Karolina Wisniewski
Contributor
An arts event of epic proportions descended upon Toronto this October.
No, it’s not Nuit Blanche.
Oct. 21 through 24 marked Open Studio’s city-wide symposium on all things print related, Printopolis. More than just an exhibition, Printopolis included panels, discussions and demonstrations all dedicated to the art of printmaking.
Besides the main event, Printopolis spurred a multitude of affiliated exhibitions – nearly 40, to be specific – including York University’s “Printapalooza!” in the Gales Gallery in Accolade West from Oct. 18 to 29.
Curated by prof. Barbara Belfour, “Printapoalooza!” features the artwork of fine arts graduate students, as well as recent graduates of York’s studio program. Brilliantly assembled, this collection of top-notch print media bears none of the rough and ready unprofessionalism for which student shows are often and unfairly known.
The uncontested showstopper at “Printapalooza!” is The Disobedient Dollhouse by Jennifer Linton. The craftsmanship alone that must have gone into this perfectly built dollhouse is impressive, but its contents are even more remarkable. Each room is packed with fantastical creatures, and the interconnectedness of all of its elements is astounding.
Despite its complexity, The Disobedient Dollhouse, like all the pieces in the exhibit, was produced with print media: even the wallpaper patterns were executed via printmaking. Something like an Alice in Wonderland episode on steroids, The Disobedient Dollhouse is full of hidden surprises. Other highlights include Pocketknives by Alda Escaren?o and Carolyn Self as well as Nadine Bariteau’s two pieces, all of which apply printmaking techniques to three-dimensional mediums to create an unexpected viewing experience. Katie Fife’s breathtaking After Image is another gem, as is the tongue-in-cheek series submitted by Jennie Suddick.
Several other artworks use the print medium towards other objectives: Lauren Nurse’s Fungus Among Us brilliantly explores texture and visual depth through the superimposition of abstract patterns, while Carnage of Poms by Jacquelin Heichert challenges viewers by taking mundane subject matter and subverting our tacitly held ideas about it.
Truthfully, every piece in “Printapalooza!” is spectacular for its own reasons. The exhibition is a success rarely encountered: a start-to-finish knockout without filler or compromise.
“Printapalooza!” is a pleasant surprise for several reasons. As the only exhibition outside of the downtown-uptown core, it occupies a unique position within the larger scope of Printopolis. Though many lament York’s seclusion from the downtown arts scene, its location makes it the only relevant artistic hub north of Toronto’s core – discounting the McMichael Art Collection, which seems to occupy an entirely different place in the art world.
Within the York University community, “Printapalooza!” is one of the earlier shows of the academic year, and it certainly starts off the season on a high note. The work of York alumni and graduate students, “Printpalooza!” helps show what York is contributing to the greater art world – what it, as an institution, is judged on. Current students should be proud of the calibre of these graduates’ work and the name it makes for our university.
The Gales Gallery will host a closing reception for “Printapalooza” on Thurs- day, Oct. 28 from 5:30 to 7:30 p.m.
