he has received Avery and Chalmers Fellowships, in addition to a residency funded by Joan Mitchell Foundation. Caines’ active exhibition history encloses frequent shows in public, artist run and commercial galleries in Canada and the United States, in conjunction with numerous international art fairs with Katharine Mulherin Contemporary Art Projects.

The small and large drawings and paintings that comprise this imagery-rich solo Art Gallery of Peterborough show are culled from the last decade of the artist’s uncanny and allegorical, animal themed, oeuvre.

Drawing from a variety of literary and art influences Caines sequential narratives use the idea of the figure in limbo – which works as a device for the artist to dislodge iconic characters from their conventionally understood habitats. This practice allows the artist to in his words, “rearrange and re-imagine the iconography.” (Michael Caines, Final Parsons School of Design, NYC, MFA Thesis text)

Caines’ pictures show the crucially twinned notions of suppression and expression, operating as the representational instruments of embodiment and disembodiment; thus opening up a space from which to understand how the two-dimensional, illusionist space of paintings and drawings know how to be immediately readable to almost everyone.

According to the artist’s thesis paper, “the materiality of the work and peculiarity of the imagery come at a slight delay -- the tension between optics, materiality and image are essential to the succession of the pictures.” (ibid.)

Although surreal in character, the exhibition illustrates that ‘nature’ is the artist’s unifying theme. The evidence is in Caines’ frequent depiction of flocks of black birds, packs of wolves, or colonies of rats, often drawn circling lone human figures, be they cowboys, skeletons, or well-known political icons or religious figures.

Caines’ animal motifs appear against backgrounds of snowy white, pale grey or flecked brown paper that allow for a sense of space and depth; or against surfaces that are worked up to reference scenes out of recognizable historical pictures: Alice in Wonderland, Bambi or The Wizard of Oz.

Several drawings on show are excerpted from Caines series titled, Purgasgoria. The roots of the piece are embedded in the artist's childhood recognition of mortality, and his consequent desire to more fully explore his early perception. In the year leading up to the conception Purgasgoria, the artist experienced a series of illnesses that led him to consider the fragility of the body and its potential regeneration. Caines points to epic poems - such as Dante’s Inferno or The Epic of Gilgamesh, which are rife with mythical images that describe a protagonist grappling with monsters and deities on the road to self-realization and transformation.

The artist utilizes this epic approach in Purgastoria, creating his own cast of characters to tell a story through images. He envisions Purgastoria as the heroic journey of a skeleton, who wakes in a dark wood and embarks on a journey of regeneration, eventually becoming fully human.

Wild/Tame also features works from Caines’ series titled El Dorado. El Dorado represents a thematic shift from Purgastoria, in that it is about love, salvation and transformation. This project is inspired by his travels in New Mexico and California and by a cowboy story written by Peterborough writer, Janette Platana, titled, How it Is, in addition to a plethora of Western movies. It is this unusual combination of iconic images gleaned from world religions, childhood and pop culture that makes Caines’ swirling landscapes -- populated by funny and dark themes, so compelling.

A colour catalogue accompanies Michael Caines’ Art Gallery of Peterborough exhibition with an essay by R.M. Vaughan and an interview with Thom Butter. - - - Carla Garnet/December 2010.

Contact the AGP for more information

See a review of Michael Caines: WILD/TAME at Canadian Art Magazine

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LIFE DRAWING GROUP SHOW

Life Drawing Group Members

For more than thirty years, both amateur and well known Peterborough and greater Peterborough area based artists have gotten together to continue the practice of drawing together as: The Life Drawing Group.

Originally artist-run, The Life Drawing Group is now facilitated by the AGP. To a certain extent, the memberships’ modus operandi are diverse, ranging from printmaking (etching and woodprints) to working in acrylics, oils, watercolour, fabric and sculpture. What the membership shares, in the end, is a distinct love of drawing and the conviction that drawing is an important base for all other visual art forms.

Meeting weekly at the gallery, The Life Drawing Group artists hone their representation skills by working directly from a live model.
The group’s motto is: “There is no instruction, except the teacher of hard work and practice!”

CONTINUING EXHIBITIONS

David Bierk,
Landscape Study (ochre/green sky),
1996,oil on board:

Weather

From the Permanent Collection

Whether it’s the latest report from Environment Canada, an image of a windswept pine on a northern shore or a profile of one who has stood fast and weathered the storm, we all know what “weather” is about. This selection of works from the collection reflects on the literal and metaphorical elements of weather.

Katherine Wallis, After the Storm
watercolour, circa 1931

School education programs support this exhibition.
Learn more…

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November 12, 2010 – January 9, 2011

WARM ICE

Curated by Carla Garnet

WARM ICE is a ten-person show that intentionally highlights the inherent theatricality of works of art, both cinematic and object-based, to engage viewers in enacting their own readings of the multi-media works that comprise the story-bound exhibition. Taking the gradual warming of the North as its thematic starting point, Warm Ice aims to draw out the experiential qualities of the works on display, which simultaneously evokes moments and narratives “frozen” in time and the course of change involved in the process of melting or thawing.

The wintery group presentation includes film, video, installation, painting and sculpture by Michael Belmore, Deanna Bowen, Griffin Brothers (Clint & Scott Griffin), Mike Hansen, Luis Jacob, Rae Johnson, Christy Langer, Paulette Phillips, Gretchen Sankey and Sharon Switzer. Assembled together, the works on display propose that acting out our relationship with the natural world may mean setting up connections with nature as a kind of allegorical theatre first.

Learn more …

Introducing the Art Gallery of Peterborough’s Art Instructors Series Featuring Anne Renouf and Judith Mason

Anne Renouf, “Vigil”, mixed media on canvas, 2010.

“I am a frayed and nibbled survivor in a fallen world, and I am getting along. I am aging and eaten and have done my share of eating too. I am not washed and beautiful, in control of a shining world in which everything fits, but instead am wandering awed about on a splintered wreck I’ve come to care for, whose gnawed trees breathe a delicate air, whose bloodied and scarred creatures are my dearest companions, and whose beauty beats and shines not in its imperfections but overwhelmingly in spite of them…” - Annie Dillard

A working artist and art educator Anne Renouf chooses a paragraph from Annie Dillard’s Pilgrim at Tinker Creek, to speak for her practice. Much like the author, the artist resists labels. Renouf’s works floats somewhere between landscape and abstraction, somewhere between photo and paint, pointing to the perceptual while alluding to that which can only be sensed and not seen. Working with a variety of media Renouf combines the symbolism of colour, geometric and natural forms with an architectonic notion of the grid to create elemental compositions that ask the viewer to become conscious of the frame as both a representational devise and conceptual tool.

Judith Mason, “all for nothing”, acrylic, 2010

A practicing artist and art educator, Judith Mason holds an BA Hons in Cultural Studies; a BA in Education and is currently completing an MA in Art Theory. In conjunction with her academic work Mason has spent many years teaching art workshops using numerous approaches. Additionally she has studied textiles, ceramics, drawing and printmaking, sculpture, photography and has been involved in curatorial practice.

Much, if not most, of her work over the past three decades has been completed in and around Peterborough and in the Clarington area, not far from the Robert McLaughlin Gallery, known for its outstanding collection of Painters Eleven. Like Painters Eleven, Mason’s work is characterized by tensions between formal abstract minimalism and recognizable topographies. Her paintings draw parallels between structural abstraction and more conventional visualizations that might be likened to architectural blueprints or biological diagrams that illustrate cell division. Mason's work is rich and eclectic, reflecting both the influences of other contemporary artists and the panoramic scope of her multi-media exploratory history.

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